transcribers note: the spelling in this text has been preserved as in the original. obvious printer's errors have been corrected. you can find a list of the corrections made at the end of this e-text. * * * * * the art of modern lace-making. * * * * * price: fifty cents or two shillings. * * * * * published by the butterick publishing co. (limited). _london and new york._ 1891 printed in new york. [illustration] introduction. owing to the growing popularity of the fascinating art of lace-making and the appeals of our readers to place it within their reach, we have prepared this pamphlet. in making it a perfect instructor and a reliable exponent of the favorite varieties of lace, we have spared neither time nor expense, and are most happy to offer to our patrons what a celebrated maker of modern lace has pronounced as "the finest book upon lace-making to be found on either continent." the illustrations, in the main, are direct reproductions from genuine, hand-made modern laces, such as any lady may make who masters the instructions found upon these pages. the beauty of these laces is beyond question, their durability all that can be desired, and their textures may be varied from an extreme delicacy to a sumptuous opposite. in introducing the art of modern lace-making into the realms of our readers, we feel all of the pleasure we are sure we thus convey. the butterick publishing co., limited. contents. pages 5 to 9- lace-making, ancient and modern methods. pages 9 to 19- stitches used in modern lace-making. pages 19 to 22- fancy braids cords, rings and buttons. pages 22 to 96- designs, lace articles, edgings, etc., etc., in modern lace. pages 96 to 125- darned net samples, kerchiefs, tidies, edgings, insertions, etc., etc., with designs for the same and other articles. lace-making ancient and modern methods. the art of making lace in one form or another has existed from the earliest ages. there are scriptural references to various web-like fabrics, which were of rude construction, no doubt, but whose general characteristics were identical with those productions of modern skill which have for centuries been known as lace. homer and other ancient writers constantly mention net-works of fancifully embroidered materials; gold thread-work was known to the romans; and as egyptian robes of state are depicted upon the tombs of the earlier dynasties as being fashioned from a looped net-work or crochet, it is probable that the israelites learned the art from the egyptians. museums contain specimens of lace dating back to periods that to us of the present day seem mere dreams of reigns and eras, and history includes a scattered literature of lace which proves that the art must have been practised almost from the beginning. up to the sixteenth century, however, open work embroidery was the favorite decoration, and from it the tangible origin of lace seems derived. during the renaissance period the first book of embroidery patterns and lace-work appeared. the earliest volume bearing a date was printed at cologne in 1527; and it was during the reign of richard iii. of england that the word lace was first used in the descriptions of the royal wardrobe. at first the best known laces were those of venice, milan and genoa. the italians claim the invention of point or needle-made lace; but the venetian point is now a product of the past, and england and france supply most of the fine laces of the present time. lace-makers in the various european countries are trained to the work from childhood; but it is said that the makers of honiton lace, the fabric of which queen victoria's wedding gown was made, are rapidly decreasing in numbers, so that there are few persons now living who understand the construction of this exquisite "pillow" lace. the costly point and honiton and the dainty mechlin and valenciennes of bygone days can only be produced by trained lace-workers, whose skilful fingers weave bobbins of cobweb-like thread to and fro over the "pillow" necessary to antique methods; and for this reason fine lace-making is practically beyond the skill of the amateur. besides, some of the threads in the very filmy laces are so fine that they cannot be successfully manipulated except in a moist atmosphere, such as that of great britain; and even there some of the more exquisite specimens must perforce be made in underground rooms, since it is only there that the proper degree of moisture can be obtained. in dry climates these gossamer-like threads would roughen and break at almost the slightest touch. referring to the known origin of some of the earlier laces, a writer upon the subject says: "they say it was a woman, barbara uttmann, who invented pillow lace in the 16th century. women have ever been patrons of lace-making. victoria has kept the honiton laces in fashion, and it was the duchess of argyle who introduced lace-making in scotland. the countess of erne and lady denny and lady bingham began it in ireland, and lady de vere gave her own brussels point for patterns when the first irish point was made at curragh. it was elizabeth of denmark who introduced lace-making in that country, and the archduchess sophia who started lace schools in bohemia. "now at least i can have laces," said anne of austria, when louis xiii., her husband died, and her court was famous for its cleanliness and its spanish point. colbert had three women as coadjutors when he started lace-making in france. it was because josephine loved point d'alençon that napoleon revived it. eugenie spent $5,000 for a single dress flounce, and had $1,000,000 in fine laces." victoria's favorite, honiton, is not considered a particularly beautiful lace, although its weaving is so tedious and difficult. "real honiton laces," so says an authority, "are made up of bits and bits fashioned by many different women in their own little cottages--here a leaf, there a flower, slowly woven through the long, weary days, only to be united afterward in the precious web by other workers who never saw its beginning. there is a pretty lesson in the thought that to the perfection of each of these little pieces the beauty of the whole is due--that the rose or leaf some humble peasant woman wrought carefully, helps to make the fabric worthy the adorning of a queen or the decoration of an altar, even as the sweetness and patient perfection in any life makes all living more worthy and noble. a single flower upon which taste and fancy were lavished, and which sustained and deft labor brought to perfection, represents the lives of many diligent women workers. it has become so much the fashion to worship all things ancient that most lovers of fine lace would prefer to have it a century old; and yet there never was a time when laces were more beautiful, more artistic and more unique in design than just at the present day; for modern laces preserve the best features of the laces that have gone before them, and have added so many new inspirations that except for the sentiment, the romance or the history connecting this scrap with a title, that with a famous beauty, and another with some cathedral's sacred treasure, the palm would certainly be given to the gauze-like production of the poor flax thread spinner of the present day." not all people know the difference between point lace which is made with the needle, and pillow lace which is made with the bobbins--but much of the beautiful point lace of the present day is made with the needle, and its beauty stands a favorable comparison with the more costly pillow lace. strictly modern lace-making is a result of american ingenuity, and it has so simple a basis and is so easy to learn that any woman of average skill may, with little difficulty, produce by its different processes, laces that are really magnificent and quite as substantial and useful as they are exquisitely beautiful. in america modern lace-making has been developed to a high degree of perfection by its pioneer, mrs. grace b. mccormick, in whose designing rooms at no. 923 broadway, new york, may be seen specimens of modern laces of every variety, from dainty needle-point to a very elaborate kind known as the royal battenburg. this english name for an american production was selected in honor of the battenburg nuptials, which occurred about the time a patent for making the lace was applied for at washington. only a few years have elapsed since this plucky little woman made a single piece of lace edging from common braid as an experiment, and sold it for a trifling sum. love for the work and perseverance have enabled her to overcome obstacles that would have discouraged a woman of ordinary energy, and she has gradually improved upon her earlier methods until modern lace occupies a front rank among the numerous dainty forms of needle-work of the day. one of the finest specimens lately placed on exhibition is a table-cloth intended for use at elaborate dinners. it is made of the finest table linen and royal battenburg lace. the cloth is, of course, very large, and the lace, in the form of wide insertion, is let in above the border and is also arranged to divide the center into three squares. an outside border of edging to match completes this exquisite production, which has been two years in course of construction, and is valued at four hundred and seventy-five dollars. the same style of lace may be made by any one who studies the art and in any width or form, and it may be produced in many textures, although really intended for heavy effects. the making of such lace possesses a great charm for womankind in general, and will undoubtedly retain favor as long as needlecraft remains a pastime and employment with the gentler sex. materials. the requirements of modern lace-making are few. the products are classed as honiton, point, duchesse, princesse, royal battenburg or old english point, etc., etc.; but all are made with various braids arranged in different patterns and connected by numerous kinds of stitches, many different stitches often appearing in one variety of lace. the materials required are neither numerous nor expensive. the following is a complete list: tracing cloth, leather or _toile cirée_, lace braids of various kinds, linen thread, two or three sizes of needles, a good thimble and a pair of fine sharp scissors. for each kind of lace there is a special sort of braid in various patterns, and the selection of the thread depends entirely upon the variety and quality of lace to be made. this selection should be left to the decision of the teacher or the skilled maker of laces, as she knows from experience the proper combinations of materials. thus, in making honiton and point lace, thread in twelve different degrees of fineness is used; and as the braids also vary in size, the thread must always be adapted to the braid. for battenburg lace the thread is in eight sizes, the finest being used only for "whipping curves" or drawing edges into the outlines required. the "ideal honiton" is a new lace made with fancy honiton braid and wash-silk floss in dainty colors, and is exquisite for doilies, mats, table scarfs and center-pieces. designs sold by lace-makers are usually drawn upon tracing cloth, as this is flexible and much more agreeable to work upon than any other material. the tracing cloth, when the braid is arranged, is basted to a foundation of leather or _toile cirée_; or smooth wrapping-paper may be basted under the design and will furnish all the support that is necessary, while being lighter than the _toile cirée_. it must be remembered that the work is really wrong side out while in progress, so that it will not show its true beauty until finished and removed from the foundation or pattern. according to the braid and thread selected, these laces may be made of fairy-like fineness or of massive elegance--general results being dainty enough for the gown of a bride or sumptuous enough for the adornment of an altar. lace-making establishments will furnish designs of any width or shape desired, and will also originate designs for special articles for which there are only occasional calls. regular edging designs are ordinarily made in four widths--from quite narrow to very wide; and not infrequently a handkerchief design is enlarged sufficiently to form a square for a table or a fancy stand. in filling in the spaces of any design or pattern, the worker may choose the stitches that please her best, if she does not like those accompanying the design that she has selected or that has been sent her. stitches used in modern lace-making. as in all fancy work which has a set of foundation stitches peculiar to it that may be varied according to the proficiency and ingenuity of the maker, so has modern lace a series of primary stitches from which may be evolved many others. a large number of illustrations of stitches, some of which are primary or foundation stitches, while others are combinations, are here presented, with full instructions for making; and the entire series given will make perfectly plain to the student the ease with which she may combine or invent stitches, when those of the design she is to work are not to her liking. the first stitch given is the main foundation stitch. plain point stitches. nos. 1 and 2.--point de bruxelles or brussels point.--among the stitches most used in lace-making is point de bruxelles or brussels point. it is simply a button-hole stitch worked loosely, and it must be done with regularity, as the beauty of the work depends almost wholly upon the evenness of the stitches. brussels point is occasionally used as an edge, but is more frequently seen in rows worked back and forth to fill in spaces, or as a ground work. the illustrations clearly represent the method of making this stitch. [illustration: no. 1.--point de bruxelles (brussels point).] [illustration: no. 2.--point de bruxelles worked in rows.] no. 3.--point de venise, or venice point.--this stitch is worked from left to right, like brussels point. work 1 loose button-hole stitch, and in this stitch work 4 button-hole stitches tightly drawn up, then work another loose button-hole stitch, then 4 more tight button-hole stitches in the loose one; repeat to the end of the row, and fasten off. [illustration: no. 3.--point de venise (venice point).] no. 4.--petit point de venise, or little venice point.--this stitch is worked in the same manner as point de venise, but one tight stitch only is worked in each loose button-hole stitch. this is a most useful stitch for filling in small spaces. [illustration: no. 4.--petit point de venise (little venice point).] no. 5.--italian lace stitch.--commence at the right side and pass the thread to the left. _first row._--make a loose button-hole stitch into the braid to form a loop, then pass the needle under the line of thread, making the loops an eighth of an inch apart. _second row._--pass the thread back to the left, make a button-hole stitch in every loop, and pass the needle under the line of thread after each button-hole stitch. [illustration: no. 5.--italian lace stitch.] no. 6.--cobweb lace stitch.--commence at the right side, pass the thread to the left, work 3 button-hole stitches, miss the space of 3, which will leave a small loop, and continue these details to the end. _second row._--pass the thread back to the left side, work 3 button-hole stitches in each loop, taking up the line of thread with the loop, as seen in the engraving. [illustration: no. 6.--cobweb lace stitch.] no. 7.--point brabançon.--this stitch is worked as follows from left to right: _first row._--make 1 long, loose point de bruxelles, and 1 short loose one alternately, to end of row. _second row._--make 7 tight point de bruxelles in the 1 long, loose stitch, and 2 short, loose point de bruxelles in the short, loose stitch on previous row, and repeat across the row. _third row._--same as first. [illustration: no. 7.--point brabançon.] no. 8.--point de valenciennes, or valenciennes stitch.--this stitch appears complicated, but is really easy to work. begin at the left hand and work 6 point de bruxelles stitches at unequal distances, every alternate stitch being the larger. _second row._--upon the first large or long stitch, work 9 close button-hole stitches, then 1 short point de bruxelles stitch under the one above, then 9 close stitches, and so on to the end of the row (right to left). _third row._--make 5 close button-hole stitches in the 9 of previous row, 1 short point de bruxelles, 2 close, in the bruxelles stitch, 1 short point de bruxelles, 5 close, 1 short point de bruxelles, 2 close, 1 short, 5 close, 1 short and repeat. _fourth row._--make 5 close, 1 short point de bruxelles, 2 close, 1 short, 5 close, 1 short, 2 close, 1 short, and repeat. continue the rows until sufficient of the pattern is worked. [illustration: no. 8.--point de valenciennes (valenciennes stitch).] no. 9.--point d'espagne, or spanish point.--this variety of stitch is worked from left to right as follows: insert the needle in the edge of the braid, keeping the thread turned to the right, and bringing it out inside the loop formed by the thread (see illustration no. 9); the needle must pass from the back of the loop through it. pass the needle under the stitch and bring it out in front, thus twice twisting the thread, which produces the cord-like appearance of this stitch. at the end of each row fasten to the braid and sew back, inserting the needle once in every open stitch. [illustration: no. 9.--point d'espagne (spanish point).] no. 10.--genoa lace stitch.--commence at the right side, and work as follows: _first row._--work 4 button-hole stitches, miss the space of 3, work 3, miss the space of 3, work 4. continue to the end. _second row._--work 9 stitches close together, 3 into the spaces of the 4, and 3 more into the loop at each side of it. miss the 3 stitches, and make 9 as before. _third row._--make 9 close stitches, 3 into the last 3 spaces of the 9, 3 into the loop, and 3 into the first spaces of the 9 next, and so on to the end. _fourth row._--repeat the first, making the 3 stitches into the loop, and the 4 into the center spaces of the nine. [illustration: no. 10.--genoa lace stitch.] no. 11.--flemish lace stitch.--commence at the right side, and work as follows: _first row._--work 2 button-hole stitches close together, miss the space of 2, work 2, miss the space of 8; this will leave a large loop and a small one alternately. _second row._--make 8 button-hole stitches in the larger loops and 2 in the small ones. _third row._--repeat the first row, making 2 stitches in each loop of the second row. [illustration: no. 11.--flemish lace stitch.] no. 12.--point de fillet, or net groundwork stitch.--this stitch is also represented at no. 21, on page 13, but the method of making the knot is here illustrated. it is used for ground-work where brussels net is not imitated, and is very effective wherever it is used. it is begun in the corner or crosswise of the space to be filled. a loose point de bruxelles stitch is first taken and fastened to the braid, then passed twice through the braid as shown in the illustration, and worked in rows backward and forward as follows: 1 point de bruxelles stitch, then before proceeding to the next stitch, pass the needle _under_ the knot, _over_ the thread, and again _under_ it, as shown in the illustration. this stitch is very quickly worked. [illustration: no. 12. point de fillet (net groundwork stitch).] no. 13.--point de reprise.--this stitch is worked by darning over and under two threads forming a triangle. the space is filled by parallel and crosswise bars placed at equal distances, and on the triangles thus produced point de reprise is worked. [illustration: no. 13.--point de reprise.] no. 14.--point turque, or turkish point.--this easy and effective stitch is very appropriate for filling either large or small spaces; the thread employed should be varied in thickness according to the size of the space to be filled. _first row._--work a loop into the braid, bringing the thread from right to left, passing the needle through the twist and through the loop (see engraving), draw up tight and repeat. _second row._--1 straight thread from right to left. _third row._--work the same as first, using the straight thread in place of the braid, and passing the needle through the loop of the previous row, as shown in the illustration. [illustration: no. 14.--point turque (turkish stitch).] no. 15.--treble point d'espagne.--this stitch is worked in exactly the same way as the open and close varieties just mentioned, as follows: 3 close stitches, 1 open, 3 close to the end of each row. sew back, and in the next row make 1 open, 3 close, 1 open, 3 close to the end; repeat the rows as far as necessary, taking care that the close and open stitches follow in regular order. diamonds, stars, squares, blocks and various other pretty patterns may be formed with this stitch. [illustration: no. 15.--treble point d'espagne.] no. 16.--point d'espagne (close).--this stitch is worked like open point d'espagne (see no. 9, page 10) but so closely as to only allow the needle to pass through in the next row. it is also worked from left to right, and is fastened to the braid at the end of each row. [illustration: no. 16.--point d'espagne. (close.)] no. 17.--point de grecque or grecian point.--point de grecque is made from left to right, and is worked backward and forward. it is begun by 1 stitch in loose point de bruxelles and followed by 3 of close point d'espagne; then 1 bruxelles, 3 point d'espagne, to the end of the row; in returning work in the same manner. [illustration: no. 17.--point de grecque (grecian point).] no. 18.--point de cordova.--this stitch is useful as a variation, and resembles the point de reprise of guipure lace making. it is worked in a similar manner, over and under the sides of squares formed by intersecting straight lines of the thread. [illustration: no. 18.--point de cordova.] no. 19.--point d'alençon, with twisted stitch.--this stitch is used to fill in narrow spaces where great lightness of effect is desired, and is usually seen along the sides of insertions and the tops of edgings. plain point d'alençon is worked over and under in bars in a sort of herring-bone pattern, and a twisted stitch is made as seen in the engraving, by twisting the thread three times around each bar and knotting it at the angles as pictured. the effect is similar to one of the drawn-work hem-stitches. [illustration: no. 19.--point d'alençon, with twisted thread.] no. 20.--point d'angleterre.--this lace is worked as follows: cover the space to be filled in with lines of thread about an eighth of an inch apart, then form cross-lines, intersecting those already made and passing alternately under and over them; work a rosette on every spot where two lines cross by working over and under the two lines about 16 times round; then twist the thread twice round the ground-work thread, and begin to form another rosette at the crossing threads. [illustration: no. 20.--point d'angleterre.] no. 21.--point de fillet and point de reprise.--the net-work seen in this engraving is the first stitch mentioned, while the block-work is the second. both are clearly illustrated and need no written explanation of the methods employed in making them. [illustration: no. 21.--point de fillet and point de reprise.] no. 22.--point de tulle.--this stitch is used as a ground-work for very fine work, and is worked in rows backward and forward in the same stitch as open point d' espagne. when this is completed the work is gone over a second time by inserting the needle under one twisted bar, bringing it out and inserting it at + and bringing it out again at the dot. this produces a close double twist which is very effective. [illustration: no. 22.--point de tulle.] no. 23. fan lace stitch.--commence at the right side, and work as follows: _first row._--make 1 button-hole stitch and miss the space of 8, which will leave a long loop. _second row._--make 8 button-hole stitches in each loop. _third row._--make 7 stitches into the spaces between the 8, and so decrease one in every row until only one remains, as may be seen by referring to the illustration. [illustration: no. 23.--fan lace stitch.] no. 24.--rose point lace stitch.--make a foundation of single threads, crossing them to form the large squares. work a button-hole stitch at each crossing to make it firm. now begin at the top, at the right side and fill the first square with brussels net stitches, finishing at the lower left corner. fill every alternate square in the same way as seen in the picture. now cross the open squares diagonally with two threads, twisting each thread around the adjoining one as represented. (carry one thread across all the squares from corner to corner first, then twist back, fastening at the corner started from; cross these threads in the same way from the opposite direction). when twisting the thread back from the last set of crossings, make a rosette at each center crossing as follows: keep the space open with a pin and trace round it with a darning movement five or six times; commence at the single thread and work a close button-hole stitch over the tracing entirely around, and then twist along the single thread to the center of the next square. this is a very effective design for spaces. [illustration: no. 24.--rose point lace stitch.] wheels and rosettes. wheels and rosettes are used to fill up spaces, or in combination, to form lace. no. 25.--rosette in raised point d'angleterre.--this rosette is worked in a manner similar to the english wheel, the difference being that after each stitch is passed round and under the bars, the thread is passed loosely around in the reverse direction, as shown in the illustration, before proceeding to make the next stitch. [illustration: no. 25.--rosette in raised point d'angleterre.] no. 26.--mechlin lace wheels.--this is one of the prettiest stitches in point lace, but also one of the most difficult to work correctly. it is made thus: work a number of diagonal bars in button-hole stitch on a single thread in one direction, then begin at the opposite side in the same way, and work 5 or 6 stitches past the spot where the two lines cross; pass the thread round the cross twice, under and over the thread to form a circle. work in button-hole stitch half of one-quarter, make a dot by putting a fine pin in the loop instead of drawing the thread tight, and work 3 button-hole stitches in the loop held open by the pin, then take the pin out and continue as before. beginners will do well to omit the dot, leaving the loop only on the wheel. mechlin wheels are also worked in rows upon horizontal and parallel lines of thread. [illustration: no. 26.--mechlin lace wheels.] no. 27.--english wheel.--this is worked in the same manner as sorrento wheels, but instead of _winding_ the thread over and under the bars, the needle is inserted under each bar, and brought out again between the thread and the last stitch; this produces a kind of button-hole stitch, and gives the square, firm appearance possessed by this wheel. [illustration: no. 27.--english wheel.] nos. 28 and 30.--sorrento wheel.--this is worked by fastening the thread in the pattern to be filled up, as indicated by the letters. fasten it first to the place _a_, then at place _b_, carrying it back to the middle of the first formed bar by winding it round; fasten again at _c_, carrying it back again to the center by winding it around the bar, and so on to all the letters; then work over and under the bars thus formed. [illustration: no. 28.--sorrento wheel.] [illustration: no. 30.--sorrento wheel.] no. 29.--close english wheels.--these wheels may be used in open spaces and may be very easily made from the engraving. they are much like the wheels used in drawn work--indeed, many of the stitches used in lace are identical with those used in drawn-work. [illustration: no. 29.--close english wheels.] bars and picots. the word "bar" is applied to the many stitches used to connect the various parts of point lace, and the beauty of the work depends greatly upon the class of bar selected and its suitability to the lace stitches used. nos. 31 and 32.--raleigh bars.--these bars are much used in making battenburg lace and are very effective. they are worked over a foundation or net-work of coarse thread, and are twisted in places so that they will more easily fall into the desired form. by following the numbering from 1 to 21, in no. 31, a square place may be easily filled, and portions of this arrangement applied to form ground-work of any shape desired. upon this ground-work tight point de bruxelles stitches are made, and the dot worked upon these in one of the following ways: [illustration: no. 31.--net-work for working raleigh bars.] dot or picot.--_first method._--make 5 tight point de bruxelles stitches, 1 loose point de bruxelles; pass the needle under the loop and over the thread, as shown in point de venise bars at no. 47, on page 18, and draw up, leaving a small, open loop as in tatting. work 5 tight point de bruxelles stitches, and repeat. _second method._--proceed as above directed, but instead of continuing the tight stitches, work two or three tight stitches in the loop thus formed and repeat. [illustration: no. 32.--raleigh bars.] _third method._--work 4 tight point de bruxelles stitches; 1 loose, through which pass the needle point, wind the thread three or four times round the point (see no. 48, page 18), press the thumb tightly on this, and draw the needle and thread through the twists. this is a quick mode of making the picot, and imitates most closely the real spanish lace. illustration no. 48 shows how this stitch may also be applied as a _regular_ ground-work, but the beauty of old point ground-work bars consists of variety in form. no. 33.--italian ground stitch.--commence at the left side, and work as follows: _first row._--make a loose button-hole stitch to form a loop a quarter of an inch wide, and then make a plain stitch into the loop to twist it, and continue to the end. _second row._--make two plain stitches into each loop, working back to the left. _third row._--repeat first row. [illustration: no. 33.--italian ground stitch.] no. 34.--open lace bars.--pass a thread from right to left. make it firm by working a second stitch into the braid; work 2 button-hole stitches on this line of thread, close together. then work 1 button-hole stitch on the lower thread at the left hand side, and draw it close to the 2 stitches on the line of thread. miss the space of 2 and repeat. [illustration: no. 34.--open lace bars.] nos. 35 and 36.--sorrento bars.--each of the bars is worked from right to left, a straight thread being carried across and fastened securely with a stitch. the return consists of a simple twist under and over the straight thread; three of these bars are usually placed close together at equal distances between the groups. the thread is sewn carefully over the braid in passing from one spot to another. [illustration: no. 35.--sorrento bars.] [illustration: no. 36.--sorrento bars.] nos. 37 and 38.--venetian bars.--the bar at no. 37 is so simple that it really needs no description. it is worked over two straight threads in reverse button-hole stitch. no. 38 shows the venetian bar used as the veining of a leaf and worked upon sorrento bars. [illustration: no. 37.--venetian bars.] [illustration: no. 38.--venetian bars.] no. 39.--point d'anvers bars.--two upright bars form the foundation. the thread is carried over and under them as seen in the engraving, the side loops being added by the method depicted at the top of the point. the over and under work in point d'anvers bars, without the side loops, is often used for plain bars for filling in odd spaces or wheels in heavy lace. [illustration: no. 39.--point d'anvers bars.] no. 40.--point grecque bars.--these bars are so simply made that they are great favorites with beginners. they are begun at the top of the point, one straight thread being carried to the bottom; then the cross bars are worked after the method seen in the illustration. [illustration: no. 40.--point grecque bars.] no. 41.--bars of point d'angleterre.--these bars may be worked singly or to fill up a space, as in the illustration. work rosettes as in point d'angleterre; when each rosette is finished twist the thread up the foundation thread to the top, fasten with one stitch, then pass it under the parallel line running through the center and over into the opposite braid; repeat on each side of each rosette, inserting the threads as seen in the illustration. [illustration: no. 41.--bars of point d'angleterre.] no. 42.--point de venise bars (edged).--begin at the right hand and stretch a line of thread to the left side of the braid, fastening it with one tight stitch of point de bruxelles. upon this line work a succession of tight point de bruxelles stitches. then in every third stitch work one point de venise stitch. [illustration: no. 42.--point de venise bars (edged).] no. 43.--d'alençon and sorrento bars.--at nos. 35 and 36 (page 16), a description of the method of making sorrento bars is given, while at no. 19 (page 12), is a description of plain and fancy d'alençon stitches. the two methods are combined in the work seen at no. 43 where the process is so clearly illustrated that a mere novice in lace-work could not fail to produce it perfectly. the combined stitch is used in filling in spaces, etc., etc. [illustration: no. 43.--d'alençon and sorrento bars.] no. 44.--picot or dot on sorrento bar.--this dot is worked between rows of point de bruxelles, 3 twisted stitches being worked into the loop left by the twisted thread; this forms a picot resembling satin stitch in appearance. [illustration: no. 44.--picot or dot on sorrento bar.] no. 45.--d'alençon bars.--these bars are worked upon point de bruxelles edging, and are only applied to the inner part of a pattern, never being used as ground-work bars. the thread is merely passed three times over and under the point de bruxelles stitches, the length of these bars being regulated by the space to be filled; when the third bar is completed a tight point de bruxelles stitch fastens off the bars, and the thread is passed through the next point de bruxelles stitch. [illustration: no. 45.--d'alençon bars.] no. 46.--plain venetian bars.--these bars are worked so as to form squares, triangles, etc., in button-hole stitch upon a straight thread. the _arrow_ in the illustration points to the direction for working the next stitch. [illustration: no. 46.--plain venetian bars.] no. 47.--dotted point de venise bars.--these pretty bars are worked as follows: stretch the thread from right to left; on this work 5 tight stitches of point de bruxelles, then insert a pin in this last stitch to hold it open and loose, pass the needle under the loose stitch and over the thread, as clearly shown in the illustration, and in this loop work 3 tight point de bruxelles stitches. then work 5 more stitches and repeat to end of row. [illustration: no. 47.--dotted point de venise bars.] the making of the dots or purls before mentioned as picots, is an important feature in bar work. all three names are employed for the same class of stitch. no. 48.--third method of making picots or dots.--this method has been fully described in connection with the making of raleigh bars at nos. 31 and 32 (page 15), and requires no further description at this point. all dots and picots render work much more effective, and may be introduced at will by the worker. [illustration: no. 48.--third method of making picots or dots.] in making modern lace, the various kinds require appropriate braids. there are three classes of these braids--those for battenburg lace, those for plain honiton and point, and those for the newest kind of lace, which is called the "ideal honiton." each class of braids contains many designs and widths, and a large number of them, together with various cords, buttons and rings also used are illustrated on following pages. fancy braids, cords, rings and buttons. braids. the braids, cords, rings and buttons illustrated upon the following two pages are all used in modern lace-making. they are all made of pure linen thread, and according to the fancy, the lace including them may be heavy or light. royal battenburg lace, as originated, was heavy--in some cases massive; but at present many lighter varieties are made, as will be surmised upon an inspection of the braids for its manufacture which are represented on the pages mentioned. as shown by no. 1, these braids are about a third narrower than their actual width, and the picot edges numbered 16 and 17 are plain tatting made for the purpose, as the picot edges woven for lighter laces are not heavy enough for battenburg lace. the numbers opposite the specimens are simply for convenience in ordering, if the order is sent the lady mentioned in another part of the book as the pioneer of lace-making in america; but in ordering from other lace-makers or manufacturers of braids, these numbers will be of little use, as every lace-maker or manufacturer has his or her own individual identifications for materials. almost any of the braids, or those very similar, may be found at large fancy stores, but in buying them at such stores, be careful to get _linen_ braids, as cotton braids do not make pretty lace, neither do they wear or launder well. in ordering these braids from other lace-makers or from fancy stores, it will be necessary to forward the illustration of the kind wanted, as the braids cannot be described with sufficient accuracy to obtain the desired varieties. some are sold by the yard, some by the dozen yards and others by the piece, according to the position to be occupied in the work. the point, honiton and princess braids are represented full size, and are much daintier in texture than the battenburg braids. of this class of braids (see no. 2) are made the plain honiton and point laces, and the braids for these two laces combined produce the princess lace--a creation whose beauty fully entitles it to its royal name. the braids seen at no. 3, page 21, are those which are used in making the new "ideal honiton" lace represented in another portion of the book. as illustrated, these braids are three-quarters of their proper widths, the top braid, no. 38, being just one inch wide in the fabric itself. the "ideal honiton" is one of the prettiest laces made, and is very appropriate for tidies, doilies, squares and scarfs. it is daintily secured to the finest of lawn in charming designs, and then the lawn is cut out from beneath it. (see doily, page 33). the cords seen at no. 4 are used in making battenburg laces, and greatly increase the beauty of the work in addition to forming a distinctive species of lace. after the ordinary battenburg is worked with quite thick braid, the cord, in any size desired, is used to follow one edge of the design, as will be seen from illustrations upon other following pages. rings and buttons. the rings and buttons illustrated, are made throughout of linen thread in layers of button-hole stitches, and are sold by the dozen or gross. buttons arranged as grapes (see no. 50, page 21), add greatly to the sumptuous effect of a heavy lace, and may be purchased already arranged as illustrated, or they may be arranged by the purchaser of a quantity of them. the latter method is a good plan if spaces are to be filled with clusters which must be of a certain shape. [illustration: no. 1.--braids used in making battenburg lace.] [illustration: no. 2.--braids used in making honiton, point and princess lace.] [illustration: no. 3.--braids used in making "ideal honiton" lace.] [illustration: no. 4.--cords, rings and buttons used in making battenburg lace.] designs, lace articles, edgings, insertions, etc., in modern lace. of necessity, most of the designs and specimens given on this and the following pages are smaller than the articles they represent, but they afford a correct idea of the method of making and the beauty of modern lace, and also its adaptability to dainty accessories of the toilet and the household. as before mentioned any design desired can be obtained from any lace-making establishment in any size, width or shape, according to the requirements of the article or lace to be made, and individual taste. ingenious students will no doubt be able to adapt for themselves the designs offered, but it is not advisable for those who have no talent in the matter of drawing or designing to undertake an elaborate adaptation, though they may easily accomplish a simple one. besides, a professional designer will furnish the design for a moderate sum, perfectly outlined upon tracing cloth, with ink, and with the proper filling-in stitches perfectly delineated; and if the student wishes it, will select the thread and braid appropriate for the design; or the student may select the braid she fancies, and the designer will then select the thread suitable for the braid. no. 1. design for a lace handkerchief. this design is suitable for point lace braid, but is of course very much reduced in size, in order to show the effect and arrangement of a design ready for working, as sent out from the lace-maker's. by a reference to the various stitches illustrated on preceding pages, the stitches shown in one corner of the design may be readily identified. the following engraving shows how braid is applied to a design before the stitches are begun. [illustration: no. 1.--design for a lace handkerchief.] no. 2. method of placing braid upon designs. this illustration shows the method of arranging braid upon designs for modern lace, and how, after the braid is basted along the pattern, the tracing cloth is basted to _toile cirée_ or to smooth, light brown wrapping paper to provide sufficient firmness for working. the following instructions apply particularly to engraving no. 2, but their principle should be observed and applied to any design decided upon, as good results in lace-making largely depend upon the arrangement of the braid. run on a straight line of braid for the lower edge, with fine stitches, working as shown, from left to right. take another piece of braid, or the other end of the same piece, and begin to lay the braid by "running" stitches in its center, keeping it as smooth and even as possible. the outer edge presents no difficulty, but the inner edge will not lie evenly without being drawn in by a needle and thread, as follows: fasten whipping thread securely, and insert the needle in and out of the edge of the braid, as if for fine gathering; this thread when drawn up will keep the braid in its place. two or three fastening-off stitches should be worked when each circle, half circle, or rounded curve of a pattern is finished, as the drawing or gathering thread remains in the work, and forms an important, though unseen, part of its structure. before cutting off the braid run a few stitches across it to prevent it from widening. joins should be avoided, but when a join is indispensable, stitch the braid together, open and turn back the ends, and stitch each portion down separately. when passing the thread from one part to another, run it along the center of the braid, allowing the stitches to show as little as possible. in commencing, make a few stitches, leaving the end of the thread on the wrong side and cutting it off afterwards. in fastening off, make a tight button-hole stitch, run in three stitches, bring the needle out at the back, and cut off. [illustration: no. 2.--method of placing braid upon designs.] no. 3. royal battenburg lace bureau-scarf. the engraving on the opposite page represents the article above mentioned, and shows the effectiveness of this magnificent and durable lace. in actual size the scarf is about a yard and one-half long and one-half yard wide, and is made of a heavy battenburg braid, having a fancy edge (see nos. 5 or 7, on page 20) and cord, rings and buttons. the main part of the design is outlined with the braid, cord is used as a veining for the leaves, and the rings and buttons are introduced here and there over the surface, as seen in the picture. raleigh bars with picots connect the border and center designs, while the palms along the border as well as other small spaces are filled in with point turque and point de grecque stitches. sorrento bars are also used in some of the long leaf-like spaces, while in a few of the circular spaces point d'angleterre rosettes are introduced. these rosettes are also frequently called "spiders," and are made, according to the space, large or small; and according to the requirements of the braid selected, heavy or light. for convenience in giving the name of this lace, the full title is rarely used--"battenburg lace" being considered sufficient to identify the fabric from the other and lighter laces. battenburg lace is made both heavy and light, according to personal taste or the object for which the lace is intended, but it was originally designed for heavy work only. [illustration: no. 3.--royal battenburg lace bureau-scarf.] no. 4. point lace doily for a toilet cushion. this dainty doily may be made of the point lace braids illustrated at nos. 30 and 31, together with the picot edging no. 36, seen on page 20. in filling in the spaces, thread suitable for the braid is used, and the stitches are point de valenciennes, point d'espagne, sorrento bars, point de bruxelles, open rings and "spiders." as all of these stitches, with many others are illustrated in that section of this book devoted to stitches, it will be unnecessary to repeat the details for making, as they are fully given in the department mentioned. it will also be understood that most of the articles illustrated are not of full size, but in some instances are nearly so. the doily just described is illustrated about three-quarters of its actual size; but by using a fine braid a doily of fairy-like texture, and just the size of the engraving may be produced. any one accustomed to drawing may enlarge this or any of the designs given, but only clever fingers should try this experiment. [illustration: no. 4.--point lace doily for a toilet cushion.] no. 5. battenburg edging, with cord. this is a very elegant looking lace, though simply made after the regular battenburg method. a plain braid (no. 10, page 20) is chosen to form the outlines, and after the stitches are filled in, cord of a suitable size is carried around the petals and foliage of the design, and rows of it are also used to indicate the vine, though the latter may be outlined with the tape and then with the cord. the petals of the blossoms are filled in in point de bruxelles and point de venise stitches, while point d'espagne and point brabançon are used for the foliage and vine. point grecque and d'alençon bars are also used at the very heart of the blossom, and raleigh net-work bars connect the design to the edge and are dotted here and there with "spiders." [illustration: no. 5.--battenburg lace, with cord.] no. 6. battenburg insertion, with cord. this insertion matches the edging or lace above described, and is, therefore, made in exactly the same way, except that the design is double. both the edging and insertion may be made of any width desired; and the design will be found very pretty for fancy-edge or plain braids without the cord. buttons or rings may be used in place of the "spiders" seen in the engravings if preferred. [illustration: no. 6.--battenburg insertion, with cord.] no. 7. design for a honiton lace cap. the design illustrated is, of necessity, much smaller than the cap it is intended for; but the clever student may easily enlarge it to, or design one for herself of the size required. lace-makers will duplicate designs in any size desired for a moderate sum, thus saving the amateur much work and at the same time putting her to little expense. the design here illustrated might also be used for handkerchief corners, scarf-ends, etc., etc.; and any of the stitches illustrated on preceding pages may be selected for filling-in purposes. [illustration: no. 7.--design for a honiton lace cap.] no. 8. design for a corner in battenburg, point, or honiton lace. according to the article to be decorated, this design will be found appropriate for either of the braids used for the laces above mentioned. for table scarfs, tidies, heavy borders, etc., etc., the battenburg braids should be selected; but for handkerchiefs or doilies, the point or honiton braids are the proper ones to choose for this design. raleigh bars, brussels point and any other stitches preferred, may be used in filling in the spaces. when a design is procured from a lace-maker a portion of it is always marked with the stitches to be used; but this is not an arbitrary matter, since the one who is to make the lace, may desire to and may insert other stitches in preference to those indicated. [illustration: no. 8.--design for a corner in battenburg, point, or honiton lace.] no. 9. doily in "ideal honiton" lace-work and linen lawn. one of the prettiest and the very newest of the modern laces is here illustrated. it is made of two of the many varieties of honiton braids, wash-silk floss and linen lawn. the braid is basted smoothly upon a square of lawn in the design illustrated (though individual taste will no doubt suggest many other equally pretty designs), after which the _inner_ edges of the braid are permanently secured by a "short and long stitch." this is merely a short and long button-hole stitch _reversed_ so that the cross loops are on the edge of the braid, while the stitches them selves extend beyond the braid, into the lawn, as seen in the engraving. two short stitches alternate with single long ones throughout this part of the work. the outer edges are then fastened to the square by tiny button-hole scollops. then the lawn is cut from under the squares formed by the braid, and the openings are button-holed through the lawn and braid so that the edges of the lawn will not fray. when this is done the spaces are filled in with fancy stitches, and when they are completed the lawn is cut away from the edge-scollops with a pair of fine sharp, scissors. in the doily illustrated "spiders" and point de venise stitches are used for filling in the spaces. the floss used may be white or tinted, the latter washing as well as the white; but as a rule, white or yellow flosses are selected in preference to other colors. "ideal honiton" scarfs, tidies, doilies, pillow shams, tray cloths, etc., etc., may be purchased with the braid already basted on in a pretty design and with the necessary threads or floss, or they may be designed at home, and by either method will result in a beautiful variety of modern lace. [illustration: no. 9.--doily of "ideal honiton" lace and linen lawn.] no. 10. design for a corner in battenburg lace. although this design is intended for battenburg lace, and may be made up of any of the braids used for that kind of lace, it will also be found suitable for the finer point or honiton braids for handkerchiefs, doilies, mats, etc., etc. as illustrated it would be suitable for a handkerchief. enlarged and followed in battenburg braid it would make a very handsome border for a table-scarf, curtains or draperies, or a substantial decoration for a gown of wash fabric or other goods. raleigh bars, "spiders" and point de bruxelles stitches are used for filling in, and a dainty picot edge is sewed to the outer line of the braid. plain or fancy braid may be used for this design. if fancy loop-edge braid is selected, the picot edge will not be needed, the loops taking its place. [illustration: no. 10.--design for a corner in battenburg lace.] no. 11. battenburg edging. the edging here illustrated is represented about one-third less than its actual width, but the design is so distinctly brought out that its beauty in any width may be readily conceived. it is formed of fancy battenburg braid, but may be made from a plain variety if preferred. the design is known as the fern leaf and is easy to follow. sorrento bars are used to connect the work, and "spiders" are made here and there to add variety to the work. point de bruxelles stitches are used to fill in the spaces at the sides of the leaves, and, with the fancy braid, produce a very dainty, delicate effect. [illustration: no. 11.--battenburg edging.] no. 12. battenburg insertion. this insertion is made to match the edging seen above it, but is much wider than the edging, though formed of the same braid. either design could be varied so as to result in an edging and insertion of equal width, or the edging could be arranged for an insertion, and the insertion illustrated changed into an edging. [illustration: no. 12.--battenburg insertion.] no. 13. finger-bowl doily of princess lace and linen lawn. princess lace, (also known as duchesse lace) as elsewhere mentioned, results from combining honiton and point lace braids in one design; and a charming specimen of this lovely lace is here illustrated. the doily is pictured only a trifle smaller than its actual size, and even in its full size is a very dainty affair. after the braids are basted along the design, they are then connected by twisted bars that are an adaptation from the point d'alençon bars with the twisted stitch; and the spaces are filled in in small d'angleterre rosettes or "spiders." as few bars as possible are employed for the spiders, in order to produce a very delicate effect. the lawn center is added last. [illustration: no. 13.--finger-bowl doily of princess lace and linen lawn.] no. 14. design for insertion, or a center-piece, in battenburg lace. as suggested by the title, the design here presented may be used for insertion, or for a center to a table cloth or scarf, or a handsome spread. as represented it is intended for a center-piece, and the lace from which the engraving was made is about half-a-yard long and one-fourth of a yard wide. the ground-work is formed of raleigh bars made with picots, and the loops of braid are filled in with twisted point d'alençon bars. this center-piece is very pretty made of ribbon with silk thread for the bars, and in this event it may be made of any color desired, and added to a spread or scarf of surah silk or fine cloth, for which a border to match may be made. [illustration: no. 14.--design for insertion, or a center-piece, in battenburg lace.] no. 15. queen anne tray-cloth of battenburg lace and linen. this pretty cloth is intended for a queen anne tray, and its lace edges curve upward and just over the rim of the tray when it is laid upon it. the center is of fine table-linen, while the edge is formed of battenburg braid, buttons and fancy stitches. as will be seen, the corner spaces are filled in with point d'angleterre rosettes or "spiders," the large border spaces and corresponding corner ones are filled in with picot bars, while the very fine work seen in the triangles and square spaces are point de venise stitches, and half-spiders are made in the other triangles. the narrow, straight inner border is composed of bars and tiny buttons arranged as represented. the cloth is hem-stitched before the braid is laid on, and the corners are cut out from underneath after the work is otherwise completed. [illustration: no. 15.--queen anne tray-cloth of battenburg lace and linen.] no. 16. design for a butterfly in point lace. (full size). butterflies for the corners of handkerchiefs, scarf-ends and the points of caps or coiffures are favorite designs in point and honiton laces. the one illustrated is very dainty and exceedingly simple to execute. the upper portion of each wing has a point de reprise ground-work, but the solid sections are tiny spiders instead of point de reprise triangles. the outer tips of the wings are filled in with raleigh bars, while similar bars, point de bruxelles stitches and a point d'angleterre rosette complete the lower wings. any of the fine point or honiton braids may be chosen for the outlining of the butterfly, and a fine over-and-over stitch or fine cord may be used to mark the lines extending from the head. [illustration: no. 16.--design for a butterfly in point lace. (full size).] no. 17. design for a doily or handkerchief of point or honiton lace. this design, as illustrated, is of course too small for either a doily or handkerchief, but an expert lace-maker can enlarge it to any size desired; and the clever amateur will find no difficulty in doing the same thing, as the outlines are not at all intricate, and may be easily followed. in sending for the braid for this, or similar designs, it is advisable to permit the lace-maker addressed to select them, and of course, the thread, since her long experience enables her at once to correctly judge what materials are appropriate for the articles you wish to make, especially if she knows the size the article is desired to be. the stitches, as here indicated, are point d'angleterre rosettes, and point de fillet, with small "spiders" on the latter. a dainty picot-braid edges the design. [illustration: no. 17.--design for a doily or handkerchief of point or honiton lace. (half size.)] no. 18. "cardinal's point" lace. this engraving represents a modern adaptation of an ancient lace which may be made of fancy battenburg braid and plain raleigh bars. the design is not especially definite in its outlines, and may be imitated with any variations which may seem pleasing to the copyist. the picots are made after the method directed at the illustration of point de venise bars in the department devoted to stitches. "cardinal's point" of genuine make is of italian origin, and in the earlier eras, was largely used for the decoration of church vestments and draperies. [illustration: no. 18.--"cardinal's point" lace.] nos. 19 and 20. battenburg edging and insertion, with cord. these two engravings show a very pretty design for battenburg lace made with a cord finish. the application of the cord has been fully described elsewhere, where a different design of the same kind of work is given. in the present instance the spaces are filled in with twisted bars, "spiders" and rosettes in point d'angleterre. the specimens from which the engravings were made are a trifle wider than seen in the pictures; but the width is a matter of individual taste, and also a result of the braid selected. a professional lace-maker will enlarge or adapt the design to accord with personal requirements. [illustration: no. 19.--battenburg edging, with cord.] [illustration: no. 20.--battenburg insertion, with cord.] no. 21. tape-guipure design, found in an old church. the design here illustrated was found in the old church of santa margherita, in italy. it was drawn on parchment, and was undoubtedly intended as a design for altar lace. it was mentioned in a book of accounts for the year 1592, found in the archives of the church designated and is therefore of antique origin; but it may be easily adapted to modern methods of lace-making, and could be appropriately filled in with either italian or genoa lace stitches or with a combination of both, and twisted bars. done with fancy battenburg braid, it would be quite similar in effect to the "cardinal's point" illustrated on another page. [illustration: no. 21.--tape-guipure design, found in an old church.] no. 22. battenburg church lace. the engraving opposite illustrates a magnificent specimen of modern church lace made of battenburg braid with a limited introduction of honiton braid. the specimen itself is considerably wider than represented, but as the width is a matter of individual taste, the engraving will serve as a design for a narrow church lace. sorrento bars are used to connect the braids and to form foundations for the spiders or rosettes here and there inserted, and the lace is delicately bordered with a dainty picot-braid. the fancy stitches in the main portions of the cross are point de valenciennes, while those in the minor sections are point de bruxelles. point de fillet is used for the central portion of the large t-shaped symbol, while the stitch forming the other symbol is one never used except for church lace, and consists of two or three sets of fine stitches so interlaced as to seem to form one solid stitch. in making church lace any insignia desired can be introduced by a professional designer--an accomplishment that is usually beyond the inventive powers of the novice in lace-making. [illustration: no. 22.--battenburg church lace.] no. 23. english needle-point. this is a very handsome design combining the lily and the rose. the foundation work is made with unbleached linen braid having an ornamental edge, and the filling-in is done with fine and coarse linen thread in various stitches. raleigh bars with picots define the upper edge of the edging, and sorrento bars on which buttons are worked form the ground work. point de grecque, point d'angleterre, d'alençon bars plain and twisted, point de bruxelles and "spiders" are also used in making this lace, as will be seen from a close inspection of the engraving. this specimen of lace is very handsome when developed in black silk braids and silk thread, for black costumes. [illustration: no. 23.--english needle point.] no. 24. punch-glass doily of point lace and lawn. as represented this doily is about three-fourths of its actual size. it is made of fine linen lawn, and a set generally comprises a dozen. fine point lace braid is used to outline the design, and then rosettes in point d'angleterre, and "spiders" or small rosettes are made in the openings as represented. the alternate outer scallops are filled in with point de bruxelles stitches, and a dainty picot-braid is added to the edge by the usual over-and-over stitch. [illustration: no. 24.--punch-glass doily of point lace and lawn.] no. 25. point lace collar and cuff. a very handsome point lace set is here illustrated, and may be easily followed by an expert lace-maker; but it will be wiser for the novice to obtain a pattern or design of the shape and size desired, from a professional lace-maker. point de grecque, point de bruxelles, point de venise, sorrento bars, and rosettes and rings are all employed in carrying out this design. as elsewhere mentioned, any fine stitch preferred may be used for filling-in purposes when those suggested or marked out upon a design are not admired. [illustration: no. 25.--point lace collar and cuff.] no. 26. design for table scarf in battenburg lace. the scarf-end from which this design was copied is about ten inches deep, and it is about fourteen or fifteen inches wide. it will be seen from these dimensions, that it is impossible to produce a full-size design of it on these pages, but one of any size desired may be obtained at any lace-makers; or, a clever student of lace-making may enlarge the design to suit her own requirements. according to the size of the scarf-end, wide or narrow braid must be selected, with thread to correspond. the stitches used in filling in are point de fillet, point de bruxelles and point d'angleterre, and raleigh, sorrento and d'alençon bars, and rosettes and "spiders." [illustration: no. 26.--design for a table scarf in battenburg lace.] no. 27. apple design for a corner in battenburg lace. this design is for the corner of a scarf, spread, tidy or pillow-sham and is very popular, as it is effective though simply made. the fine stitches are point de bruxelles, while the others are raleigh, sorrento and point grecque bars. plain or fancy braid, or a combination of both may be used in this design with a charming effect. [illustration: no. 27.--apple design for a corner in battenburg lace.] no. 28. roman punch-glass doily in point lace. doilies of this description are generally made about four inches square. the engraving opposite pictures the doily mentioned as somewhat smaller, but the design is sufficiently large to enable the student to make her doilies as large as she desires them to be, as it is easy to follow. the corner spaces are filled in with twisted bars and rings worked at the same time; but rosettes or spiders may be worked in place of the rings if preferred. the corner spaces are filled in in point brabançon, and for those at each side point de bruxelles is used. the doily is edged with a fine picot-braid that finishes it daintily, and very sheer linen lawn is used for the center. [illustration: no. 28.--roman punch-glass doily in point lace.] no. 29. modern russian lace. the design illustrated may be followed in battenburg braid or plain lace tape, and any of the fancy stitches mentioned and described among the rosettes, bars and picots may be employed for filling-in purposes. cream white or unbleached braids or tapes are prettier for russian lace than pure white. russian lace is a very durable as well as effective trimming for household draperies, and also for gowns of wash fabrics or those of cotton fabrics which will not need renovating. [illustration: no. 29.--modern russian lace.] no. 30. russian lace. this engraving represents a specimen of genuine russian lace made of fine braid, and wrought with bars similar to raleigh bars, except that they have no picots. the russians have always been noted for their exquisite needle-work, but as a nation they have never had any established lace manufactory. the workers of the small amount of lace produced are scattered about at their own houses, and many of them are poor ladies of gentle birth. most of the laces, however, are made by the peasantry, who bring them to st. petersburg where sale for them is found. [illustration: no. 30.--russian lace.] no. 31. bow-knot design for modern lace. this fashionable design may be developed in various widths and braids as an insertion, or as an appliqué on lawn. the ground-work may be formed of raleigh bars, or of twisted bars made like the net-work for raleigh bars. the loops of the bows may be filled in with point de bruxelles or any fine stitch preferred. the design is pretty for bordering table scarfs, tidies, valances and curtains when heavy braids are selected. the finer braids render the design appropriate for handkerchiefs and dainty trimming laces. [illustration: no. 31.--bow-knot design for modern lace.] no. 32. princess lace doily design. the design here illustrated may be enlarged or simplified to please individual taste, and it may be made of honiton braid as well as point. the connecting stitches may be point de bruxelles, raleigh and sorrento bars, "spiders" or any of the fine stitches described and illustrated in the department devoted to stitches. a dainty picot braid follows the outer edge of the doily. this design, enlarged sufficiently, would form an elegant pattern for a lace handkerchief. [illustration: no. 32.--princess lace doily design.] no. 33. altar lace (battenburg). this very elegant specimen of altar lace is, in reality, about nine or ten inches deep; but, for want of space the engraving represents it as only about half as wide. the design, however, is perfect in detail, and the illustration fully displays its effectiveness, and discloses the variety of connecting and filling-in stitches used. a delicate battenburg braid is chosen for the foundation, and in addition to regular lace stitches, those from drawn work are here and there interspersed. the cross is filled in in point de venise, (or side stitch as it is sometimes called), and the same stitch is seen in the central design at each side of the cross. drawn-work effects are seen also in these central figures and along the borders. sorrento bars are here made and knotted at the center like drawn strands, or are connected by rosettes or "spiders" made in drawn-work style. at the center of the cross is a large drawn-work wheel, while small maltese crosses and half-crosses are made elsewhere in the work by the drawn-work method, sorrento bars taking the place of the usual strands. the central section of the border at the right of the cross is done in point de bruxelles which is afterward button-holed as in bar-work, and a button-hole picot edge follows the lower outlines of the pattern. raleigh bars with picots form the connecting ground-work throughout the work. this beautiful specimen shows two distinct methods of filling in the sections between the crosses. either may be used alone, or the two may be used alternately with the crosses. [illustration: no. 33.--altar lace (battenburg.)] no. 34. battenburg or point lace collar and cuff. these engravings represent a very graceful design for a lace collar and cuffs. as suggested in the title, the set may be made of point or battenburg braid. the leaf-points are all filled in with d'alençon bars in the twisted stitch, while the centers are completed with rosettes or small open "spiders," and the latter are distributed elsewhere as will be seen by inspecting the engraving. point de grecque is also introduced into some of the spaces, and raleigh bars are used for the ground-work. any of the stitches previously described may be used in making such a collar if those mentioned are not admired; and the addition of buttons or rings will improve the work greatly. [illustration: no. 34.--battenburg or point lace collar and cuff.] no. 35. flounce in battenburg lace. a very elegant flounce of battenburg lace may be made after the design represented on the opposite page. the picture shows the flounce just one-half its actual width; but even this width would be very handsome as a band for the bottom of a dress. by a close inspection of the stitches seen and a reference to these illustrated in the department devoted to stitches, the various kinds here used may be easily identified. they consist of point de venise, point de bruxelles, sorrento and d'alençon bars and "spiders." a fine picot braid edges each side of the flounce. the design can be obtained in any width desired from a reliable lace-maker. [illustration: no. 35.--flounce in battenburg lace (one-half the actual width).] no. 36. butterfly design for point lace. this design is for point lace braid, and is very easily made. fancy bars made after an adaptation from the d'alençon bars, and point de venise stitches are used for filling in. the butterfly may be used as a portion of an edging design, or as a corner or center for any small article to be decorated. the lines extending from the head are made with a fine over-and-over stitch, or a fine cord. [illustration: no. 36.--butterfly design for point lace.] no. 37. venetian point lace. this is a design containing many of the features of antique lace patterns, and is made of narrow tape and fine cord combined with fancy stitches. the lace from which the engraving is made is about twice as wide as the picture represents it, but as the pattern differs in its sections for several inches at a time, the design could not be given full size. it will be seen that in the section illustrated no two figures are alike. the filling-in stitches consist of combinations and groupings of many of the stitches previously illustrated and described. [illustration: no. 37.--venetian point lace.] no. 38. butterfly design for fine battenburg lace. this design, developed in battenburg lace with d'alençon and sorrento bars and small "spiders" or dots, makes a pretty ornament for centers or corners, or is effective when introduced as a part of an edging design. point or honiton braids may also be made up by this design. [illustration: no. 38.--butterfly design for fine battenburg lace.] no. 39. design for insertion. a very pretty design for insertion is here given. the braid may be basted as seen in the picture, and then the bars may be made of single threads, and of single threads over-wrought with button-hole stitches. or, any of the bars or other stitches described, may be used to connect the braid and fill in the spaces. tiny "spiders" are already used to fill in the circles. [illustration: no. 39.--design for insertion.] no. 40. design for a lace border and corner. a great deal must be left to the ingenuity of the worker in filling in this design, which is not of the orthodox modern variety but may be readily transformed into that class by an adaptation of modern stitches. with the methods of the latter well mastered, the worker will have no trouble in bringing out the design just as it is illustrated; but she may also by the exercise of a little judgment and taste substitute many other pretty filling-in stitches for those here pictured. [illustration: no. 40.--design for a lace border and corner.] no. 41. design for a butterfly in point lace. another butterfly design is here given for point lace, though it may also be developed in a larger size in battenburg braid for decorative purposes. the filling-in stitches are d'alençon and raleigh bars, point de venise and point de bruxelles, and point d'angleterre rosettes. [illustration: no. 41.--design for a butterfly in point lace.] no. 42. italian lace. this lace is of a conventional italian pattern, and is filled in with the italian lace and ground-stitches, and sorrento bars. the lower edge is very daintily completed with a button-hole effect. the design is simple, elegant, and popular, and may be wrought in battenburg or the finer braids, and in any width desired, the braid selected and the width decided upon determining the use to which the lace shall be put. [illustration: no. 42.--italian lace (half size).] no. 43. modern venetian point. the engraving shows a reduced representation of a very elegant specimen of modern lace--the reduction in size being necessary in order to present the whole design. in making the lace, narrow braid and cord are used for the foundation of the design, and then the filling-in stitches are made and at the same time rings and buttons and bars and picots are introduced. some of the filling-in stitches are combinations--as in the figures with very open bars where point d'espagne and point brabançon are combined, and at the middle section of the central figure where point de valenciennes and point brabançon are combined. other stitches used are d'alençon bars, raleigh bars, church stitch, point de bruxelles, "spiders," sorrento bars, and picots. the greater the variety in the filling-in stitches, the more beautiful the lace. a picot edge finishes the lace in a very dainty manner along its lower outline, while a cord forms the upper edge. [illustration: no. 43.--modern venetian point.] no. 44. design for modern lace. this design may be made up in battenburg braid, or of point or honiton braid according to the texture of the lace desired. in making it for garments or articles that are to be renovated occasionally, the battenburg braids are advisable; but for daintier uses, point or honiton may be chosen. the raleigh-bar stitch, point de bruxelles, and "spiders" may be used in following the outlines given for stitches. [illustration: no. 44.--design for modern lace.] no. 45. corner in modern lace. the suggestions given above will also apply to this design, which may be used for a table spread, or a handkerchief, according to the braid selected. as illustrated, the design is of pretty dimensions for a doily or a toilet-cushion cover, or for a handkerchief. all of the bar work seen may be done with single threads instead of the complete raleigh method, and the rosettes or "spiders" may be larger or smaller as preferred. [illustration: no. 45.--corner in modern lace.] no. 46. pillow-sham of battenburg lace and linen. a very elaborate pillow-sham is here illustrated. it is made of battenburg braid and appropriate thread, together with an intermingling of rings, and forms one of the most elegant appointments of a handsomely furnished bed-room. the pattern is very distinct and is called the "rose and leaf" design. the ground-work is formed of rings and raleigh bars, while the centers of the roses and their leaves are filled in in various fancy stitches which include the crosses and rosettes used in drawn-work, sorrento bars, points de venise and bruxelles, d'alençon bars, etc., etc. if desired the linen square may be made larger, and the lace but one row of blossoms in width. the square is made of the finest household linen and is completed with a broad hem-stitched hem before the lace is added. the lace design may be obtained in any width desired by sending to a professional lace-maker; or, a clever student may be able to enlarge the design herself. [illustration: no. 46.--pillow-sham of battenburg lace and linen.] no. 47. design for princess or duchesse lace collar and cuffs. although this design is represented very small, it is sufficiently clear to convey a good idea of its outlines, and enable a student of average ability to adapt it to collar and cuffs of any size desired. raleigh bars are used in connecting the various portions of the braids, while any of the fine stitches preferred may be chosen to fill in around the loops of the blossoms and foliage. a fine picot braid finishes the edge. [illustration: no. 47.--design for princess or duchesse lace collar and cuffs.] no. 48. english needle-point lace. this engraving illustrates a very beautiful specimen of modern-point lace in a design combining the lily and the rose. raleigh bars and buttons render the heavy part of the work effective, while the daintier point stitches and bars are used to fill in the floral sections--coarse and fine thread being used in the work. this lace, like any of the varieties now fashionable may be made wide or narrow, or fine or coarse by designs furnished as required by lace-makers in general; and the patterns may also be developed in silk or ribbon needle-point, which is a style of ornamentation appearing extensively as a decoration for scarfs, piano and table covers, mantel valences, etc., etc. [illustration: no. 48.--english needle-point lace.] no. 49. royal battenburg lace. this design was among the first ones of this lace to appear, and is fully entitled to its royal name. fancy battenburg braid was selected for the foundation, and various stitches chosen for filling-in purposes. among the stitches are point de bruxelles, made similarly to the italian lace stitch, point de fillet, plain raleigh bars, point d'alençon, rosettes, rings and point de grecque. the central figure conveys a hint of the outlines of the royal crown, and the lace is really sumptuous in design and texture. in 1883, mrs. grace mccormick, the originator of the design and lace was awarded a diploma for her work which was forwarded from washington, where she applied for a patent for her specimens of royal battenburg lace, of which this is one. [illustration: no. 49.--royal battenburg lace.] no. 50. roman lace (coral pattern). the design here given is for a lappet or scarf-end, and will afford a suggestion for the making of larger articles or edging in similar arrangements of braid. it will be observed that the braid forms irregular lines that recall the branchings of coral, and it will be a very easy matter for an amateur lace-maker to similarly arrange her braid for any purpose she desires. fine raleigh bars form the connecting work, and a button-hole picot-finish is made along the edge of the braid which forms the border. in making an edging, a definite outline could be kept for the lower edge, and above this an irregular or indefinite outline arranged. [illustration: no. 50.--roman lace (coral pattern).] no. 51. tidy of battenburg lace. the tidy here illustrated is made entirely of battenburg lace, and is a beautiful specimen of this kind of work. the border design is the same as the one previously described for a pillow-sham, except that but one row of the blossoms and foliage is used. the center is composed of rows of braid crossed to form squares or open spaces that are filled in with rosettes in point d'angleterre. this center is attached to the braid at the inner edge of the border by a series of bars arranged in d'alençon style and then wrought with the thread after the method used in d'anvers bars. this tidy, enlarged, forms an elegant design for a pillow-sham. when laid over a tinted silk spread or pillow, a sham of this design shows its full beauty. when the braid is basted on in the outlines desired, the remainder of the work will be a pleasing pastime, as none of it is so fine as to require very close attention. [illustration: no. 51.--tidy of battenburg lace.] no. 52. modern lace. a handsome specimen of lace is here illustrated. it will be observed that the braid from which it is made is woven like fine binding braid, and in this respect differs from any of the lace-braids herein illustrated. it will also be seen that no two figures of the design are alike, and that various stitches are used in completing them, many being combinations of or adaptations from the stitches illustrated at the beginning of this pamphlet. the engraving is sufficiently plain to enable the worker to decide which stitches are used alone or in combination, and to guide her correctly in their application. the picot-edge is done in point de venise stitch. [illustration: no. 52.--modern lace.] no. 53. modern-point lace edging. this is an easy design to follow and is simply made. heavy sorrento bars with picot loops form the ground-work, while the filling-in stitches are of the same class done in fine thread in regular squares and also a combination of point de fillet and point de grecque. a dainty picot-finish is added at the lower edge. this edging is pretty for bordering draperies or decorating dresses, and may be made as fine or as coarse as desired. [illustration: no. 53.--modern-point lace edging.] no. 54. square in modern-point lace. in this design will be observed a favorite combination--the rose and the butterfly. close inspection will also disclose that the filling-in stitches are of a diverse character, and that to this diversification much of the beauty of the work is due. as most of the stitches are easily recognized, and as the copyist can easily adapt methods for the combinations seen, it will not be necessary to definitely describe them. the square may be used for a scarf-end in connection with the edging no. 53 seen on page 91, if the braid selected is sufficiently fine. when coarser braid is chosen, the square will be pretty for doilies, tidies or the center of a table spread. the design may be daintily made up of ribbon, with silk for the stitches. in this event it may be set into a scarf or drapery of china or surah silk with charming results. [illustration: no. 54.--square in modern-point lace.] no. 55. louis xiv. curtain-lace. this is a very popular decoration for curtains and vestibule doors and is made of heavy écru or white net and braid. the design selected is generally a border with a corner piece, and sometimes a center piece. the specimen here given is simply a square of the net decorated as illustrated to convey an idea of this at present fashionable curtain lace. the design is first traced on tracing cloth that is then underlaid with brown paper to hold it stiffly in place. the net is then laid over this and smoothly basted down so that the tracing shows through plainly. then écru or white battenburg braid is used to follow the design, and is shaped into the leaves and flowers seen, rings being used for the centers of the blossoms and écru or white cord for the stems. the net is cut from under the rings at the centers of the large roses, and each opening is filled in with point de fillet and english wheels. the effect is very rich and the work is not difficult to do. when a curtain is thus embroidered or decorated with braid, it is bordered the same as the square illustrated, or upon that principle, with rows and points of battenburg braid. ribbon is often used in this way for tidies, bureau scarfs and various other little household decorations, and in this event the flower and foliage tints may be carried out in the design. [illustration: no. 55.--louis xiv. curtain-lace.] darned-net scarfs, kerchiefs, tidies, edgings, insertions, etc., etc., with designs for the same and other articles. bobbin net, or "bobbinet," or "net" as it is now commonly called, was first made by machinery in 1809, and was so called because the threads from which it was made were wound upon bobbins, and _twisted_ into meshes instead of being _looped_ in knitting style as they were previous to the invention of the machine. the latter was invented by john heathcoat, the son of an english farmer; but to france must be given the credit of introducing the "darned work" by which some of its costliest net laces were first made. from these laces originated the industry of darning net by machinery and by hand, and in all grades from fine silk-blonde and brussels net to the coarsest wash net, such as is used for curtains and draperies. in the earlier days the pattern was stamped on the net by means of wooden blocks, and the net was then placed in a frame, and the darner with her left hand under the lace followed the design with her needle and cotton, linen or silk floss held over the work in the right hand. this method may be employed at the present time; or, the design may be drawn on thick paper and the net basted over it; or, if the net is coarse the design may be followed by counting the meshes and inserting the needle and floss accordingly; or the design may be transferred to the net itself by black or colored pencils, or stamping. the darner must decide for herself which method for holding the work she will use. some of the most expert darners simply hold the net loosely in their hands and copy the design by eye alone. wash-silk floss, india floss which is of linen but looks like silk, and ordinary darning flosses are all used for this work. darned net is liked for many purposes, as will be observed by the variety of designs and illustrations given on these pages. no. 1. scarf-end of darned net. this illustration pictures a very pretty scarf-end, but presents it only half of its actual width. the scarf is about a yard in length and is darned with linen floss and edged with the finest feather-edge braid. the center portions of the flowers and foliage are cut out after the solid darning is made, and the spaces are then filled in with a fancy mesh done with fine cotton in point de bruxelles stitch. [illustration: no. 1.--scarf-end of darned net (half size).] no. 2. narrow cuff of darned net. this engraving presents a cuff of darned net in its actual width. the design is also suitable for an edging and may be easily changed into an insertion. feather-edge braid is used to complete the cuff. a collar may be made to match if desired. [illustration: no. 2.--narrow cuff of darned net.] no. 3. corner of kerchief of darned net. this kerchief is made similarly to the scarf-end illustrated on page 97, and as represented, the corner is only one-half its actual size. the kerchief itself is about twenty-two inches square and is very dainty in effect. the stars which fill in the central portion are very simple to make, and the eyelets in each are punched with a bodkin and then worked once around in point de bruxelles or button-hole stitch. the kerchief is made of fine brussels net and the darning is done with india floss. [illustration: no. 3.--corner of kerchief of darned net (half size).] no. 4. tidy of darned net. this engraving represents a charming little tidy made of coarse wash-net darned with wash-silk floss in oriental colorings. the tidy has an inch wide hem and is about eleven inches wide and twelve long. the hem is fastened down by three rows of darning stitches, the outer row being deep garnet, the middle row bright old-rose and the inner row deep orange. one small fan is made of the orange and pale-blue, another of the old-rose with sulphur-yellow, and the third peacock-blue and crimson. one large fan is made of pale-pink and silver-gray (darned together), and wood-brown; another is made of the garnet and the sulphur-yellow, while the third is made of orange and pale-blue. the scrolls meeting at the center are made, one of wood-brown, one of sulphur-yellow and one of garnet, and the rest of the design is made in different shades of dull green. laid over white, this tidy is very effective. it may be darned in one color on white, black or écru net if preferred, and with linen floss. [illustration: no. 4.--tidy of darned net.] no. 5. tie-end of darned net. a tie-end in its actual width is here illustrated. the tie is about three-quarters of a yard long, and is darned in all-over style in the design seen in the engraving, with linen floss. a line of fine feather-edge braid finishes the tie in a dainty manner. this design may be used for any other article preferred, and its details will also suggest other designs of a similar character which may be invented by the worker. this scarf as well as the others just described, may be made up in black if preferred; and in this event it will be easier for the darner to follow the meshes if she bastes her net over a white background. the design may or not be traced on this background. [illustration: no. 5.--tie-end of darned net (full width).] no. 6. darned-net edging, with over-wrought stitch. this handsome edging is darned upon a wide strip of net with coarse and fine embroidery cotton, and after the pattern is completed the lower edge of the net is cut away. the coarse cotton is used to outline the design and fill in some of the central portions, while the fine is darned in between the outer and center portions, and is used for the over-wrought portions. these portions are "run" back and forth loosely to form a raised foundation for the buds and rose-centers before the over-wrought work is done. the edging is given full-size and no difficulty will be experienced in following the design or making the lace; and the design may be adapted to any article of wear that can be made of darned net. a scarf or kerchief, dotted with rosebuds made like those of this design would be a very dainty article of personal adornment; and the buds might be made of pale-pink or yellow floss with a charming effect. the floral idea might be further carried out by using shaded green floss for the foliage. [illustration: no. 6.--darned-net edging, with overwrought stitch (full size).] nos. 7 and 8. darned-net edgings. it will not be necessary to give special instructions for either of the edgings here illustrated, as both are given full size and the designs are perfectly distinct. no. 7 is finished with a button-holed scallop from which the net is cut away when the work is completed. either edging may be made of white, écru or black net as preferred, and the floss may be white or tinted, or of cotton, linen or silk. in making no. 8 upon black net, silver or gilt thread or colored flosses will be found very effective. black net thus darned is very pretty for ruching and jabots for dress-waists. in making darned edgings, net may be purchased in various edging widths, and in this style is often called "footing." when bobbin net (or bobbinet as it is now called) was first invented, it was made only one inch wide but now it may be purchased three and one-half yards wide if desired. [illustration: no. 7.--darned-net edging.] [illustration: no. 8.--darned-net edging.] no. 9. pillow-sham of darned net. this engraving represents one of the many uses to which darned net is put. moderately coarse net was selected, and the darning was done with linen floss in the various patterns seen, and which are repeated in a larger form on the following pages. the sham was hemmed after the darning was finished, and a frill of darned-net edging was then added. tinted silk or sateen should be laid under such a sham in order to bring out the beauty of the work. the ambitious darner may make a bed-spread to correspond with her shams, if she has the time to devote to the task and the patience to complete it; and in making such a set, she need not confine herself to the designs here given, but may select any others she admires, or may originate a design herself. individual ideas as to decoration so widely differ, that clever workers are sure to evolve designs of various characters and a generally uniform beauty. blossoms, leaves, carvings, oriental figures, brocades, etc., etc., all afford dainty ideas for designs for darned net. [illustration: no. 9.--pillow-sham of darned net.] no. 10. center of pillow-sham. this engraving presents an enlarged representation of the center of the pillow-sham seen on page 109, and also shows its suitability for the center of a tidy. the inner design is very easy to follow, as will be seen by referring to no. 12 on page 113, where a large illustration of it is seen supplemented by a vine-border at each side. the outer border of this center-piece is very simple, and may be darned in diamonds as large or as small as desired. [illustration: no. 10.--center of pillow-sham.] no. 11. section of pillow-sham. in looking at the sham illustrated on page 109, the design illustrated at no. 11 will be seen at either side of the middle-stripe design. as here represented it will be easy to copy either for a pillow-sham or for any article of decoration or personal use desired. the ingenious worker will find many methods of combining it with other designs or applying it as an insertion, a border or an edging; and she may also use her own taste as to darning with white or colored floss, or using white, écru, fancy-colored or black net. [illustration: no. 11.--section of pillow-sham.] no. 12. section of pillow-sham. this design has been mentioned in connection with the pillow-sham seen upon page 109, and the engraving represents it perfectly. it may be employed for the purpose mentioned or adapted to any other use required, and may be copied exactly or varied to suit individual taste. black net darned with gold thread in this design would be pretty for decorating a black silk gown or trimming a black hat. [illustration: no. 12.--section of pillow-sham.] no. 13. section of pillow-sham. another portion of the pillow-sham mentioned is here illustrated, but the design is quite as appropriate for any other decorative purpose. yokes for night-dresses may be darned in this pattern, or in any of the ones previously given, with a very pretty effect; and when tinted ribbon, mull or lawn is laid under the darned stripes, the effect is very dainty indeed. yokes to children's dresses may also be darned in this pattern or the others, and little caps or hoods may be made to match and lined with a tinted or white fabric. [illustration: no. 13.--section of pillow-sham.] no. 14. end of drapery-scarf of darned net. the end of the drapery-scarf from which this engraving was made is about fourteen inches square, and the sides are turned under for about a quarter of an inch, or a little more, and darned down closely to represent a selvedge. the design is oriental in outline and is easy to follow. as represented the scarf is made of white net and darned with white linen floss; but the oriental effect may be carried out more perfectly if the darning is done with colored flosses with an intermingling of silver or gilt thread. white, black, écru or colored net may be used. two ends are made and then gathered to a smaller square of net. this small square is then drawn together through the center under a bow of wide satin ribbon, and the scarf is then fastened to the article of furniture it is to decorate. to its ends may be added tassels, rings or any edge-finish that is in accord with the materials of the scarf. black net darned with gold, crimson, peacock-blue, and pale-yellow and pale-olive, results in a charmingly eastern or oriental effect. [illustration: no. 14.--end of drapery-scarf of darned net.] no. 15. design for a corner or square of darned net. a very pretty design, as simple as it is effective, is here represented. according to the purpose for which the work is intended, and the color of the net selected, the darning may be done in cotton, linen or silk, and in white, black, écru or colors. the pattern may be modified in any way pleasing to the taste, or diversified by the introduction of portions of other designs or individual ideas. [illustration: no. 15.--design for a corner or square of darned net.] no. 16. border for darned net. a pretty border for tidies, draperies, flounces, yokes, collars or any article requiring a border is here illustrated. any of the suggestions given above may be adopted in making this border, which may be used separately or in combination with other borders, according to individual taste. gold thread upon black or white net would, in this design, result in a very effective dress decoration. [illustration: no. 16.--border for darned net.] no. 17. design for darned net. this pretty pattern may be used as a border, insertion or stripe for personal or household articles, and is one of the most popular designs in use. it is very easy to follow and is illustrated full size. it might be used to border the lower edge of a wide flounce for a petticoat, or, with equal propriety, applied to a tidy or a window drapery, providing the worker regulates the size of the design appropriately for the work in hand. for window draperies it would need to be much broader and larger in other ways than as represented. [illustration: no. 17.--design for darned net.] no. 18. edging of darned net. the design here presented is of full size, and very easy to work. a dainty edge in button-hole stitch is worked for the border, and the net is afterward cut out to form the tiny scallops. this is a pretty pattern for neck and wrist frills, jabots or ruffles, or for the adornment of kerchiefs for the neck or pockets, or for any purpose for which lace edging is selected. [illustration: no. 18.--edging of darned net.] no. 19. design for darned net. this engraving represents a flounce of darned-net in its actual size or width. it will be seen that the design is simple, but at the same time very effective. the flounce is for a child's dress made of net darned all over in the pattern seen in the picture, and worn over a tinted silk slip. the all-over work is very pretty indeed, and the design may be put to any of the many uses for which darned net is suitable. it is pretty for yokes, pillow-shams, counterpanes, infants' dresses and carriage-robes, parasol-covers, sofa-pillow covers, and in fact for any article that may be made of lace. the points of the flounce are darned back and forth in selvedge effect; but they may be worked in button-hole stitch if preferred. a touch of color may be given the work by using a little tinted or colored floss with the white, though the latter is most generally selected for darning net. in using tints, more delicate shades will be found in silk darning-flosses. [illustration: no. 19.--design for darned net.] no. 20. design in darned net. this design is extremely simple, and it may be used separately as a border or insertion, or in combination with parts of other designs in making up a large or elaborately-worked article. it is dainty enough for the decoration of an infant's garment if desired for such ornamentation, or heavy enough for elaborating an adult's attire. [illustration: no. 20.--design in darned net.] no. 21. design for a yoke or section of a garment in darned net. the yoke, sleeves, collar, cuffs and flounce of a child's dress were beautifully darned in the design illustrated by this engraving, and the effect was far more charming than can be conveyed by a picture. the little gown was airy enough for a sprite, and its greatest cost was in the outlay of the time devoted to its construction; and even this could not be counted a real outlay, as only odd moments of leisure were employed in making the pretty garment. white net, white floss and white india lawn were the composing materials. [illustration: no. 21.--design for a yoke or section of a garment in darned net.] nos. 22 and 23. designs for darned net. both of these designs are very pretty for diverse purposes, and also very easy to follow. either may be used as a heading, an insertion or a border, separately or in conjunction with other designs. many of the suggestions given concerning other designs upon previous pages will apply to these two designs, which fact leaves little to suggest for them individually. each darner will think out for herself many uses to which to put designs, many combinations in which they will prove effective, and many colorings suggested by the tints which govern her room or her wardrobe; all of which would be an impossible task for any one person, unacquainted with the surroundings of all our students to accomplish. one idea from one person will suggest another idea to a second person, and thus, in the lace-work at the beginning and after part of this book, as in all fancy work, upon an evolution of ideas must rest the great responsibility of an endless variety of designs. [illustration: no. 22.--design for darned net.] [illustration: no. 23.--design for darned net.] mrs. grace b. mccormick, lace-maker for the best families of new york and other cities, _designer and manufacturer of modern hand-made laces_, and importer of materials for laces, needle-work and general household decorative work, and also of fine linens and linen lawn. [illustration] designs for borders, pillow-shams, edgings, insertions, tray-cloths, center-pieces, buffet and bureau scarfs, tidies, pin-cushion covers, doilies, collars and cuffs, coiffures, dress sets, panels, handkerchiefs, flounces, vestibule and window curtains, and all household garnitures; also exceptionally rich designs for church and altar laces, etc., etc. these designs will be furnished for _royal battenburg, honiton, english needle-point, princess, russian and "ideal honiton" laces, in any size or shape required._ also designs for darned net. particular attention paid to making estimates, and drafting special designs and selecting the proper braids, threads, needles, etc., etc., for the same. also, always on hand a fine assortment of imported and american samples of crocheted laces; also crocheted mats, doilies, tidies, scarf-ends, etc., etc. * * * * * curtains and fine laces skilfully cleaned and repaired. * * * * * all information desired concerning _modern or antique laces, materials, quantities and prices, cheerfully supplied upon_ receipt of _inquiry_, _full address_ and _return postage_. address, _mrs. grace b. mccormick_, 923 broadway, new york. * * * * * transcriber's note: summarized here are the corrections applied to the text. corner or crosswise of the space "crosswise" was printed as "crossswise" cloth is basted to _toile cirée_ "cirée" was printed as "circé" match may be made. this was printed as "may be mad" what materials are appropriate "appropriate" was printed as "appropiate" as it is easy to follow. "is" was missing in text no. 31. the heading was missing. d'alençon bars and "spiders." "d'" was missing also be developed in a larger size "in" was printed twice no. 45. no. 44. headings 44 and 45 where mixed up transcriber's note: a few typographical errors have been corrected: they are listed at the end of the text. * * * * * _lace its origin and history_ _samuel l. goldenberg_ [illustration] _brentano's new york 1904_ copyrighted, 1904, by samuel l. goldenberg. [illustration: barbara uttmann, a. d. 1561.] "i have here only a nosegay of culled flowers, and have brought nothing of my own but the thread that ties them together."--_montaigne._ the task of the author of this work has not been an attempt to brush the dust of ages from the early history of lace in the hope of contributing to the world's store of knowledge on the subject. his purpose, rather, has been to present to those whose relation to lace is primarily a commercial one a compendium that may, perchance, in times of doubt, serve as a practical guide. though this plan has been adhered to as closely as possible, the history of lace is so interwoven with life's comedies and tragedies, extending back over five centuries, that there must be, here and there in the following pages, a reminiscent tinge of this association. lace is, in fact, so indelibly associated with the chalets perched high on mountain tops, with little cottages in the valleys of the appenines and pyrenees, with sequestered convents in provincial france, with the raiment of men and women whose names loom large in the history of the world, and the futile as well as the successful efforts of inventors to relieve tired eyes and weary fingers, that, no matter how one attempts to treat the subject, it must be colored now and again with the hues of many peoples of many periods. the author, in avowing his purpose to give this work a practical cast, does not wish to be understood as minimizing the importance of any of the standard works compiled by those whose years of study and research among ancient volumes and musty manuscripts in many tongues have been a labor of love. rather would he pay the meed of tribute to those who have preserved to posterity the facts bearing upon the early history of lace, which have been garnered with such great care. nevertheless, most of these works, necessarily voluminous and replete with detail, are more for the connoisseur or dilettante than for the busy man of affairs upon whom the practical aspect of lace, quite dissociated from the romance in which it is steeped, always forces itself. it is for men of this type, and with no little misgiving, and a full appreciation of how far short of his ideal the volume must be, that the author has undertaken the compilation of this work. samuel l. goldenberg. [illustration] {1} lace: its origin and history. * * * * * when where and how lace had its origin no one will pretend to say. there is a general agreement, however, that lace, as the term is understood to-day, is a comparatively modern product, it being impossible to identify any of the antique specimens preserved from the ravages of time as belonging to a period further back than the early part of the sixteenth century. true it is that there are specimens of woven fabrics of a lacelike character which were undoubtedly made at an earlier date, but most of the authorities who have delved deep into the subject are of opinion that lace probably does not antedate a. d. 1500. a perusal of the available records in many tongues fails to make clear just where lace was first made. spain, italy, belgium, france and germany have all claimed the honor, and each has been able to present a great deal of testimony in support of its contention; but the records of early times are so meagre and indefinite that it is impossible to bestow the coveted honor for the discovery of the art upon any one nation. {2} the instrument that is responsible for lace is the needle, but the earliest forms of lace were not the woven fabric that we know to-day, but rather cutwork, which, as far as we have any authentic records, was first practiced by the nuns in the convents of central and southern europe. this work was sometimes characterized as nun's work, and was designed almost exclusively for altar decorations and the robes of prelates, though it was also regarded as the insignia of rank and station. some of the specimens of this work, still preserved in museums, show that the early workers possessed a skill in the art never excelled. of course, with the progress of time, designs have become more ornate and intricate, but many of the old patterns still survive, and doubtless will continue to survive, till the end of recorded time. the desire to elaborate the edges of plain fabrics, whether of linen or heavier material, was an entirely natural impulse to get away from the harsh simplicity of the times. to this desire must be ascribed the beginning of the mammoth lace industry of to-day. one authority says that coeval with these styles of decoration was drawnwork, in which the weft and warp threads of plain linen were drawn out, thus forming a square of network made secure by a stitch at each intersection. the design was afterward embroidered, frequently with colors. perhaps, all things considered, the lace industry received its greatest impetus during the period known in history as the renaissance, when europe, emerging from the severe and formal garb of the medieval age, began to bedeck itself in the most graceful and beautiful manner. a number of methods were employed in the production of the lace of that brilliant period, the simplest of which consisted of forming the design independently of the foundation. threads spreading at even distances from a common center served as a framework for others which were united in squares, triangles, rosettes and other figures worked over with the buttonhole stitch, forming in some portions openwork, in others solid embroidery. this was, in fact, the first needle-made lace, and doubtless its origin is due to the venetians. {3} [illustration: real flemish point.] [illustration: real point de venise.] {4} through constant practice the art was developed to a very high state by the nuns, who taught their methods to the pupils of the convents, through whom the knowledge passed to the peasantry, and thus became an important industry. perhaps, however, the development of the lace industry at this period was due more to the spread of the methods by which it was done--through books more than in any other manner--for it must be remembered that contemporaneously with the development of the industry the art of printing was in its first bloom. as one traces the growth of lacemaking from the earliest times he is impressed with the sharp advance made at the beginning of the seventeenth century, when laceworkers, having practically exhausted the designs possible by the then known methods, invented passementerie, which were known as passements. these, speaking broadly, much resemble the passementerie of to-day. they were made of stout linen thread in imitation of high relief work of the needle point, a thick thread being introduced to mark the salient points of the pattern. thus the term guipure was applied to the thread lace with guipure reliefs, and the designation has since remained to all laces without grounds, in which the patterns are united by brides. in the beginning lace was made by two entirely distinct processes, in commenting upon which we can do no better than to quote the words of cole, which are particularly lucid and concise. he says: "it is remarkable that lacemaking should have sprung up or been invented at about the same period of time by two entirely distinct processes without relationship or evolution between them, and that the people of the countries wherein either of the inventions was made were not only {5} unknown to each other, but apparently neither had any knowledge of the processes of lacemaking employed in the other country." one of these processes is the employment of the needle and the single thread, wherein the work was perfected mesh by mesh, each mesh being completed as the work progressed. the other process was by the use of many threads at once, each one attached to bobbins, for the purpose only of separating them, the meshes being made by twisting the threads a greater or less number of times. when each mesh is only partially completed the thread is carried on to the next, and so on, from side to side, the entire width of the fabric. felkin, in his history of embroidery and lace, says that when pillow lace was invented--about the middle of the sixteenth century--the various kinds of point lace then in use had reached a high state of perfection. some early writers after much laborious investigation assert that pillow lace was first made in flanders. in later years it has been almost universally attributed to barbara, wife of christopher uttman; she was then dwelling with her husband at the castle of st. annaburg, belgium, 1561. from the castle, where she taught the peasantry as in a school, it soon spread over the country, and women and girls of the district, finding that the making of lace was more profitable than their former employment of embroidering veils according to the italian practice, adopted the uttman method. no trace of this mode of making lace (by use of pillow and bobbins) can be found before this date; hence the presumption that these were the time and place of the invention of bobbin lace. barbara uttman died in 1575. that she was the true inventress is recorded on her tomb. it will be seen from the foregoing that one process had its origin in italy, and the other its origin in belgium, though, if we accept felkin's statement, we must accord to italy the first honor, for he says {6} distinctly that the belgian peasantry gave up making lace according to the italian method to adopt the process invented by barbara uttman; consequently, the italian method must have been first. the present writer disclaims any intention to dispose of this moot question, and is only led to the above observation by reason of the high standing which felkin's work has attained. there are two broad divisions of lace--namely, hand-made lace and machine-made lace. in the world of commerce to-day the latter-named product, which is but a child of the former, is vastly the more important. this for the reason that hand-made lace, which is produced with such arduous toil, skill and patience, is beyond the purse of the million, and is and ever must be considered as one of the luxuries. true, some of the simpler forms of hand-made lace are produced with relatively great facility, and the price is correspondingly cheap, as compared with the delicate, finely wrought designs, that it sometimes takes years to produce. nor is this the sole reason for the popularity of machine-made laces, for to such perfection has the mechanical art of lacemaking attained that it is practically impossible, even for experts, to detect the difference between lace made by the deft, cunning fingers of lady or maid from the lace made possible by modern machinery. in hand-made lace the two principal classes are the needle-point and bobbin, or pillow-made, lace. needle-point lace is worked upon loose threads laid upon a previously drawn pattern, but which have no point of contact with one another and no coherency until the needlework binds them together. this work is done with a needle and single thread. as we have said, the pattern is first drawn, usually upon parchment; a piece of heavy linen is stitched to the parchment for the purpose of holding it straight; then threads to the number of two, three, four, or more, are laid along the many lines of the pattern, and sewed lightly down through parchment and linen. the entire figure is then carried out, both solid filling and openwork, with fine stitching, the buttonhole stitch being most generally employed. {7} [illustration: real duchesse and point gaze.] [illustration: real carrick-ma-cross.] {8} bobbin, or pillow-made, lace is the highest artistic development of twisted and plaited threads. it is made from a large number of threads attached by means of pins to an oval-shaped cushion or pillow, each thread being wound upon a small bobbin. the design, as in the making of needle-point lace, is first drawn on stiff paper or parchment, and carefully stretched over the pillow. then the pattern is pricked out along the outline of the drawing and small pins are introduced at close intervals, around which the threads work to form the various meshes and openings. from right to left the thread is bound lightly upon the bobbins and tied at the top of each in a loop that permits it gradually to slip off the bobbin when gently pulled, as occurs generally when working. the worker begins by interlacing the bobbins, which are used in pairs, placing small pins in all perforations, and crossing the bobbins after the insertion of each pin. around these pins the design is formed, the threads being crossed and recrossed and passed under and over each other with remarkable rapidity and accuracy. when the whole width of the large piece of lace is carried on together the number of bobbins and pins is very great and the work highly expensive, but it is customary to work each sprig separately, these being joined together in the form of a strip afterward by means of a curious loop-stitch, made by a hook called a needle-pin. scarcely had lace been invented before it had assumed almost priceless value, and it is worth while remarking here that though centuries have since elapsed, the value of these delicate, hand-wrought fabrics has not in any sense diminished. throughout the sixteenth, seventeenth, eighteenth and nineteenth centuries rare lace of beautiful pattern has been highly prized, some of the earliest specimens, in the possession of world-famous libraries and museums, being of relatively fabulous wealth. {9} [illustration: real irish point.] [illustration: real valenciennes.] {10} by very reason of the conditions inevitably associated with its making, lace must always remain one of the dearest articles of commerce, for there is certainly nothing more rare or costly than these fine, dainty, yet withal, substantial tissues. perhaps of all her compeers venice attained the highest proficiency in the production of beautiful lace. there, as we have remarked, needle-point had its origin, and many of the beautiful patterns produced by the women of the "queen of the adriatic" are even to-day the admiration of all who have a true appreciation of the artistic. venice guarded the secret of her methods with jealous care, and it was many years before the world was made familiar with the manner in which the exquisite floral designs, with their wealth of minor adornments, were worked out. thus italy was able to lay tribute upon the entire civilized world, and her coffers were enriched to overflowing from the receipts of the sales of lace to eastern, central and northern europe. apropos of italy's claim to the invention of needle-point, it has been claimed that the italians originally derived the art of fine needlework from the greek refugees in italy, while another author asserts that the italians are indebted to the saracens of sicily for their knowledge. all these claims, however, are merely speculative. for instance, no one disputes that embroidery antedates lace, and yet we have authors who endeavor to show that embroidery had its origin in arabia, deducing from this that lace, also, must have had its birth in one of the oriental countries. but it is a well-established fact that while we have absolute knowledge of the existence of embroidery in the countries of the levant, there is absolutely no indication, of even the slightest value, that points to the existence of lace before it was made by the italians and belgians. {11} in the municipal archives of ferrara, dated 1469, is an allusion to lace, but there is a document of the sforza family, dated in 1493, in which the word "trina" constantly occurs, together with "bone" and "bobbin" lace. spain was, as far as the records testify, the earliest and most adept pupil of italy in the art of lacemaking, though, as in italy, at the beginning the work was confined in the iberian peninsula to the inmates of the convents. spain, too, achieved high distinction in this field, its point d'espagne being one of the most celebrated of all the ancient laces, even vying with the finest venetian point. in those days, as will be recalled, the power of the church was absolute, and the use of laces for daily wear was prohibited, though on sundays and holidays it was greatly in evidence in the attire of those of high station. one of the most interesting facts concerning the development of lace has to do with the patterns produced in the various localities of europe. in the beginning the number of designs was necessarily limited, but as the industry developed and spread, and as the workers became more expert and artistic, there was an uncontrollable impulse to break away from conventional designs and to evolve new patterns. then, too, there was something of the spirit of pride behind this movement--a sort of local patriotism, if it may so be termed. the belgian, the spaniard and the frenchman were not content slavishly to imitate italian designs, and, anxious to win a name for themselves, set about to produce new effects that would immediately identify them with the place of their origin. thus it was, too, that various cities and towns in italy, france, belgium, spain and elsewhere sought to establish for themselves an individual product of great excellence that would give to the city or town prestige and renown in the then few commercial marts of the world. this explains the various names which were given to distinct {12} types of laces hundreds of years ago, and which designations still obtain, as, for instance, alenã§on, valenciennes, chantilly, honiton, arras, bayeux, genoa, florence, etc. another fact worthy of record is that of all the almost numberless designs that have been given to the world since the birth of lace there have been some one or two characteristics that tell as plainly as though expressed in words that each one of these designs was made at some particular period of history. it is well that this is so, for it has enabled the historian to trace, with more or less certainty, the development of the industry. in other words, a lace expert is enabled to tell from the fabric not only in what country it was made, but in what part of that country, and also the approximate date. in the self-sufficiency of the present age we are apt to regard with a sort of supercilious disdain any story reflecting upon the supremacy of our forebears in any of the arts or the sciences; but that we cannot make, in a commercial way, such lace as was woven in the sixteenth and seventeenth centuries is beyond question. in the first place, time is lacking, and if it must be confessed, the great skill that comes only through years of constant practice is also lacking. modern real lace is artistic, even superior, but compared with such few specimens as have come down to us of the work of the lacemakers of old, its deficiency, particularly in the matter of the fineness of the execution and thread, is at once apparent. hand-made lace is to-day produced all over the world; commercially its production is confined to france, belgium, germany, spain, italy and england, where large quantities are still produced. france, however, with that fostering care which she has bestowed upon her many other arts, and with that keen appreciation of the beautiful that is so inherent in her people, is far in the van in the matter of producing hand-made lace, though in respect to two or three types belgium is in the front rank. {13} [illustration: real honiton.] [illustration: real florentine.] {14} coming down to the question of machine-made lace, it is necessary to observe at the outset that the same distinctions that exist between the genuine and the imitation do not obtain as applied to these fabrics. in other words, the knowledge that lace is a product of the frame rather than the fingers in no sense condemns it. for to such a high plane has the mechanical production of lace been lifted that one is almost tempted to say that the products vie in beauty of design and perfection of finish with the lace produced by hand. that there is warrant for this seeming exaggeration is borne out by the fact that not infrequently it is impossible for experts to tell the difference between two specimens of lace of the same design, one made by hand and the other by machine. what inventors have accomplished in this respect is truly marvelous. in the beginning their efforts were not at all satisfactory, and the history of machine-made lace abounds with pathetic instances of men who sought in vain to duplicate with fidelity, by means of mechanical devices of hundreds of types and patterns, the dextrous touch of the human hand. w. felkin, in his history of lace manufacture, says that lace net was first made by machinery in 1768. other authorities place the date as between 1758 and 1760. in 1809 bobbin net was invented, and in 1837 the jacquard system was applied to the bobbinet machine. mrs. b. palliser, in "the history of lace," says of the invention of machinery for the production of lace that the credit is usually assigned to hammond, a stocking framework knitter of nottingham, who, examining one day the broad lace on his wife's cap, thought he could apply his machine to the production of a similar article. his attempt so far succeeded that, by means of the stocking frame invented in the previous century, he produced, in 1768, not lace, but a kind of knitting of running loops or stitches. {15} in 1777 else and harvey introduced at nottingham the pin or point net machine, so named because made on sharp pins or points. point net was followed by various other stitches of a lacelike character, but despite the progress made, all efforts at producing a solid net were futile. it was still nothing more than knitting, a single thread passing from one end of the frame to the other, and if a thread broke the work was unraveled. this was overcome in a measure by gumming the threads, giving the fabric a solidity and body not possible without resorting to some artificial method of this sort. the great problem inspired the efforts of numberless inventors, and many attempts were made to combine the mechanism used respectively by the knitter and the weaver, and after many failures a machine was produced which made mechlin net. there are few histories bearing upon the invention of labor-saving devices that are so replete with the records of failure as is the history of the attempt to produce a practical lace machine. john heathcoat, of leicestershire, england, was the inventor of the machine for making bobbin net. his patents were taken out in 1809, and to him must be accorded the credit of solving for the first time the problem that had vexed the minds of so many inventors and had depleted the purses of so many capitalists. the bobbin net machine, so named because the threads are wound upon bobbins, first produced a net about an inch in width, afterward, however, producing it a yard wide. it was the application of the celebrated jacquard attachment to the lace machine that has made possible the duplication of practically every pattern of lace made by hand. the machine of heathcoat was vastly improved by john leavers, also of nottingham, and the types produced by him are still in use throughout england and france, though, of course, there are in these days a large number of different {16} types of machines bearing different names, but the principle of the leavers machine, more or less modified, obtains in practically all of the devices. therefore a description of the process of lacemaking by the leavers frame will serve as a description for all. the number of threads brought into operation in this machine is regulated by the pattern to be produced. the threads are of two sorts, warp and bobbin threads. upward of 9,000 are sometimes used, sixty pieces of lace being made at once, each piece requiring 148 threads (100 warps and 48 bobbin threads). the supply of warp threads is held upon reels, the bobbins carrying their own supply. the warp threads are stretched perpendicularly and about wide enough apart to admit a silver quarter passing edgeways between them. the bobbins are flattened in shape so as to pass conveniently between the warps. each bobbin can contain about 120 yards of thread. by most ingenious mechanism varying degrees of tension can be imparted to warp and bobbin threads as required. the bobbins, as they pass like pendulums between the warp threads, are made to oscillate, and through this oscillation the threads twist themselves or become twisted with the warp threads, as required by the pattern that is being produced. as the twisting takes place, combs compress the twistings, making them more compact. if the bobbin threads be made tight and the warp threads slack, the latter will be twisted upon the former; but if the warps are brought to a tension and the bobbin threads be slack, then the latter will be twisted on the warps. the combs are so regulated that they come clear away from the threads as soon as they have pressed them together, and fall into position ready to perform their pressing operations again. the contrivances for giving each thread a particular tension and movement at a certain time are connected with an adaptation of the jacquard system of pierced cards. the lace machine is highly complicated, much of its complexity being due to the mechanism by which the oscillating or lateral movements are produced. expert workmen prepare the working drawings for the lace machine, and also perform the more important duties in its operation, but a large part of the work is carried on by women and girls. {17} [illustration: real point appliquã©.] {18} one of the most interesting developments of the lace industry has been the gradual evolution from the work of the hand toilers to the utilization of complex machinery. in addition to the leavers machine, which is referred to elsewhere in extenso, the embroidery machine plays a very important part in the making of laces. from 1870 to 1880, various efforts had been made to produce lace on the embroidery machine, and it was during this decade that the first success was achieved in the making of oriental or net laces in plauen. this was the first actual production of lace from the embroidering machine, and this sort of lace, which still exists to-day, is really an embroidery on a net, although usually designated as lace. a few years later a discovery was made which effected a great change in the making of laces on the embroidery machine. this was the principle of embroidering on a material which was afterward removed by a chemical process. the first article produced was called guipure de genes, and was at that time patented, but the patent was held to be invalid, and a few years afterward this article was generally produced both in st. gall, where it first appeared, and in plauen. by this method of manufacture are produced to-day all of the imitation guipure laces, such as point de venise, rose point, point de genes, etc. {19} [illustration: real chantilly.] [illustration: real spanish.] {20} the embroidering machine in use at the present day is constructed entirely of iron, measuring from 15 to 20 feet long, 9 feet high, 9 feet wide and weighs about 3,800 pounds. it can be operated by hand or by power. the method of embroidering is exceedingly simple. the cloth, usually somewhat over 4â½ yards long, is tightly stretched in an upright position in the center of the machine, each end of the suspended strip being held firmly by means of stout hooks. the needles (from 150 to 300 in number, according to the sort of work to be done) are arranged horizontally in a framework in a straight, level row, all pointing toward the cloth and extending from end to end of same. the needles are supplied with threads about one yard in length, which are fastened by means of a peculiar knot to the eye, the latter being in the middle of the needle instead of at the end. in producing any given stitch in the pattern to be worked, the long row of needles all move forward at once at the will of the operator, and thus duplicate the stitch in every pattern or "section" along the entire 4â½ yards of cloth suspended in the machine. as may be readily understood, the machine in this manner completes 4â½ yards of embroidery in the same time it would take a woman with a needle to finish a single pattern. when one row is completed the strip of cloth is raised and another row is made, and so on until it is necessary to put in another length of cambric. this machine is capable of making patterns from the very narrow up to the full width of the cloth. what is known as the schiffli, or power machine, is very similar to the hand-embroidering device, being an improvement on the latter and worked with a shuttle in addition to the needles. its capacity is nearly eight times greater, or from 15,000 to 18,000 stitches per day, against 2,000 to 3,000 on the hand machine. to offset this advantage, however, the schiffli machine is much more expensive, and is of delicate and complicated construction, easily got out of order and costly to repair. until a comparatively recent date the schiffli was not considered as a competitor of the hand machine, its work being inferior in quality and confined to simple patterns. at present, however, it is generally conceded that the goods produced by it not only compete with the hand-machine products, but are already superseding the latter to some extent. it is predicted that the schiffli machine, operated by power, will ultimately supply all the embroidery in the low and medium grades. {21} the variety and adaptability of the designs which both of these machines are capable of producing are endless, and at the same time comparatively inexpensive. it is this latter fact which accounts for the great advantage of the embroidering machine over the lace machine. the preparing and setting of a design for a lace machine is very expensive, and the great cost compels the manufacturer of machine lace to turn out large quantities of one set pattern in order to get a return from his investment. about the beginning of the nineteenth century, lace machines were first introduced into france from nottingham, at boulogne-sur-mer, where the industry remained for a few years and then moved to calais. there this industry has developed and increased to such proportions that calais is now the principal city for the production of fine laces of all kinds, and practically leads nottingham in creating novelties and new and original effects. shortly after the franco-prussian war the industry found a foothold in caudry, in the north of france, where it has also developed to quite large proportions, and shares to-day a large part of the trade which has resulted from the founding of the parent industry in calais. the kind of lace produced in caudry is generally of a cheaper character than that produced in calais. in lyons, too, there has been established for many years the industry of making laces and nettings by mechanical processes. this is still a very large industry, and about twenty years ago there was a large trade done with america in the manufacture of laces in vogue at that time, which were the imitation of the real spanish, called "blonde grenade." there are still made in lyons to-day various imitations of fine laces, which in a general way are of a different quality to the laces made at calais or caudry, and lyons enjoys a reputation in regard to the character of the laces it produces which is unique in the trade. about the year 1890, a frenchman invented a machine similar in {22} principle to the knitting machine, which reproduces with absolute fidelity the work of the bobbins in making pillow laces. through this invention he was able to imitate such hand-made laces as torchons, medicis, etc., so exactly that experts could not detect the difference. in fact, it is the general testimony of men associated with laces for years, that the work of this machine in a great many of its aspects is one of the most important contributions of the mechanical arts in the production of lace. through the importation of foreign machines and foreign workmen, various attempts have been made in the united states to establish the manufacture of lace. at the present writing it is impossible to state with any definiteness what the result will be, as the experiment has been of only a few years' duration, and in the very nature of things is at this date of a tentative character. in order that the reader may be able to distinguish the various types of hand and machine made laces, we append herewith a glossary, defining as concisely as possible the characteristics that indicate not only the manifold makes of laces, but what may be called the various sub-divisions. these definitions are set forth, the writer hopes, in terms that will enable the reader to understand what each one of the various names means, both as applied commercially and descriptively. {23} [illustration: real point gaze.] [illustration: imitation duchesse.] {24} characteristics of the different types of lace. alenã�on.--a fine, needle-point lace, so called from alenã§on, a french city, in which its manufacture was first begun. it is the only french lace not made upon the pillow, the work being done entirely by hand, with a fine needle, upon a parchment pattern in small pieces. the pieces are afterward united by invisible seams. there are usually twelve processes, including the design employed in the production of a piece of this kind of lace, and each of these processes is executed by a special workwoman; but in 1855, at bayeux, in france, a departure was made from the old custom of assigning a special branch of the work to each lacemaker, and the fabric was made through all its processes by one worker. the design is engraved upon a copper plate and then printed off upon pieces of green parchment of a specified length. after the pattern is pricked upon the parchment, which is stitched to a piece of coarse linen folded double, the pattern is then formed in outline by guiding two flat threads along the edge by the thumb of the left hand, and, in order to fix it, minute stitches are made with another thread and needle through the holes of the parchment. after the outline is finished it is given to another worker to make the ground, which is chiefly of two kinds: bride, consisting of uniting threads which serve to join together the flowers of the lace, and rã©seau, which is worked backward and forward from the footing to the picot. there was also another ground called argentella, consisting of buttonhole-stitched skeleton hexagons. in making the flowers of alenã§on point, the workwoman, using a needle and fine thread, makes the buttonhole-stitch from left to right, and, when she has reached the end of the flower, throws back the thread from the point of departure and works again from left to right {25} along the thread. as a result, the work is characterized by a closeness, firmness and evenness not equaled in any other point lace. when the work is completed the threads which bind lace, linen and parchment together are carefully cut, and the difficult task of uniting the pieces together remains to be done. this is accomplished by means of what is called the "assemblage" stitch, instead of the "point de raccroc," where the pieces are united by a fresh row of stitches. another way of uniting the pieces, which is used at alenã§on, is by a seam which follows as far as possible the outlines of the pattern so as to be invisible. a steel instrument, called a picot, is then passed into each flower so as to give it a more finished appearance. alenã§on point is of a durability which no other lace can rival. a peculiarity in its manufacture is, that it is the only lace in which horsehair is inserted along the edge to give increased strength to the cordonnet, a practice originating in the necessity of making the point stand up when the tall headdresses formerly worn by women were exposed to the wind. formerly alenã§on point, notwithstanding its beauty of construction, could not vie with brussels lace as regards the excellence of floral design, but this inferiority has now been removed by the production of exquisite copies of natural flowers, mingled with grasses and ferns. alenã§on point is now made not only at the seat of its original manufacture, but at bayeux, at burano, near venice, and at brussels. bayeux can boast of one of the finest examples of this lace ever made. it was exhibited in 1867, and consisted of a dress of two flounces, in which the pattern, flowers and foliage were most harmoniously wrought and relieved by shaded tints, which give to the lace the relief of a picture. the price of the dress was $17,000, and it took forty women seven years to finish it. the city of alenã§on had on exhibition at paris, in 1899, a piece of {26} lace of exquisite description, that had taken 16,500 working days to complete. allover.--lace of any kind which is eighteen inches or more in width, and used for yokes, flouncings and entire costumes. antique.--a pillow lace, hand-made from heavy linen thread, and characterized by an exceedingly open, coarse, square mesh. it is mainly used for curtains, bed sets and draperies. antwerp.--a pillow lace made at antwerp, resembling early alenã§on, and whose chief characteristic is the representation of a pot or vase of flowers with which it is always decorated. the pot or vase varies much in size and details. it is usually grounded with a coarse "fond champ." application.--a lace made by sewing flowers or sprigs, which may be either needle-point or bobbin-made, upon a bobbin-lace ground. one variety of brussels lace affords the best example of application. appliquã�.--the same as application lace. argentan.--a needle-point lace, usually considered indistinguishable from alenã§on, but which is different in some respects, its marked peculiarity being that the rã©seau ground is not made of single threads only, but the sides of each mesh are worked over with the buttonhole stitch. argentan is often distinguished from alenã§on lace by a larger and more striking pattern, and in some instances it is especially known by its hexagonally arranged brides. it is called after argentan, a town near alenã§on, and the lace was made there under the same direction. arras.--a white pillow lace, so called from arras, in france, the city of its original manufacture. it is simple and almost uniform in design, very strong and firm to the touch, and comparatively cheap in price. it is made on a lisle ground. the older and finer patterns of arras lace reached their climax of excellence during the first empire, between 1804 and 1812, but since then they have gone out of fashion. {27} [illustration: real duchesse.] [illustration: real irish crochet.] {28} aurillac.--a pillow or bobbin lace, made at aurillac, in france. in the early period of its manufacture it was a close-woven fabric, resembling the guipure of genoa and flanders, but later it resembled english point. the laces of aurillac ended with the revolution. auvergne.--a pillow lace made at the french city of auvergne and the surrounding district. ave maria.--a narrow lace used for edging. (see dieppe lace.) baby.--a narrow lace used for edging, and made principally in the english counties of bedfordshire, buckinghamshire and northamptonshire. these laces are ordinarily of simple design and specially employed in adorning infants' caps. though this fashion went out in great britain, the ladies of america held to the trimmed infants' caps until the breaking out of the civil war, and up to that date large quantities of this lace were exported to america. basket.--a lace so woven or plaited as to resemble basket-work. it is mentioned in inventories of 1580. bayeux.--there are two descriptions of lace known by this name: (a) a modern pillow lace, made at bayeux, in normandy, particularly the variety made in imitation of rose point; (b) a black silk lace, popular because made in unusually large pieces, as for shawls, fichus, etc. bisette.--a narrow, coarse-thread pillow lace of three qualities, formerly made in the suburbs of paris by the peasant women, principally for their own use. the name is now used to signify narrow bordering lace of small value. bobbin.--lace made on a pillow, stuffed so as to form a cushion, without the use of a needle. a stiff piece of parchment is fixed on the pillow, and after holes are pricked through the parchment so as to form the pattern small pins are stuck through these holes into the pillow. the threads with which the lace is formed are wound upon bobbins--small, round pieces of wood about the size of a pencil, having round their upper ends a deep groove, so formed as to reduce the bobbin to a thin neck, on which the thread is wound, a separate bobbin being used for each thread. the ground of the lace is formed by the twisting and crossing of these threads. the pattern or figure, technically called "gimp," is made by interweaving a thread much thicker than that forming the groundwork, according to the design pricked out on the parchment. this manner of using the pillow in lacemaking has remained practically the same during more than three centuries. {29} [illustration: real irish appliquã©.] [illustration: imitation point de venise.] {30} blonde.--a lace so-called because, being made from raw silk, it was "fair," not white in color. blonde lace has a "rã©seau" of the lille type, made of fine twisted silk, the "toile" being worked entirely with a broad, flat strand, producing a very attractive glistening effect. it was made at chantilly, in france. at the revolution the demand for this fabric ceased, as lacemakers were commonly looked upon as royal protã©gã©s. during the first empire, however, blonde became fashionable again, and since that time the popularity of black silk blonde for spanish mantillas alone has kept the trade in a flourishing condition. the manufacture is not confined to any one town, but is carried on throughout the province of calvados, in normandy, and is also made in spain. bobbinet.--a variety of application lace, in which the pattern is applied upon a ground of bobbinet or tulle. bone point.--a lace without a regular mesh ground. border.--lace made in long, narrow pieces, with a footing on one side, the other edge being ordinarily van dyked or purled. during the larger part of the seventeenth century a constant supply of this lace was made at genoa. it was commonly called "collar" lace, from the use to which it was put. in the pictures of rubens and van dyke it is frequently represented as trimming the broad falling linen collars, both of men and elderly women. it can be distinguished from flemish lace, also employed in the same way, by its greater boldness of design. {31} younger women also made use of it as trimming for the shoulders of their dã©colletã© dresses, and also for sleeves, aprons, etc. bride.--lace whose ground is wholly composed of brides or bars, without a rã©seau or net. brussels.--a celebrated lace, made at and near brussels, in belgium; more particularly, a fine variety of the lace made there whose pattern, as compared with alenã§on, has less relief, and whose fine net ground is without "picots," the knots or thorns which often decorate "brides," and also the edge of the pattern. brussels lace, whose history is one of the most interesting in the progress of this industry, is now often regarded as an application lace, by reason of the fact that the laceworkers of that city, after machine-made net had been perfected by an english invention in 1810, adopted the plan of appliquã©ing their pillow-made patterns on that material. lace so appliquã©d can be recognized as distinct from that made with the "vrai rã©seau," or true network ground, by the fact that the net ground, though sometimes removed, is often seen to pass behind the lace pattern, and also by the character of the network. machine-made net is composed of diamond-shaped meshes, and is made with two threads only, tightly twisted and crossed, not plaited, at their junction, and is quite unlike the brussels pillow "rã©seau." other peculiarities by which brussels lace may be recognized are: (a) it is not made in one piece on the pillow, but the pattern is first made by itself, and the "rã©seau" ground is worked in around it afterward. (b) the "rã©seau" ground, when magnified under a glass, has a mesh of hexagonal form, of which two sides are made of four threads plaited four times, and four sides of two threads twisted twice. (c) brussels pillow lace has two sorts of "toilã©," or substance of the pattern as contrasted with the groundwork; one, the usual woven texture, resembling that of a piece of cambric; the other, a more open arrangement of open threads, having very much the appearance of {32} the fond champ "rã©seau." it remains to be said, in spite of the fact that the above-mentioned characteristics may always be distinguished, that the brussels pillow lace of the present day differs materially from the earlier forms, having gone through many changes and style in pattern and make. among these are point d'angleterre, called such for mistaken reasons only, as it is not point lace nor made in england; and duchesse, a name of comparatively recent date, though the style itself is of earlier origin, and was called "guipure faã§on angleterre." as regards brussels needle-point, the earliest made closely resembles that of alenã§on, though not quite so close and firm. there were also other differences, both the "cordonnet" and the "rã©seau" being unlike those of alenã§on. from the beginning of the nineteenth century brussels needle-point underwent changes analogous to those of pillow lace; it became point appliquã©, in which the needle-lace pattern, instead of having a true net ground, was appliquã©d on the machine-made net. but in recent years it has been noted that a return to the character of the earlier and more beautiful brussels needle-point is being sought, the chief evidence of it being the exquisite point gaze, made entirely with the needle and grounded with its own "rã©seau." buckingham.--a lace originally made in the county of buckingham, england, and of two kinds: (a) buckingham trolley lace, whose pattern is outlined with a thicker thread, or a flat, narrow border, made up of several such threads. the ground is usually a double ground, showing hexagonal and triangular meshes; (b) a lace with a point ground, with the pattern outlined with thicker threads, these threads being weighted by bobbins larger and heavier than the rest. in general character and design these laces strongly resemble those manufactured at lille. cadiz.--a variety of needle-point brussels lace. {33} [illustration: imitation marquise.] [illustration: real point d'angleterre.] {34} carnival.--a variety of reticella lace made in italy, spain and france during the sixteenth century. cartisane.--guipure or passement, made with cartisane, which is vellum or parchment in thin strips or small rolls, covered with silk, gold thread or similar material. chain.--a lace of the seventeenth century, consisting of a braid or passement so worked as to resemble chain links. it was made of colored silk, and also of gold and silver thread. chantilly.--one of the blonde laces, of the sort recognizable by their alenã§on rã©seau ground and the flowers in light or openwork instead of solid. it is made both in white and black silk. black chantilly lace has always been made of silk, but a grenadine, not a lustrous silk. the pattern is outlined with a cordonnet of a flat, untwisted silk strand. during the seventeenth century the duchesse of longueville established the manufacture of silk lace at chantilly and its neighborhood, and as paris was near and the demand of royalty for this lace increased it became very popular. at the time of the revolution the prosperity of the industry was ruined, and many of the lacemakers were sent to the guillotine. during the ascendancy of the first napoleon, the manufacture of chantilly again became flourishing. since then the industry has been driven away from that town on account of the higher labor costs resulting from the nearness of chantilly to paris, and the lacemakers, unable to meet this increased cost, retired to gisors, where half a century ago there were between 8,000 and 10,000 lacemakers. the supremacy of lacemaking formerly enjoyed by chantilly has now been transferred to calvados, caen, bayeux and grammont. the widely-known chantilly shawls are made at bayeux, and also at grammont. chenille.--a french lace, made in the eighteenth century, so called because the patterns were outlined with fine white chenille. the ground {35} was made of silk in honeycomb rã©seau, and the patterns were geometrical and filled with thick stitches. cluny.--a kind of net lace with a square net background in which the stitch is darned. it is so called from the famous museum of antiquities in the hã´tel cluny, at paris, and also because the lace was supposed to have a medieval appearance. the patterns used are generally of an antique and quaint description, mostly of birds, animals and flowers, and in the existing manufacture the old traditions are fairly well preserved. sometimes a glazed thread is introduced in the pattern as an outline. cluny is a plaited lace, somewhat similar to the genoese and maltese laces, and is made in silk, linen or cotton. cordover.--a kind of filling used in the pattern of ancient and modern point lace. cork.--a name formerly used for irish lace in general, when the manufacture of irish lace was principally confined to the neighborhood of cork. craponne.--a kind of stout thread guipure lace, of cheap price and inferior make, used for furniture. cretan.--a name given to an old lace, ordinarily made of colored material, whether silk or linen, and sometimes embroidered with the needle after the lace was complete. crewel.--a kind of edging made of crewel or worsted thread, intended as a border or binding for garments. crochet.--lace which is made with a crochet hook, or whose pattern is so made and then appliquã©d on a bobbin or machine-made net. it is similar to needle-point lace, although not equal in fineness to the best examples of the latter. crown.--a lace whose pattern was worked on a succession of crowns, sometimes intermixed with acorns and roses. it was made first in the reign of queen elizabeth. a relic of this lace may still be found {36} in the "faux galon," sold for the decoration of fancy dresses and theatrical purposes. dalecarlian.--lace made for their own use by the peasants of dalecarlia, a province of sweden. its patterns are ancient and traditional. it is a coarse guipure lace, made of unbleached thread. damascene.--an imitation of honiton lace, made by joining lace sprigs and lace braid with corded bars. it differs from modern point lace in that it has real honiton sprigs, and is without needlework fillings. darned lace.--a general name for lace upon a net ground, upon which the pattern is appliquã©d in needlework. the different laces of this kind are described under filet brodã©, guipure d'art and spiderwork. devonshire.--lace made in devonshire, england, and more frequently designated as honiton. (see honiton.) formerly practically the whole female population of devonshire were employed in lacemaking, and during the sixteenth and seventeenth centuries belgian, french and spanish laces were imitated in that country most successfully, as were also venetian and spanish needle-point, maltese, greek and genoese laces. during the last century this variety in lacemaking has died out in devonshire, and now only honiton is made. diamond.--a lace made with a stitch either worked as open or close diamonds, and used in modern point and in ancient needle-points. dieppe.--a fine point lace made at dieppe, in france, resembling valenciennes, and made with three threads instead of four. there were several kinds of lace made at dieppe in the seventeenth and eighteenth centuries, including brussels, mechlin, point de paris and valenciennes, but the true dieppe point was eventually restricted to two kinds, the narrow being called the ave maria and poussin, the wider and double grounded, the dentelle ã  la vierge. dieppe and havre were formerly the two great lace centers of normandy, manufacturing in those cities having antedated that at alenã§on, but the prosperity of the lace industry in both these cities was nearly destroyed at the revolution, and though for a time encouraged under the restored bourbons, and patronized by napoleon iii, machine-made laces have practically driven the old dieppe point out of the market. {37} [illustration: real torchon.] [illustration: imitation valenciennes.] {38} dresden point.--a fine drawn lace, embroidered with the needle and made in dresden during the latter part of the seventeenth and the whole of the eighteenth century. it was an imitation of an italian point lace, in which a piece of linen was converted into lace by some of its threads being drawn away, some retained to form a pattern, and others worked together to form square meshes. the manufacture of dresden point declined, and now laces of many kinds are made there, notably an imitation of old brussels. duchesse.--a fine pillow lace, a variety originally made in belgium resembling honiton guipure lace in design and workmanship, but worked with a finer thread and containing a greater amount of raised or relief work. the leaves, flowers and sprays formed are larger and of bolder design. the stitches and manner of working in honiton and duchesse are alike. dunkirk.--a pillow lace made with a flat thread, and whose manufacture was carried on in the districts around dunkirk, a french seaport, in the seventeenth century. the best known kind was an imitation of mechlin lace. dutch.--a coarse, strong lace, made with a thick ground, and of plain and heavy design. it is a kind of cheap valenciennes. dutch lace is inferior in design and workmanship to those of france and belgium. english point.--(a) a fine pillow lace made in the eighteenth century, generally considered to be of flemish origin and manufacture, {39} and mistakenly called "point d'angleterre," as it was neither point lace nor made in england. some writers, however, assert its english origin. owing to the protection formerly given by law to english laces, large quantities of belgium laces are believed to have been smuggled into england under the name of "point d'angleterre," so as to evade the customs duties. (b) at the present day the finest quality of brussels lace, in which needle-point sprigs are applied to brussels bobbin-ground. (see application lace, also point d'angleterre.) escurial.--a modern silk lace, made in imitation of rose point. the patterns are outlined with a lustrous thread or cord. fayal.--a delicately made and costly lace, hand-made by the women of the island of fayal, one of the azores, off the western spanish coast. the thread used in making this lace is spun from the fiber of the leaves of the aloe, a plant resembling somewhat the century plant. great skill is necessary in the manufacture, which is restricted to a comparatively few women of the island, who have been trained to this work from childhood. the lace is marketed in france, chiefly in paris, at a very high price, and it is very difficult for outside purchasers to buy it at any cost. the patterns are extremely elegant and original in design. notwithstanding the delicacy of this fabric, it is remarkably durable. fedora.--see point appliquã©. false valenciennes.--(a) lace resembling valenciennes in surface and in pattern, but without the true valenciennes net ground, (b) a term for valenciennes lace made in belgium. flat point.--lace made without any raised-work or work in relief from raised points. flemish point.--a needle-point guipure lace made in flanders. footing.--a narrow lace which is used to keep the stitches of the {40} ground firm and to sew the lace to the garment upon which it is to be worn. sometimes the footing is worked with the rest of the design. it is used also in making lace handkerchiefs and for quilling effects. genoa.--a name originally given to the gold and silver laces for which genoa was famed in the sixteenth and seventeenth centuries, but now applied to lace made from the fiber of the aloe plant, and also to macramã© lace. gold.--lace made of warp threads or cords of silk, or silk and cotton combined, with thin gold or silver gilt bands passing around it. it was anciently made of gold or silver gilt wire. it is now used chiefly to decorate uniforms, liveries and some church costumes, and occasionally for millinery. the metal is drawn through a wire, and, after being flattened between steel rollers, several strands of the flattened wire are passed around the silk simultaneously by means of a complex machine having a wheel and iron bobbins. the history of gold lace is interesting, as illustrating the oldest form of the lacemaker's art. from the days of egypt and rome down to medieval venice, italy and spain, gold and silver gilt wire were used in making this kind of lace. the jews in spain were accomplished workers in this art, and in sweden and russia gold lace was the first lace made. in france gold lacemaking was a prosperous manufacture at aurrillac and arras, at which latter place it flourished up to the end of the eighteenth century. gold lace was imported into england at an early date, and king james i established a monopoly in it. its importation was prohibited by queen anne, on account of the extravagant uses of ornamentation to which it was put, and it was also prohibited in the reign of george ii, to correct the prevalent taste for the foreign manufactured lace. the attempt was unsuccessful, for we are told that smuggling greatly increased. it became a "war to the knife between the revenue officer and society at large, all classes combined, town ladies of high degree, with waiting-maids, and the common sailor, to avoid the obnoxious duties and cheat the government." {41} [illustration: real mechlin.] [illustration: real point de paris.] {42} grammont.--grammont lace, so called from the town of grammont, in belgium, where it was originally manufactured, is of two kinds: (a) a cheap, white pillow lace. (b) a black silk lace, resembling the chantilly blondes. these laces are made for flounces and shawls, and were used both in america and europe. as compared with chantilly, the ground is coarser and the patterns are not so clear-cut and elegant as the real chantilly. gueuse.--a thread pillow lace made in france during the eighteenth century. the ground of this lace was rã©seau, and the toilã© was worked with a thicker thread than the ground. it was formerly an article of extensive consumption in france, but, after the beginning of the nineteenth century, it was little used, except by the poorer classes. it was formerly called "beggars' lace." guipure.--it was originally a kind of lace or passement made of cartisane and twisted silk. the name was afterward applied to heavy lace made with thin wires whipped around the silk, and with cotton thread. the word guipure is no longer commonly used to denote such work as this, but has become a term of variable designation, and it is so extensively applied that it is difficult to give a limit to its meaning. it may be used to define a lace where the flowers are either joined by brides, or large coarse stitches, or lace that has no ground. the modern honiton and maltese are guipures, and so is venetian point. but as the word has also been applied to large, flowing pattern laces, worked with coarse net grounds, it is impossible to lay down any hard and fast rule about it. henriques.--a fine stitch or point, used both in early and modern needle-point work. {43} [illustration: real arabian.] [illustration: machine irish crochet.] {44} hollie point.--a needle-point lace said to have been originally called holy point, on account of its uses. it was popular in the middle ages for church decoration, but was adapted to different purposes in the seventeenth and eighteenth centuries, and various makes of lace have since been called by this name. honiton.--a pillow lace originally made at honiton, devonshire, england, and celebrated for the beauty of its figures and sprigs. the manufacture is still carried on at that town, where there is a lace school, but a similar lace is made in the leading continental centers of the industry. (a) honiton application is made by working the pattern parts on the lace pillow and securing them to a net ground, separately made. at present it is customary to use machine-made net upon which hand-made sprays are sewn. (b) honiton guipure, which in common acceptation passes as honiton lace, is distinguished by its large flower patterns upon a very open ground, the sprays being united by brides or bars. honiton braid is a narrow, machine-made fabric, the variety in most general use being composed of a series of oval-shaped figures united by narrow bars. it is of different widths, in linen, cotton and silk, and is much used in the manufacture of handkerchiefs, collars, and some varieties of lace. the history of honiton lace is more than ordinarily interesting, partly by reason of the doubt as to whether it really was a lace of english invention, or brought by the flemish workmen to england. some writers assert the former, but the stronger probability is that the art was brought from flanders by protestant immigrants, who fled from persecution. whichever theory is held, the development of the industry at honiton, and its close resemblance to other lacemaking processes in belgium, holland and france, afford an excellent illustration of the interdependence of lacemakers in all countries upon each {45} other as regards improvements resulting from new ideas. honiton, if it was brought from flanders originally, afterward repaid the debt by the beauty and celebrity of its designs, which served as examples for continental lacemakers. the very attempt to protect its manufacture in england, by imposing prohibitive duties, only increased the desire to receive foreign suggestions, and to smuggle foreign laces into england, while the ingenuity of continental manufacturers succeeded in copying the best honiton designs, and even in improving upon them. the english lacemakers at honiton were, however, at first unsuccessful in their attempts to rival the best laces of the continent, especially brussels. although they had royal patronage, and the whims and lavish expenditure of the court of charles ii were at their service, together with protective duties, it was not until the reign of george ii and george iii that english lace substantially improved. this resulted from substituting the working of the true brussels net ground, or vrai rã©seau, for the old guipure bar ground. the patterns were also formed of detached flower sprays, and soon the honiton product became almost unrivaled. this superiority continued until about 1820, when machine-made net was introduced, and the old exquisite net ground, made of the finest antwerp thread, went out of fashion by reason of the commercial demand for an inferior product. honiton guipure is now the chief form of lace made at that town. as regards composition of the patterns of honiton laces, as well as finish and delicacy of execution, much improvement has been manifested during the last twenty years by reason of better schools for design, and the rivalry promoted by international exhibitions. imitation.--machine-made lace of any kind. it often rivals real lace in fineness, but necessarily its mechanical regularity of pattern detracts somewhat from the artistic character of the result. constant improvement in processes, however, has in some laces made the {46} resemblance to the hand-made product so close that even experts can hardly recognize the difference. if it were asked how the imitation lace can be distinguished from needle-point, the answer is that it is not made with looped stitches like the latter, nor has it the effect of plaited threads, as in pillow lace. again, the toilã© of machine-made lace is often found to be ribbed, and this lace is very generally made of cotton instead of the linen thread with which old needle-point and pillow lace is made. in the invention of substitutes for hand-made lace stitches switzerland has been the leader, and by 1868 hundreds of machines, perfected from the invention of a native of st. gall, were turning out a close imitation of the hand-made work. the most recent triumphs of this description are the imitations of venetian point, in which a nearer approximation than ever before has been made to the needle-worked toilã©, and also of the bride work. but, notwithstanding the marvelous results attained in machine-made lace, they are the triumphs of mechanism which cannot displace the superiority, and charm, and rarity, of the finest hand-made work. in the latter the personal equation, the skill and the loving, workmanlike fidelity of the individual toiler to his task impart a quality which dead mechanism can neither create nor supersede. machine-made lace may be predominantly the lace of commerce, but hand-made lace is the natural expression and embodiment of a delicate and difficult art, and thus it will ever remain. insertion.--a kind of lace, embroidery or other trimming used to insert in a plain fabric for ornamental purposes. it is made with the edges on both sides alike, and often a plain portion of the material outside the work, so that it may be sewn on one side to the garment for which it is intended and to the plain part of the lace or border on the other. {47} [illustration: imitation point d'alenã§on.] {48} irish.--a term denoting a variety of laces made in ireland, of which the two most individual and best-known kinds are the net embroideries of limerick and the appliquã© and cut cambric work of carrick-ma-cross. other varieties, which are imitations of foreign laces, are irish point, resembling brussels lace; black and white maltese; silver, black and white blondes. the limerick embroideries, for they cannot be strictly called lace, are an imitation of indian tambour work, and consist of fine embroidery in chain-stitches upon a nottingham net. carrick-ma-cross, or irish guipure, is a kind of so-called irish point lace, made at the town of that name, but which is really nothing more than a species of embroidery, from which part of the cloth is cut away, leaving a guipure ground. it is not a very durable lace. the most popular patterns are the rose and the shamrock. irish crochet is an imitation of the needle-point laces of spain and venice; that is to say, it resembles these laces in general effect. there is also a needle-point lace made of rather coarse thread, and used exclusively in ireland and england. the manufacture of laces in ireland is carried on by the cottagers, by the nuns in the convents, and in several industrial schools founded for that purpose. it has only become a popular industry within the last twenty-five years, as the costumes of the people in earlier times did not require lace ornamentation, and there was a widespread and deep-rooted aversion to the adoption of english fashions in clothing so long as certain sumptuary laws were unrepealed. afterward, under slightly more liberal conditions, english fashions were gradually adopted, and with them came the demand for a cheap irish lace, as the foreign laces were too expensive. not until 1743 was there any official attempt to encourage the industry, but in that year the royal dublin society established prizes for excellence in lacemaking. this attempt lasted until 1774. in 1829 a school was opened in limerick for instruction in the now celebrated lace or embroidery first made in that town; but in the famine years of 1846-48 more effectual measures were taken to spread a knowledge of the art, and several schools {49} were opened in different parts of the country. the irish have never made a lace that can in any sense be called national, but great skill has been developed in the imitations of the foreign fabrics, and the irish name has been so closely associated with some of them that they are popularly considered a native irish product. the exhibition of irish laces at the mansion house in london in 1883 added materially to the reputation of these fabrics. irish trimming.--a plain-patterned, woven lace, formerly used in ornamenting muslin underwear, pillow slips and the like. jesuit.--a modern needle-point lace, made in ireland, and so called on account of the tradition as to the introduction of its manufacture after the famine of 1846. knotted.--a term applied to the old punto a groppo, of italian manufacture originally, and consisting of a fringe or border made of knotted threads. it is commonly called knotting in all english-speaking countries. the modern macramã© is made like the knotted laces. lille.--a lace made at lille, in france, noted for its clear and light single rã©seau ground, which is sometimes ornamented with points d'esprit. it is a lace of simple design, consisting of a thick run thread, enclosing cloth-stitch for thick parts, and plaitings for open parts. the old lille lace is always made with a stiff and formal pattern, with a thick, straight edge, and with a square instead of the usual round dots worked over the ground. lille was distinguished as a lacemaking city as far back as 1582, and from that year until 1848 the industry was successful, but since the latter year there has been a steady decline, as more remunerative occupations have gradually drawn away the younger workers from lacemaking. the lille pattern was similar to that of the laces made at arras and mirecourt, in france, and in bedfordshire and buckinghamshire, in england, but none of the latter could rival the famous single rã©seau ground. {50} limerick.--(see irish lace.) luxeuil.--a term applied to several varieties of hand-made lace produced at luxeuil, france. they are stout, heavy laces, mostly made with the use of braid, and are much used for curtains and draperies. macramã�.--a word of arabic derivation, signifying a fringe for trimming, whether cotton, thread or silk, and now used to designate an ornamental cotton trimming, sometimes called a lace, made by leaving a long fringe of coarse thread, and interweaving the threads so as to make patterns geometrical in form. it is useful in decorating light upholstery. macramã© cord is made of fine, close-twisted cotton thread, prepared especially for the manufacture of macramã© trimming, and also for coarse netting of various kinds. the foundation of all macramã© lace or trimming is knots, made by tying short ends of thread either in horizontal or perpendicular lines, and interweaving the knots so as to form a geometrical design, as above mentioned, and sometimes raised, sometimes flat. this necessitates the forming of simple patterns. this lace is really a revival of the old italian knotted points, which were much used three centuries ago in spain and italy for ecclesiastical garments. it appears in some of the paintings of the early masters, notably paul veronese. the art has been taught during all the nineteenth century in the schools and convents along the riviera. it is developed in great perfection at chiavari, and also at genoa. specimens of elaborate workmanship were in the paris exhibition of 1867. macklin.--another name for mechlin lace. maline.--a name sometimes applied to mechlin lace, especially to the varieties whose ground is distinguished by a diamond-shaped mesh. {51} [illustration: real cluny.] [illustration: real bruges.] {52} maltese.--a heavy but attractive pillow lace, whose patterns, of arabesque or geometric design, are formed of plaiting or cloth-stitch, and are united with a purled bar ground. it is made both in white silk and thread, and also in black barcelona silk. there is also a cotton machine-made variety, used chiefly in trimming muslin underwear. the history of maltese lace is interesting from the fact that the kind originally made in that island by the natives, which was a coarse variety of mechlin or valenciennes, of an arabesque pattern, was in 1833 superseded by the manufacture of the white and black silk guipures now so widely known as maltese lace. this improvement was due to lady hamilton chichester, who brought laceworkers over from genoa to teach their craft in the island. some of the patterns from that time showed the influence of the genoese instruction. maltese lace is made not only in malta, but in auvergne and lepuy in france; in buckinghamshire and bedfordshire, in england, and also in the irish lace schools. ceylon and madras lace also resembles maltese. formerly shawls and veils of much beauty and value were made of this lace, but the manufacture is now confined chiefly to narrow trimmings. mechlin.--a pillow lace originally made at mechlin, belgium, and whose special characteristics are the narrow, flat thread, band or cord, which outlines the pattern, and the net ground of hexagonal mesh. sometimes the mesh is circular. the net ground is made of two threads twisted twice on four sides and four threads plaited three times on the two other sides. in this it differs from brussels lace, whose plait is longer and whose mesh is larger. the lace is made in one piece upon the pillow, the ground being formed with the pattern. the very finest thread is used, and a high degree of skill is necessary, so that the resulting fabric is very costly. it is a filmy, beautiful and highly transparent lace, and preserves for a very long time its distinguishing peculiarity of a shiny thread or band surrounding the outlines of the sprigs and dots of the design. the earliest mechlin designs were very like those of brussels lace, though not so original and graceful; but in this respect later mechlin laces showed marked improvement. the fundamental difference between the two, however, was that mechlin was worked in one piece upon the pillow, while the brussels pattern was first made by itself, and the rã©seau or net ground was afterward worked in around it. the manufacture of mechlin has long been on the decline, the french revolution seriously injuring the industry; and when the trade was revived and encouraged under napoleon, the exquisite patterns of former times had been partly forgotten or were too expensive for popular demand. at the time of its highest popularity it was called the queen of laces, sharing that title with the finest alenã§on point. mechlin sometimes had an ornamental net ground called fond du neige, and also a ground of six-pointed fond champ, but these kinds were rare. it has always been a very great favorite with the english, and appears in most of their family collections of laces. there was a fine collection of this lace at the paris exhibition of 1867 from turnhout, belgium, as well as from other lace manufacturing centers. {53} [illustration: imitation mechlin.] [illustration: imitation torchon.] {54} medici.--a name for a variety of modern torchon lace, whose distinguishing peculiarity is the insertion effect, the lace being very like an ordinary insertion, with the exception of having one edge finished with scallops. the medici design is also characterized by plain, close-woven work, the close work alternating in equal amount with the openwork, the contrast between them heightening the effect. mã�lange.--a heavy, black silk lace, distinguished by its mingling of spanish patterns with ordinary chantilly effects. the edge is usually plain and straight, but is sometimes ornamented with a fine silk fringe. mignonette.--a light pillow lace, with an open ground resembling tulle, made in narrow strips. it was one of the earliest of pillow laces, and flourished greatly during the sixteenth, seventeenth and eighteenth centuries. it was made of lille thread, and the chief places of its manufacture were arras, lille and paris, in france, and in switzerland. {55} mirecourt.--a lace made of detached sprigs upon a net made at the same time with the pattern. in the seventeenth century it was a french guipure lace of more delicate texture and varied design than other guipures. mirecourt, in the department of the vosges, and its environs, were the center of the industry. the manufacture was begun at an early date, and for centuries only hempen thread was used, the result being a coarse guipure; but during the early part of the seventeenth century a finer lace of more delicate pattern was produced, and it began to be exported in considerable quantities. before the union of lorraine with france, in 1766, there was less than 800 laceworkers in mirecourt, but in 1869 the number had increased to 25,000. during the last century the french demand for this lace increased far beyond the foreign demand, and it became desirable to produce a greater variety of pattern. this was done with great success by imitating the best designs. another recent improvement at mirecourt is the making of application flowers, and though these are not yet as finished as the brussels sprigs, they bid fair to supply the french market, so as to make it to that extent independent of belgium. the lace made at mirecourt is mostly white. the work is similar in process and equal in quality to that of lille and arras. nanduti.--a lace made by the natives of paraguay, ecuador and peru, south america, from the soft, brilliant fiber of the agave plant. it is made in silk or thread by a needle on a cardboard pattern. in peru and ecuador it is also needle-made in the form of small squares and united together. needle-point.--real lace of any kind worked with a needle, on a parchment pattern, and not with bobbins or on a pillow. the distinction between needle-point and bobbin-made, or pillow lace, is also illustrated by the solid part of the pattern, and also the ground of the former. in needle-point the solid parts are invariably made of rows of {56} buttonhole stitches, sometimes closely worked and sometimes with small open spaces left in the patterns. the "brides" in needle-point consist of one or two threads fastened across from one part of the pattern to another, and then closely buttonholed over; it will be found, also, that true needle-point is made with only one kind of stitch, the looped or buttonhole stitch already mentioned, and that this is constant amid all varieties of design in this kind of lace. pillow lace, on the contrary, has a "toilã©" made of threads crossing each other more or less at right angles; its "brides" consist of twisted or plaited threads, and the "picots" are simple loops, while the network ground of pillow lace is of far greater variety than that of needle-point. in all kinds of pillow lace the net groundwork is made by twisting and plaiting the threads, sometimes in twos and sometimes in fours. briefly speaking, the fundamental difference between needle-point and pillow lace is that the former is made with looped stitches throughout, while the latter is made with twisted or plaited threads, which last is really weaving, though it is done with bobbins and the hand instead of with the loom. oriental.--a lace made on the embroidering machine, which by combined needle and shuttle action produces either simple or complex designs upon netting. the action of the schiffli machine somewhat resembles that of a sewing-machine, and the product is more properly called embroidery than lace. the openwork effects are produced either by the action of chemicals upon the foundation material, or by the use of the scissors. the threadwork results from the combined action of the shuttle and needles. st. gall, switzerland, and plauen, saxony, are the chief manufacturing centers for these laces, which include trimming and border laces, curtains, bed sets, shams, and the like. in the broad historical sense, oriental laces and embroideries refer to the products of the east, especially to the chinese, indian, japanese, persian and turkish. all these were remarkable for the labor expended upon them, their great cost, and the originality and boldness of idea and coloring which marked their design. {57} [illustration: real renaissance.] [illustration: machine valenciennes.] {58} oyah.--a guipure lace or openwork embroidery, made by means of a hook in a fashion similar to crochet. the pattern is often elaborate, and in silks of many colors, representing flowers, foliage, etc. it is sometimes in relief. parchment.--lace in whose manufacture parchment has been used, whether in the pattern for the worker's guidance, or for stiffening the fabric, as in cartisane lace. in old accounts of laces, the term was often applied to those made on the pillow to distinguish them from needle-point laces, and it was derived from the pattern on which pillow laces were worked. {59} [illustration: imitation point de venise combined with point gaze.] {60} passement.--a term applied to the oldest class of pillow laces, at a time when they were of comparatively simple construction, being little more than open braids and gimps. this designation was in use until the middle of the seventeenth century. the word is now applied to a decorative edging or trimming, especially a gimp or braid. it is an old french word, and in the country of its origin included in its meaning both lace and embroideries. it has an interesting literary association, having figured, under the slightly altered form of "passemens," in a satirical poem published at paris in 1661. the poem, which is entitled "la rã©volte des passemens," is dedicated to mademoiselle de la trousse, a cousin of madame de sã©vignã©, and was probably composed by one of her literary friends. it is a protest against a sumptuary law passed in the previous year to check the lavish expenditure on laces imported from venice and italy, and is interesting as an account of the best laces of that day, among which are "pointes de gã¨nes, de raguse, de venise, d'angleterre et de flanders," as well as the "gueuse" of humbler pretensions. the various laces are supposed to revolt against the law excluding them from france, and especially from their place in the exalted society of the court. mesdames les broderies- "le poincts, dentelles, passemens, qui par une vaine despence, ruinoient aujourd'hui la france"-call an indignation meeting. one of them hotly demands what punishment shall be meted out to the court for such treatment- "dites moi je vous prie, poincts, dentelles ou broderies, qu'aurons nous donc fait ã  la cour," etc. various laces speak their mind freely in reply, but most of them are gloomy as to the future, while a few try to take a philosophical view of the situation, and resign themselves to an humbler though still useful fate. an english lace, "une grande dentelle d'angleterre" answers "cet infortune sans seconde elle fait bien renoncer au monde * * * * * * pour ne plus tourner ã  tout vent comme d'entrer dans un convent." the laces of flanders are not so submissive as that, being too vain and ambitious for renunciation of the world and life in a convent, and their angry opposition starts a little tempest of debate, fierce resolution alternating with despair. a black lace in hopeless mood hires herself out with a game merchant, for nets to catch snipe and woodcock. an old gold lace, in grandmotherly style, tries to comfort the younger ones, by reminding them of the vanity of the world. she knows all about it--she, who has dwelt in king's houses. the flanders laces cry out that rather than give in they would sooner be sewn to the bottom of a petticoat. some of the younger ones declare they must still have amusement, having had so much, and rather than renounce the world they will {61} seek refuge in the masquerade shops. the point laces, with the exception of aurillac, then resolve to go each to his own country, when suddenly the humble but plucky gueuse lace, the lace of the common people, arrives from a village near paris and encourages the others to fight it out. the next morning they all assemble and agree upon a plan of campaign, but before doing so take stock of their qualifications and prospects. poinct d'alenã§on has a good opinion of herself; a flanders lace says she made two campaigns under the king, as a cravat; another had been in the wars under the great marshal turenne; another was torn at the siege of dunkirk; and all had done something worth notice. "what have we to fear?" asked an english lace. a poinct de gã©nes, of rather flabby character, advises the english lace to go slow. finally open war is declared, and the laces all assemble at the fair of st. germain to be reviewed by general luxe. the muster roll is called by colonel sotte depense, and the various regiments and battalions march forth to victory or death. but they got neither, for at the first approach of the royal artillery they take to their heels, are captured and condemned to various punishments. the gold and silver laces, the leaders of the rebellion, are sentenced to the fate of jeanne d'arc, to be burned alive; the points are condemned to be made into tinder for the sole use of the king's musketeers; others are to be made into cordage or sent to the galleys. but pardon is obtained through the good offices of cunning little cupid--"le petit dieu plein de finesse," and the rebels are restored to their former position. the poem illustrates the policy of most european governments at that time, a policy of excluding foreign manufactures of all kinds; and in the case of laces, the fear of encouraging wasteful habits among the rich, who offered a tempting opportunity for royal extortion, was too {62} useful a pretence to be passed by. but all these efforts were fruitless to discourage the growth of lacemaking. the passion for beauty in personal adornment would not down. the engravings of abraham bosse, which portray the dress and manners of that time, humorously depict the despair of the fashionable lady over the prospect of giving up her laces. she is represented as attired in plain hemmed linen cuffs, collar and cap of puritanical severity, bemoaning her sad fate, in heartbreaking strains, as she sorrowfully packs away her rich lace-trimmed costumes. her sadness was not unduly prolonged. colbert, the great french statesman, saw that laces would be smuggled if they were legally prohibited, that the rich would have them at any cost, so he encouraged foreign lacemakers to come to france, and the manufacture was thus promoted. pillow.--lace made on the pillow or cushion, both pattern and mesh being formed by hand. see needle-point lace. plaited.--a pillow lace of simple geometrical design, often made of strong and stiff strands, such as gold thread or fine braid. the pattern, besides being geometrical in design, is open, and has no grounds. for ordinary purposes tinsel is used instead of real gold, and the lace is then employed for theatrical purposes. historically considered, the plaited laces made of gold, silver or silk thread, took the place of the italian knotted laces of the sixteenth century. those produced at genoa and in spain were the best, and they are made in spain to-day, chiefly for church uses. the thread plaited laces of the seventeenth century were used to trim ruffs and falling collars, but went out of fashion when flowing wigs came in, as the latter hid the collar and would not allow ruffs to be worn. at the present time plaited laces have become known under the name of maltese and cluny, and are made at auvergne, in france, malta, and in the english counties of bedfordshire and buckinghamshire. {63} [illustration: real maltese.] [illustration: real guipure.] {64} plauen.--a name applied to any kind of lace made at plauen, saxony, or elsewhere, upon the embroidering machine, such as oriental, tulle and chiffon lace, point de venise, point d'irlande. plauen led in the manufacture of this kind of lace, having begun it in 1881, from which year dates the importance of that city as a lace market. the manufacture was gradually developed. only the tulle variety of embroidery lace was produced until 1886. the distinguishing feature of this was that the hollow effects were made by opening the tulle meshes by hand. then, in 1886, an openwork process was invented by which chemical action was employed to remove a woolen or silk foundation from the cotton-embroidered pattern, or a cotton foundation from a silk embroidery that had been worked on it. this made it possible to form the pattern by the embroidery machine in the same way as in the case of ordinary embroidery. the wool foundation, which is necessary to be removed in finishing the goods, is dissolved by the action of certain chemicals without changing the cotton or silk pattern. in this way the most difficult and complicated patterns of real lace can be imitated. plauen manufacturers have for the most part taken the old and costly hand-made laces of former times for their models; but they have also originated new and tasteful designs from time to time. point appliquã�.--point lace whose design is separate from the net ground, to which it is afterward applied. at the present time the net ground is usually machine-made. the word "point," however, in this connection, is of variable application, sometimes signifying point appliquã©, and sometimes denoting lace, whether pillow or needle-point; that is, worked in sprays and laid upon a machine-net ground. (see application lace.) point d'alenã�on.--see alenã§on. point d'angleterre.--see english point. point de gaze.--a very fine, gauze-like lace, made entirely with the {65} needle and grounded with its own net. point de gaze is the result of an attempt of the brussels lacemakers to return to the best early traditions of needle-point. point de gaze differs, however, from the finest old needle-point in certain respects, partly necessitated by modern taste in design, and partly from the need of great economy in labor costs. for example, the execution is much more open and delicate than in the early lace of this description, but this very delicacy and slightness are made use of to produce a very elegant effect. part of the toile, or substance of the pattern, is made in close and part in open stitch, giving an appearance of shading, and the open parts are very tastefully ornamented with dots. the result does not in all respects equal the softness and richness of the early lace, but if point de gaze seems thin and loose in comparison, and if the patterns seem less ideally beautiful, nevertheless the later work has a unique lightness and delicacy to which the earlier lace did not attain. it certainly is the most etherial and delicately beautiful of all point laces. its forms are not emphasized by a raised outline of buttonhole stitching, as in point d'alenã§on and point d'argentan, but are simply outlined by a thread. point de gã�ne.--a name at present applied to a species of lace made both in cotton and silk at st. gall and plauen, and recognized by its regular net ground and large, open patterns in heavy stitchwork. it is a popular trimming for women's dresses. point de gã¨ne, or gã¨nes, was originally one of the laces made at the city of genoa and in the surrounding country during the seventeenth century, both the pillow and needle laces made there being deservedly famous. gold and silver thread and gold wire were used in the manufacture of the earliest needle-point laces at genoa, and the gold wire was drawn out in exact imitation of the early greek method. one of the best genoese laces resembles the early greek points in patterns. there was also a guipure lace, made from aloe fiber, as well as the knotted lace now {66} known as macramã©. the last named is the only lace at present made in genoa, and along the seacoast. point d'esprit.--a term applied to a small oval or square figure, peculiar to certain varieties of early guipure, and ordinarily composed of three short lengths of parchment or cord, placed side by side and covered with thread. these oval or square figures were most commonly arranged in the form of rosettes. at present the term point d'esprit denotes a much smaller solid or mat surface, used to diversify the net ground of some laces. it is in the form of small squares that set at close and regular intervals. in standard histories of lace the term is also used as synonymous with embroidered tulle, made in brittany, denmark and around genoa. point d'irlande.--a coarse, machine-made imitation of real venetian point lace. it is popular for dress trimmings, and is manufactured in a great variety of widths in cotton and silk. it has no net ground, the patterns being united by brides. point de milan.--a guipure lace with a small mesh ground, and the pattern distinguished by striking scroll designs. the flowers in the pattern of hand-made point de milan are flat, and have the appearance of having been wrought in close-woven linen. milan point was made at the city of that name in 1493. gold and silver thread were first used, but the milan points were finer than these, and fully equal to the best spanish and venetian points. point de paris.--originally a narrow pillow lace, resembling brussels. the term is now generally applied to a machine-made cotton lace of simple pattern and inferior quality. in its making a design whose figures, such as flowers and leaves, are outlined with a heavy thread, is worked upon a net ground. point de paris is distinguished by the net, which is hexagonal in form. point de venise.--see venice point. {67} [illustration: imitation irish crochet.] {68} point.--same as needle-point lace, made wholly by hand, with the needle and a single thread. pot.--lace whose pattern is distinguished by the figure of a vase or deep dish, and sometimes by that of a basket containing flowers. it is the best-known lace made at antwerp, and was formerly in common use in that city for decorating women's caps. the vase and basket figures vary much in size and design. some have considered this pattern to be a survival from an earlier design, including the figure of the virgin and the annunciation, but this is not certain. powdered.--lace whose ground is strewn with small, separate ornaments, such as flowers, sprigs, or squares, like point d'esprit. the term is applied also to whitened lace. renaissance.--a modern point lace, whose patterns are made of narrow braid, and united by bars or filling of different kinds. it is generally ornamented with circular figures and scroll-work, stitched in place by needle and thread, the intervening spaces or groundwork, being composed of a variety of fancy openwork. irish renaissance, luxeuil and battenberg are the other names for this lace. rose point.--see venice point. saxony.--fine drawnwork embroidered with the needle, in much demand in the eighteenth century. at the present time the term is somewhat vague, denoting many kinds of laces made in saxony, especially in imitation of old brussels lace. though the latter is the best that is made, a coarse guipure lace, known as etervelle, and plaited lace has the greatest sale. seaming.--a narrow openwork insertion, gimp or braiding, with parallel sides, used for joining two breadths of linen, instead of sewing them directly the one to the other. the name is given to a similar lace used for edgings, as in the trimming of pillow-cases and sheets. {69} during the sixteenth and seventeenth centuries this lace was very popular, though the name "seaming" was then applied to any kind of lace used for a particular purpose--namely, to insert in the linen or other fabric wherever a seam appeared, and often where no seam was really necessary. the lace first used for this purpose was cut-work; then hollie point became fashionable, and afterward the custom grew to be so common that cheaper laces were employed. there is still in existence a sheet decorated with cut-work that once belonged to shakespeare. silver.--a passement or guipure wholly or in large part composed of silver wire, or of warp threads of silk, or silk and cotton combined, wound with a thin, flat ribbon of silver. see gold lace. spanish.--a general term applies to the following four different kinds of lace: (a) needle-point lace, brought from spanish convents after their dissolution, though the art of making it is thought by some to have been learned in flanders. (b) cut and drawnwork made in spanish convents, of patterns usually confined to simple sprigs and flowers. (c) a modern black silk lace with large flower patterns. (d) a modern needle-made fabric, the pattern usually in large squares. the machine-made black and white silk laces, with their flower patterns, are from lyons and calais, france. much could be said about the uncertain application of the term "spanish" in regard to certain kinds of lace. it has often been inaccurately used. for instance, "spanish point" and "point d'espagne" have been misapplied to italian laces, in the same way that "point d'angleterre" has been misapplied to brussels lace. in the four kinds of spanish lace above enumerated, it is noticeable that some are of flemish origin. a lace known for certain to be of spanish origin is a coarse pillow guipure made in white thread and also of gold and silver. it is a loosely made fabric consisting of three cordonnets, the center one being the coarsest, united by finer threads running in and out across them, and with brides to join {70} the parts of the pattern and keep them in shape. it is well known that large quantities of lace that have the characteristics of raised venetian point were used in spain, both for court dresses and church purposes, such as the ornamentation of vestments and altars. during the invasion of napoleon the churches and monasteries were pillaged and the laces contained therein were scattered abroad and sold as being of spanish origin, though many of them were not. the graceful spanish headdress, the mantilla, has been chiefly made in the province of catalonia, out of black and white blondes, but it is inferior to a similar lace of french manufacture. the most celebrated of the spanish laces are the gold and silver fabrics, known as point d'espagne, the blonde laces and spanish or rose point. the first-named is a very old lace, was known in spain as early as the middle of the fifteenth century, and is made with gold and silver threads, upon which a pattern is embroidered in colored silk. the blondes, which have been already mentioned, have thick though graceful patterns upon a light net ground. rose point is wholly made with the needle and is very like venetian point, being considered, in fact, as a variety of the latter. the close resemblance is accounted for by the fact that this kind of lace was made by the inmates of religious houses, which were transferred from one country to another at the will of their superior and carried with them the secret of a difficult art. the rose points, some of which are not raised, are formed with a pattern-worked net in buttonhole stitches, the parts of the pattern being joined together by brides. the raised rose points are recognized by their thick cordonnet or outlining of the pattern. tambour.--lace made with needle embroidery upon a machine-made net, generally black or white nottingham. it is chiefly made in ireland and commonly included among the limerick laces. {71} [illustration: leavers's lace machine.] {72} tape.--a lace made with the needle, except that a tape or narrow strip of linen is wrought into the work and is the distinguishing feature of the pattern. these plain or ornamented tapes or braids, arranged so as to form the pattern, have always been peculiar to this kind of lace. the patterns are connected together with either bride or net grounds. the earliest were made with a bride ground and simple cloth stitch, but gradually very elaborate designs were wrought as part of the braid-like patterns and united by open-meshed grounds. in the seventeenth and eighteenth centuries the braid and tape laces included the large majority of coarse pillow laces made in flanders, spain and italy. thread.--lace made from linen thread as distinguished from silk and cotton laces. black thread is a misnomer for chantilly. torchon.--a coarse pillow lace made of strong, soft and loosely twisted thread. in europe it is known also as "beggars'" lace, and the old french gueuse lace was similar to torchon. the patterns generally are very simple and formed with a loose stout thread and the ground is coarse net. torchon is now also machine made. valenciennes.--a solid and durable pillow lace having the same kind of thread throughout for both ground and pattern. both the pattern and ground are wrought together by the same hand, and as this demands much skill in the manipulation of a great many threads and bobbins, the price of valenciennes is very high. the mesh of the ground is usually square or diamond shaped, very open and of great regularity. it is a flat lace, worked in one piece, and no different kind of thread is introduced to outline the pattern or to be wrought into any part of the fabric. this affords a ready means of distinguishing the hand-made variety of this lace. the valenciennes now made is not so beautiful in design and construction as the fabric of an earlier date, especially in the latter part of the eighteenth century. it is usually of narrower width and is easier to learn how to make. valenciennes was first made at the town of that name, which, {73} though originally flemish, was transferred to france by treaty; and the manufacture at this town was carried on under conditions which assured the superiority of the lace produced there. the difference between the valenciennes product and that of other towns could be detected by the softer "feel" in the former case, because the moist climate of valenciennes gave a smoother action to the bobbins when used in manufacture; and it is interesting to note that the lace was made in underground rooms. these peculiarities earned for lace made in that town the name of vraie valenciennes, and it brought a higher price than the valenciennes of the surrounding villages. the thread was spun from the finest flax. to buy a yard of a flounce or a pair of broad ruffles was a serious matter for the purchaser unless he was wealthy. the labor cost was high even in those days of low wages; from 300 to 1,200 bobbins were required in a piece of fine work. the history of the changes in valenciennes patterns is, to some extent, a history of deterioration in elegance of design. the first patterns were exquisitely beautiful, the designs often being wrought in grounds that were varied in several ways even in one piece. the designs afterward became simpler, and octagon and hexagon meshes came to take the place of the close grounds of earlier manufacture. since 1780 the lighter and less expensive laces of lille, brussels and arras have partly ousted the more beautiful, costly and durable product of valenciennes, while changes in modern dress have stopped the demand for some articles which were formerly among the fashionable mainstays of the industry; for example, men's ruffles. the french revolution practically destroyed lacemaking at valenciennes, and the industry was transferred to belgium. the lace produced there was, however, given the name of false valenciennes. alost, bruges, ypres, ghent, menin and courtrai became centers of the manufacture, and the lace made in each town had a distinguishing {74} feature in the ground. for example, the ghent ground is square meshed, the bobbin being twisted two and one-half times. at ypres, the ground is square meshed, but the bobbins are twisted four times. in courtrai and menin, the bobbins are twisted three and a half times, and in bruges three times. as an illustration of the fact that the making of old valenciennes is a lost art, it is interesting to note that the last important piece of work executed within that town was a headdress presented by the town to the duchesse de nemoms on her marriage in 1840. the headdress was made by old women, the few real valenciennes laceworkers then surviving, with the praiseworthy and patriotic object of showing the perfection of the product of former days. there are several machine-made varieties of valenciennes. english valenciennes is chiefly made at nottingham; it is also called platt and normandy valenciennes. it is an imitation of the early hand-made lace, to the extent of having a similar diamond-meshed ground. its pattern is without relief, and the threads of which it is made are no heavier than the ground. french valenciennes is made mostly at calais. its pattern is usually outlined by a stouter thread than that forming the ground, and it has a finer finish and softer "feel" than the english valenciennes; in fact, it is an excellent imitation of the real. italian valenciennes is a narrow, fine-threaded lace, used for trimming fine underwear. {75} [illustration: schiffli or power embroidering machine.] {76} venice point.--a needle-point lace made at venice during the first half of the seventeenth century. it is somewhat difficult to apply the name exclusively to any one of the several varieties of venetian point made at that time; but venetian raised point, whose pattern is of large, beautifully designed flowers in decided relief and united by brides or bars, is commonly called venetian point. other names applied to this kind of lace are rose point, venetian flat point, carnival lace, cardinal's point, pope's point, and point d'espagne. these names simply register the various changes of style and manufacture in the history of this lace. with the exception of point d'espagne, which has a less valid claim to be called venetian point than the others, the various names given serve roughly to suggest the distinction between three separate stages in point of style and date of the fabric known broadly as "punto tagliato a foliani," or venetian point. they are generally given as follows: (1) venetian raised point, or gros point de venise, under which is included rose point; (2) venetian flat point, or point plat de venise, with its later variety, known as coraline point; (3) grounded venetian point, or point de venise ã  rã©seau, which includes burano point, so called from the island near venice, where it was made. with regard to raised point, it is worth noting, in addition to the characteristics already referred to, that the flower design is of a freedom and continuity that make the pattern so filling that there is very little space left for the ground, the bridework merely serving to hold the pattern strongly together. the cordonnet, or outlining thread, is unusually prominent, and the raised part is no less remarkable for its boldness in design than for its delicate workmanship. an italian poet has described this work as "sculptured in relief." in raised point the skill of the laceworker was informed by the instinct for beauty in such a degree as to produce one of the highest types of the art. rose point resembles raised point in all essential features, the only difference being that the designs are smaller and the ornamentation more abundant. the pattern is less filling and the connecting brides more prominent. flat venetian point is marked by an absence of the prominent raised work, the designs are more attenuated, and the brides are altogether more prominent than in the raised point. coraline point is a variety of flat point, which must be considered a deterioration in design on account of its ill-connected and irregular pattern, which was originally supposed to imitate a branch of coral. there is no raised work, the ground meshes are ill-arranged and ill-shaped, and on the whole this {77} lace marks the decadence of an art formerly almost perfect. it is more like an imitation of a free growth of plants, the tangled growth of a state of nature, as compared with the order and beauty of art. the grounded point, the last stage of development of venetian lace, began to be made to supply the markets of france after the fine old venetian point had been excluded by protective laws. the venetian lacemakers then adopted the rã©seau or net ground made at alenã§on. the ground is composed of double twisted threads, and has a rounder mesh than alenã§on, and there is no outlining cordonnet. in this variety of venetian point, which was produced during the latter half of the eighteenth century, the pattern is not so well arranged as in others, and there is a redundancy of ornamentation. the manufacture of venetian point is now almost extinct. the machine-made variety, produced on the schiffli embroidery frame, is now made at plauen and st. gall. (see plauen lace.) yak.--a stout, coarse pillow lace, made from the fine wool of the yak. the patterns are of simple, geometrical design, connected with plaited guipure bars that form part of the pattern, being made out of the same threads at the same time. the term is also applied to a machine-made worsted lace, produced in black, white and colors. it is used as a trimming for undergarments, shawls and petticoats. ypres.--a pillow lace resembling valenciennes, but sometimes with bolder designs and rather large lozenge or square mesh in the ground; also a type of valenciennes. * * * * * corrections made to printed original: page 2 in "though it was also regarded as the insignia":--"though", printed as "thought" in original. page 34 in "transferred to calvados":--"transferred", printed as "trasferred" in original. page 39 in "the leaves of the aloe":--"aloe", printed as "alol" in original. page 65 in "raised outline of buttonhole stitching":--"raised", printed as "raise" in original. page 75 in caption "schiffli or power embroidering machine":--"embroidering", printed as "embroldering" in original. note: project gutenberg also has an html version of this file which includes the original illustrations. see 26120-h.htm or 26120-h.zip: (http://www.gutenberg.net/dirs/2/6/1/2/26120/26120-h/26120-h.htm) or (http://www.gutenberg.net/dirs/2/6/1/2/26120/26120-h.zip) chats on old lace and needlework by mrs. lowes * * * * * books for collectors _with frontispieces and many illustrations large crown 8vo, cloth._ chats on english china. by arthur hayden. chats on old furniture. by arthur hayden. chats on old prints. (how to collect and value old engravings.) by arthur hayden. chats on costume. by g. woolliscroft rhead. chats on old lace and needlework. by e. l. lowes. chats on oriental china. by j. f. blacker. chats on old miniatures. by j. j. foster, f.s.a. chats on english earthenware. by arthur hayden. chats on autographs. by a. m. broadley. chats on pewter. by h. j. l. j. massé, m.a. chats on postage stamps. by fred. j. melville. chats on old jewellery and trinkets. by maciver percival. chats on cottage and farmhouse furniture. by arthur hayden. chats on old coins. by fred. w. burgess chats on old copper and brass. by fred. w. burgess. chats on household curios. by fred. w. burgess. chats on old silver. by arthur hayden. chats on japanese prints. by arthur davison ficke. chats on military curios. by stanley c. johnson. chats on old clocks and watches. by arthur hayden. chats on royal copenhagen porcelain. by arthur hayden. london: t. fisher unwin, ltd. new york: f. a. stokes company * * * * * [illustration: mary sidney, countess of pembroke.] mary sidney, countess of pembroke. born about 1555. died 1621. buried at salisbury cathedral. painted probably by marc gheeraedts. "underneath this sable hearse lies the subject of all verse. sidney's sister, pembroke's mother. death! ere thou hast slain another fair and learn'd and good as she, time shall throw a dart at thee!" chats on old lace and needlework by mrs. lowes with 76 illustrations london t. fisher unwin, ltd. adelphi terrace first impression 1908 second impression 1912 third impression 1919 [all rights reserved.] preface this little book has been compiled to emphasise and accentuate the distinct awakening of english women and needlecraft artists to the beauty of the ancient laces and embroideries which we own in the magnificent historic collections in our great public museums. we are fortunate in possessing in the victoria and albert museum monumental specimens of both lace and needlework. among the sumptuous lace collection there are most perfect specimens of the art of lace-making, and priceless pieces of historic embroidery made when england was first and foremost in the world in the production of ecclesiastical embroidery. the lace collection particularly, without compare, is illustrative of all that is best in this delightful art, being specially rich in magnificent pieces that can never be again obtained. these have mostly been given, or left as legacies, to the museum by collectors and enthusiasts who have made this fascinating hobby the quest of their lives. in addition to the collection formed by the generosity of the donors, the authorities have exercised a very catholic judgment in selecting the choicest and most illustrative examples of the lace-maker's craft. in the section devoted to embroideries, more particularly english (as it is with our own country's needlework i propose to deal), nothing more glorious in the nation's art records can be found than the masterpieces of embroidery worked by the great ladies, the abbesses and nuns of the mediæval period. in almost every other branch of art england has been equalled, if not excelled, by continental craftsmen; but in this one instance, up to the reformation, english work was sought after far and wide, and as _opus anglicum_ formed part of church furnishing and priestly vestments in every great cathedral in italy, spain, and france. it cannot be too soon realised that, as with old furniture, porcelain, and silver, much of the finest embroideries of england, and a vast quantity of the ancient laces of italy, france, and belgium are being slowly but surely carried off to the new world. american dollars are doing much to rob not only the old country of the fairest flowers of her garden, but the continent of their finest and best examples of the genius of the past. the vanderbilts and the astors, among others, possess immense fortunes in lace, whilst that omnivorous collector mr. j. pierpont morgan gives fabulous sums for any fine old relic of embroidery. many pieces of both classes of needlecraft have found a permanent home in the metropolitan museum of new york, and are lost for ever to the english student. it is, therefore, a pleasant duty to add my little quota of information to the study of these fascinating and exquisite branches of fine art which so specially appeal to all women by their dainty grace and delightful handicraft. i hope i may arouse some little enthusiasm in my countrywomen in the study of the past glories of both subjects, and in the possibility of once again becoming first and foremost in the latter branch. i beg to acknowledge the pleasure and help i have received from the perusal of the late mrs. bury palliser's exhaustive "history of lace," and lady alford's "history of needlework," and dr. rock's invaluable books on "ecclesiastical embroidery." emily leigh lowes. hillcrest, brixton hill, s.w. bibliography lace. the history of lace. 1 vol. mrs. bury palliser. sampson, marston & low. 1865. £2 2s. dentelles and guipures. 1 vol. e. lefebure. grevil. 1888. ancient needlepoint and pillow lace. alan sumnerly cole. london. 1873. the queen lace book. london. 1874. of lace. alan sumnerly cole. 1893. point and pillow lace. a. m. sharp. george newnes & co. 7s. 6d. venice and burano. ancient and modern lace. m. jesuram. venice. 1883. the history of handmade lace. mrs. jackson. upcott gill & son. 1900. 18s. seven centuries of lace. mrs. hungerford-pollen. 1st vol. issued 1908. needlework. textile fabrics. dr. daniel rock. south kensington handbook series. 1876. 1s. needlework as art. lady marion alford. london. 1886. £4 4s. english embroidery. a.f. kendrick. george newnes & co. 7s. 6d. art in needlework. day & buckle. batsford. 7s. 6d. contents page preface 7 bibliography 10 old lace chapter i. a brief history of lace 21 ii. the art of lace-making 33 iii. the laces of italy 45 iv. the laces of genoa and milan 57 v. the laces of france: needlepoint 69 vi. the laces of france: pillow 85 vii. the laces of flanders 99 viii. modern brussels and mechlin 119 ix. other continental laces 131 x. a short history of lace in england 139 xi. english laces 155 xii. scotch and irish lace 169 xiii. how to identify lace 179 xiv. sale prices 199 needlework chapter page i. old english embroidery 205 ii. the great period 217 iii. ecclesiastical embroideries and vestments 229 iv. tudor embroideries 245 v. early needlework pictures and accessories 253 vi. stuart caskets and mirror 267 vii. embroidered books and "black work" 275 viii. stuart pictures 289 ix. samplers 305 x. the william and mary embroideries 317 xi. pictorial needlework of the eighteenth century 331 xii. needlework pictures of the nineteenth century 347 xiii. embroidery in costume 355 xiv. sale prices 365 xv. conclusion 373 index--old lace 381 needlework 384 list of illustrations mary sidney, countess of pembroke _frontispiece_ old lace page egyptian cut and drawn work 20 old italian "cutworke" 20 early english samplers 23 original patterns by vinciola 27 original designs of reticella edgings by vinciola 31 chart of needlepoint réseaux 36 chart of pillow réseaux 39 venetian rose point 43 venetian rose point collar 48 examples of flat venetian point 51 marie de medicis wearing venetian point collar 52 example of gros point de venice 55 louis xiii. wearing genoese collar lace 60 genoese collar lace 63 milanese lace 67 old italian and french laces and cut and drawn work 72 "point de france" 75 point d'alençon 76 "point de france" and d'argentella 79 point d'argentan and point d'argentella 83 valenciennes 88 "lille" 91 empress eugenie wearing blonde lace 95 point d'angleterre 102 point d'angleterre lappet 105 brussels lace 109 brussels lappet 113 comtesse d'artois wearing brussels lace 117 marie antoinette 122 mechlin lappet 125 marie antoinette wearing mechlin lace 129 "duchesse" lace 135 queen elizabeth wearing venetian point ruff and cuffs 141 edmund spenser: collar trimmed with reticella 145 reticella falling collar 149 collar of gros point 153 old buckingham and early devonshire laces 159 old honiton lace 163 modern honiton lace 167 limerick "fillings" 173 carrick-ma-cross lace 177 reticella with genoa borders 182 point d'angleterre 185 italian ecclesiastical lace 189 brussels lappet 193 "point de gaze" 197 needlework egyptian embroidery 208 bayeux tapestry 211 king harold from bayeux tapestry 215 fragment from the "jesse" cope 221 the "syon" cope 225 the steeple aston altar frontal 232 the "nevil" altar frontal 235 diagram showing use of vestments 239 set of ecclesiastical vestments 243 early "petit point" picture 256 early "petit point" picture 259 stuart glove 263 stuart mirror frame 271 stuart book cover 278 queen elizabeth's pocket-book 281 "black work" cap 285 embroidery portrait of king charles i. 293 stump-work picture 297 "petit point" picture worked on satin 301 a seventeenth century "sampler" 309 early english "sampler" 313 jacobean hangings 319 enlargement of spray from hangings 323 queen anne picture 327 early georgian picture 334 "the last supper" 337 eighteenth century silk embroidered picture 341 black silk and hair picture 345 a "gainsborough" picture 361 i a brief history of lace [illustration: egyptian cut and drawn work. found in a tomb in thebes.] [illustration: old italian "cutworke." (_author's collection._)] chats on old lace i a brief history of lace early vestiges in egypt--lace found in st. cuthbert's tomb (685 a.d.)--drawn thread and cutworks--venetian lace--flanders lace--french laces--english lace. in every other art or craft we can search the history of ages and find some vestiges or beginnings among the earlier civilisations. possibly owing to the exquisite fragility of lace, there is a complete absence of data earlier than that of egypt. the astonishing perfection in art handicrafts of all descriptions which we find in china many hundreds of years before the christian era shows no vestiges of a manufacture of lace; but, in the tombs of ancient egypt, garments have been discovered with the edges frayed and twisted into what we may call a primitive lace, and in some of the coptic embroideries threads have been drawn out at intervals and replaced with those of coloured wools, making an uncouth but striking design. netting must have been understood, as many of the mummies found at thebes and elsewhere are discovered wearing a net to hold or bind the hair; and also, a fine network, interspersed with beads, is often discovered laid over the breast, sometimes having delightful little blue porcelain deities strung amongst their meshes. these early vestiges, however, are in no way representative of the later exquisite fabrics which we now know and recognise as lace. far nearer to them, as an art, are the early gold and silver laces of simple design found amongst the tombs of mycenæ and etruria, and those of a later date--_i.e._, the laces of gold used to decorate the vestments of the clergy, and the simple but sumptuous gowns of the middle ages. along with the stole and maniple of st. cuthbert, which are now at durham cathedral, was found a piece of detached gold lace, which must have formed a separate trimming. st. cuthbert died in 685 a.d., and was buried at lindisfarne, his body being afterwards transferred to durham to save it from the desecration of the danes who were ravaging the land. over the body was a cloth, or sheet, which was worked in cutworks and fringes, showing that even at so early a date initial efforts at lace-making had been attempted. [illustration: early english samplers, showing cut and drawn work. (_s.k.m. collection._)] as far as we can gather, the earliest endeavour at lace-making originated with the drawing of threads in linen fabrics, then dividing the existing threads into strands, and working over them, in various fanciful designs, either with a buttonhole stitch or simply a wrapping stitch. exactly this method is used at the present day, and is known as hem-stitching and fine-drawing. a later development suggested, apparently, cutting away of some of the threads, their place being supplied with others placed angularly or in circles. many delightful examples of the work are to be seen in our old english samplers of the sixteenth and seventeenth centuries, and even so recently as thirty years ago specimens of this primitive and early lace-making were to be seen in the quaint "smock-frock" of the english farm labourer, a garment which, though discarded by the wearer in favour of the shoddy products of the wakefield looms, is now deemed worthy of a place in the collector's museum. it required little effort of fancy and skill, by the simple process of evolution and survival of the fittest, to expand this plan of cutting away threads and replacing them with others to doing away _entirely_ with existing and attached threads, and supplying the whole with a pattern of threads laid down on some geometric fashion on a backing of parchment, _working over_ and _connecting_ the patterns together, and afterwards liberating the entire work from the parchment, thereby making what was known at the time as "punto in aria," or working with the needle-point in the air, literally "_out of nothing_." strange as this may appear, this was the origin, in the fifteenth century, of the whole wonderful fabric which afterwards became known as "point lace," which altered and even revolutionised dress, made life itself beautiful, and supplied the women of europe with a livelihood gained in an easy, artistic, and delightful manner. it also, however, led to ruinous expenditure in every country, at times requiring special edicts to restrain its extravagance, and even the revival of the old sumptuary laws to repress it. the earliest known lace, and by far the most popular with all classes, was "reticella," which was the first kind evolved on the "punto in aria" principle. until the discovery of an easy and simple way of decorating the linen ruffs and cuffs of the period these had been quite plain, as many contemporary portraits show. afterwards the fashion of trimming garments of all descriptions with the pointed wiry edges of venice became a mania, and led to imitation in almost every country of europe. the convents turned out an immense quantity, thereby adding enormously to the incomes of their establishments. it is assumed that it is to the nuns of italy we owe the succeeding elaboration of reticella, "needlepoint," the long, placid hours spent in the quiet convent gardens, lending themselves to the refinement and delicacy which this exquisite fabric made necessary. however this may be, it is certain that in a few years the rise and development of needlepoint lace-making was little short of phenomenal, and every convent was busy making it and teaching their poorer lay sisters the art. some of the wonderful old point of this period is absolutely finer than the naked eye can see, a powerful magnifying glass being necessary to discern how the marvellous "toile" or "gimpe" is made. [illustration: original patterns designed by vinciola. seventeenth century.] a little later, but still contemporary with the introduction of venetian lace, a pillow lace was being made in flanders, the origin of which is not as yet discovered. it is possible that the fine flax thread grown and manufactured there may, at the time of weaving, have suggested a looser and more ornamental material, but that remains a matter of conjecture. there must, however, have been an interchange of examples, as about this time pillow-made lace appeared in italy, and led to the making of the milanese and genoese varieties, and needlepoint motifs appeared amongst the woven network of flanders. lace, under the name of "lacis," had been known in france from the time of catherine de medici, who patronised the manufacturers and used it lavishly. about 1585 she induced federico di vinciolo, a lace-maker and designer of venice, to settle in france, and there the making of venetian lace was attempted. a mere slavish imitation of the venetian school resulted, and it was not until the age of the _grande monarque_, louis xiv., that french lace rivalled that of venice. colbert, the great french minister, becoming alarmed at the enormous sums spent on italian lace, determined to put a check to its importation; and, by forbidding its use, establishing lace schools near alençon, and bribing italian workers to come over as organisers and teachers, started the manufacture of lace on an extensive scale, the beautiful fabrics known as point d'alençon, point d'argentan, and point d'argentella being the result. it is frequently said that the last-named lace came from genoa or milan, but most of the present-day authorities agree that this is one of the many fairy tales with which the passing of time has adorned the history of lace. the persecution of the protestants when the huguenots fled to england, bringing with them their arts of silk-weaving and lace-making, led to the introduction of english lace. devonshire apparently received a contingent of laceworkers quite distinct from those who settled in buckinghamshire and bedfordshire, and from the first stages showed far finer methods and designs. with the exception of "old honiton," england cannot boast of anything very fine, and even this is merely a meaningless meandering of woven tape-like design for the greater part. the lace of buckinghamshire ranks, perhaps, lowest in the scale of lace products, its only merit being its extreme durability. the laces of ireland are of comparatively recent growth, and though in many instances exquisitely fine, do not as yet show much originality. [illustration: original patterns designed by vinciola.] ii the art of lace-making [illustration: needlepoint réseaux. no. 1.--brussels. no. 2.--alençon. no. 3.--argentan. no. 4.--argentella.] ii the art of lace-making needlepoint--pillow laces--charts of various réseaux--technical terms. lace-making naturally falls into two classes--the needlepoint and pillow varieties. in some laces, more especially of the belgian class, there is a _mixed_ lace, the "toile" or pattern, being worked with the needle, and the ground, or "réseau," made round it on the pillow and _vice versâ_. to the first-named class we must assign the needlepoint laces of italy and the exquisite handmade laces of france. to the latter order belong the early macramé lace, called "punto a groppo"; the genoese and milanese laces of italy; mechlin and brussels of belgium; valenciennes, lille, and chantilly of france; and the english laces of honiton, buckinghamshire, and bedfordshire. pillow lace may be easily distinguished from point lace, as in the former the ground, or réseau, is made of plaited threads. that of point lace is composed of threads made by the use of the buttonhole stitch only, or, in the case of alençon point, the mesh is worked in a special manner. the later laces, _i.e._, those made during the last hundred years, have frequently a ground of machine lace, and thus, strictly speaking, are not lace at all, but only embroideries or appliqués. the machine-made ground can be distinguished by sense of touch alone. if we take a piece of hand-made net between the finger and thumb and slightly roll it, it will gather in a soft little roll, with the touch almost of floss silk. the machine-made net is hard, stiff, and wiry, and remains perceptibly so in this test. also, the mesh of machine-made lace is as regular as though made with a fine machine fret-saw, that of hand-made lace being of varying sizes, and often following the pattern of the lace design. the accompanying diagram illustrates the various grounds, and will prove an infallible guide in distinguishing the points of difference between point and pillow lace. various special and technical terms are used in describing the method of making lace. without burdening the reader too much, a few special terms must be explained. _brides_ (literally "bridges").--these are the connections between the various parts of a lace design, both in needle-point and bobbin lace. in the former, they are made entirely of a strand or two of thread thrown across, and then buttonholed over, sometimes with tiny loops on the edges, and in venetian lace often having minute stars worked upon them. [illustration: pillow réseaux. no. 1.--valenciennes. no. 2.--brussels. no. 3.--lille. no. 4.--mechlin.] _beading._--a tiny looped edge used to finish woven or pillow-made lace. _bobbins._--one of the essential parts of a pillow worker's outfit. these are small, elongated bobbins made of ivory, bone, or wood, on which is wound the lace-maker's thread. sometimes they have been made very ornamental with carving and other decorations, and frequently have "gingles," or a bunch of coloured beads attached to one end. the terms "bobbin lace" and "bone lace" are derived from these and are synonymous with "pillow lace." _cordonnet._--in most _point_ laces the design is outlined with a raised _cord_ either worked over closely with buttonhole stitches, or made separately and then stitched down. the cordonnet is one of the characteristic features of the raised venetian points and the french laces of alençon or argentan. _couronnes._--these are decorations of the cordonnet especially noticeable in the raised venetian laces, in which sometimes the lace is raised and worked upon no less than four separate times. _dentelé._--lace designed in scallop-form, chiefly used for border laces. _fillings._--this word most easily explains the ordinary terms of "modes" and "à jours." the inner parts of the pattern in needlepoint and pillow lace are filled in with various ornamental stitches, showing an amazing variety of design. by these fillings various laces may often be distinguished, as each factory had its favourite "modes." _grounds._--there are two varieties of grounds, one made with brides, and the other either with needlepoint or pillow network. other names for these are "réseaux" and "fonds." the method of making needlepoint or woven ground often decides the date and class of the lace. _guipure._--literally a _tape lace_. the name however is applied to all pillow laces having a tape-like design on them. _picots._--the little loops used to ornament a plain bride or tie. [illustration: venetian rose point. (_s.k.m. collection._)] iii the laces of italy [illustration: venetian rose point. seventeenth century. (_author's collection._)] iii the laces of italy _the venetian laces_ venetian lace--"rose point"--"point de neige"--"gros point"--"punto tagliato a foliami"--the south kensington collection. needlepoint lace is made with needle and thread and principally in buttonhole stitches. a traced parchment pattern is procured, the outline made with a solitary thread stitched down to the parchment at frequent intervals. the thread is then worked over with fine buttonhole stitches; the modes or fillings have a fine network of threads stretched across, afterwards being buttonholed into a variety of designs. the edges are then again worked upon with loops or picots, and in "rose point" tiny stars or roses are worked on suitable parts of the design, sometimes the "roses" or "stars" being three in numbers, one poised upon the other. this is known as "point de neige" the whole surface of the lace being literally sprinkled with tiny stars somewhat representing a fine snowfall. the design is then connected with fine "brides," these in their turn being dotted and purled with stars and loops. most of this exquisite lace requires a powerful magnifying-glass to discern the intricacy of the work. the finest lace of this variety was produced in the sixteenth century, the designs being bold, handsome, and purely renaissance in type. that of the louis quatorze period shows the personal influence of his reign, frequently having tiny figures worked in the design. a collar in my possession has the indian worshipping the sun (the king's glory was said to rival that of the sun) repeated in each scallop. this was a favourite design in the magnificent "point de france" which was made during the long reign of louis, under the management of colbert. it is absolutely certain that the laces known as venetian point originated in italy. pattern books still exist showing how the early reticella developed into this magnificent lace. in the national library at the south kensington museum, may be seen the very patterns designed by vinciolo, vicellio, and isabella parasole. these publications actually came from venice, and being reproduced in france, germany, belgium, and england, quickly aroused immense enthusiasm, and lace-making spread far and wide, at first all other laces being mere imitations of the venetian. [illustration: coralline point (venetian).] [illustration: point plat de venise (flat venetian). (_author's collection._)] [illustration: marie de medicis wearing the medicis collar to display venetian laces.] the chief varieties of the venetian laces are known as rose point, point de neige, gros point de venise (often erroneously attributed to spain and called spanish point), and point plat de venise. a much rarer variety is "venetian point à réseau," which is the flat point worked round with a needlepoint ground or mesh, the network following no proper order but being simply worked round the pattern and following its curves. the chief characteristics of venetian lace are the buttonhole cordonnet, fine or thick according to the style of lace; the wonderful diversities of the fillings worked in buttonhole stitches; the elaborate decoration of the cordonnet; and the starry effects of the brides or ties. in the flat venetian point there is no cordonnet. these italian laces were admired and purchased by all the european countries, and the cities of venice and florence made enormous fortunes. the fashions of the day led to their extensive use, marie de medicis introducing the medici collar trimmed with venetian points specially to display them. at a little later period the collar became more falling and the heavier "gros point" was used. men and women alike wore lace-trimmed garments to an excessive degree, the collar and cuff trimmings being composed of wide venetian lace and the silken scarf worn across the body being edged with narrower and finer lace. the principal designs for the venetian lace of all periods were scrolls of flowers conventionalised in the renaissance taste of the time. the generic name for all laces of the finest period is "punto tagliato a foliami." the laces of this time are now almost priceless. they are genuine works of art, worked slowly and patiently under the clear light of the italian skies by women who were naturally artistic and beauty loving, and who, while working the shining needle and fairy thread in and out of the intricacies of the design sang the pretty "lace songs" which may be heard at the burano lace school even now, although 200 or 300 years old. many specimens of this exquisite lace are to be found in the south kensington museum, where the flounce given by mrs. bolckow at once explains the whole scheme of venetian lace-making. such lace is not to be purchased now except at great price. the piece illustrated, see page 55, was only 1-1/8 yards in length, and was sold for £145 by one of our leading lacemen. barely 5 yards of venetian lace, only 2 inches wide and _in rags_, was sold at debenham & storr's in august, 1907, for £60; and even the smallest collar or a pair of cuffs runs well into £10. even in the days of its manufacture this lace commanded high prices. in the inventory of queen elizabeth's gowns we find such entries as-"to 1 yard double italian cut-worke, 1/4 yd. wide. 55/4. " 3 yds. broad needlework lace of italy, with purls. 50/per yd." james ii. paid £29 for a cravat. [illustration: very fine example of "gros point de venise."] iv the laces of genoa and milan [illustration: louis xiii. of france, showing vandyke lace collar and narrower lace on scarf.] iv the laces of genoa and milan argentella wrongly called italian--genoese--mixed laces--milanese--macramé. these are mostly pillow laces, but fine point laces were also manufactured in these towns. in the first-named town it is said that the lace called "argentella" was made, but this is extremely doubtful, most authorities arguing that it was certainly a french lace made at the best period. a very representative lace of genoa is known as collar lace, very widely used for the falling collars of the vandyke period. it was an exceedingly beautiful and decorative lace, and almost indestructible. specimens of this lace can even now easily be secured at a fair price. the laces known as "pillow guipure" are somewhat open to question, the authorities at south kensington museum agreeing to differ, and labelling most of the specimens "italian or flemish." the finer pieces of this type of lace may safely be described as "flemish," as the flax-thread grown and made in flanders was much finer than that grown in the southern countries. much of the genoa lace was worked in what we term "mixed lace," the design being woven on the pillow, and the ground and fillings worked in with the needle either in a network or by brides and picots. a much inferior kind is made with a woven braid or tape, the turns of the pattern being made in twisted or puckered braid, much after the style of the handmade point lace made in england some thirty years ago. this lace was known as "mezzo punto," though the french were discourteous enough to term it "point de canaille," as undoubtedly it was an imitation of the finer laces made in a loose, poor style. the lace of milan is unquestionably the most beautiful of the pillow laces of italy. while resembling the plaited lace of genoa, there is more individuality about it. much of this fine lace was worked for church vestments and altar cloths. various heraldic devices are frequently introduced, surrounded with elegant scroll designs, the whole being filled up with woven réseau, the lines of which are by no means regular, but are made to fill in the interstices. yet another italian lace is known as _punto a groppo, or macramé_. no doubt this was the earliest form of woven lace, and, indeed, it may claim an origin as early as the first garments worn by mankind. in the earliest remains of antiquity a _fringe_ often decorates the edges of garments, curtains, and floor-covering, and seems to be a natural and fitting finish to what would otherwise be a hard, straight line. in the various assyrian and egyptian monuments this is noted again and again. [illustration: genoese lace. sixteenth or seventeenth century. (_s.k.m. collection._)] some of the sixteenth-century pieces which we possess show simply an elaboration of the knotted fringe, while much of the later work is exceptionally fine. the work is so well known, owing to its revival during the last thirty years in a coarse form, that it needs little description. its use, even at its best period, was confined to household use, for which purpose it seems particularly adapted. [illustration: milanese lace. (_author's collection._)] v the laces of france [illustration: "cut-worke."] [illustration: lacis.] [illustration: old italian and french cut and drawn work and "lacis." (_author's collection._)] v the laces of france _the needlepoint laces of france_ catherine de medici's collection of "lacis"--establishment of lace-making by colbert--"point de france"--"point d'alençon"--"point d'argentan"--modern reproduction of these at burano, italy. france in the sixteenth century, as always, led the van of fashion. lace appears to have been extensively used long before its apotheosis at the court of louis le grand, otherwise louis xiv. catherine de medici patronised the manufacture of "_lacis_," which was merely darned netting, more or less fine. at this time "lacis" and "cut-worke" were practically all that was known or used. bed-hangings, curtains, and furniture-coverings were covered with alternate squares of lacis and cutwork. afterwards the reticella laces of italy were imported and had an immense vogue, but it was not until the artistically glorious time of louis xiv. that an attempt was made to encourage a manufacture of french laces. colbert, the astute minister of louis xiv., became alarmed at the immense sums of money which went out of the country to purchase the laces of venice, and, by means of bribing the best workers of the venetian schools, he induced them to settle at l'onray, near alençon. in 1665 he had so far succeeded that lace rivalling that of venice was being produced. the venetians became alarmed in their turn (as, indeed, they had need to be) and issued an edict, ordering the lace-workers to return forthwith, or, failing this, the nearest relative would be imprisoned for life, and steps would be taken to have the truant lace-worker _killed_. if, however, he or she returned, complete forgiveness would be extended, and work found them _for life_ at handsome remuneration. history does not tell us the result of this decree, but it evidently failed to destroy the lace manufacture of france. at first the lace manufactured at alençon received the name of "point de france," and was absolutely indistinguishable from that of venice. its magnificence of design, indeed, may be said to have exceeded anything before attempted. the introduction of tiny figures was attributable to the overwhelming personality of louis xiv., and was symbolical of his magnificent sway and far-reaching influence. in the illustration, page 55, an especially fine specimen of the lace, madame de montespan is seen seated under the crown, two small indians are on either side; a tree bearing flags and trophies completes this tribute to the genius of the lace-makers and the splendour of the court. [illustration: "point de france." (_the property of lady kenmare._)] [illustration: point d'alençon. (_author's collection._)] the name "point de france" is given to all lace made from its commencement by colbert's direction until about 1678, when the lace-workers, perhaps forgetting the traditions of the venetian school, developed a style of their own and the work became more distinctly french, being more delicate, finer in substance, the patterns clearer and more defined. the importation also of the finer flax thread from flanders brought the more exquisite pillow lace of brussels to the notice of the french lace-workers. the french, as a nation, have always been foremost in seizing upon new ideas and adapting them to their own artistic requirements. in this instance the result was admirable, and it gave to the world, not the finest lace, as it was impossible to surpass the earliest venetian point laces, but certainly the next lace in order of merit, "point d'alençon." the chief characteristic of the lace is the fine, clear ground, the stiff cordonnet outlining the pattern, and the exquisite patterns in the "jours" or fillings. the cordonnet of alençon is the only one which has horsehair for its foundation. a strand of hair is carefully stitched down to the edges and is buttonholed over with the finest thread, and is said, although giving the lace quite a character of its own, to have been the cause of much of its destruction, as, in washing, the hair contracts and curls. it will be noticed also that the ground is worked in strips, _shortways of the lace of less than an inch in length_, afterwards being stitched together in what is known as "fine joining." so elaborate was the original point d'alençon that no less than eighteen workers were engaged on one single piece. later the number was reduced to twelve, when the patterns became less ornate. although the factory of alençon existed well into the early nineteenth century, the style of lace gradually deteriorated, until it is now non-existent! the lace made during the long reign of louis xiv. is considered by far the finest and best, showing both grandeur of style and pattern and exquisite workmanship. under louis xv. the lace was equally well made, but the patterns followed the rococo designs which were now introduced into all other decorative work, while in the reign of the ill-fated louis xvi. it went completely out of fashion, marie antoinette affecting a much simpler style of lace. the revolution finally caused the complete overthrow of alençon lace, as of all fine art work in france. an attempt was made by napoleon i. to revive it, but its glories had passed, and the hands of the workers had lost their cunning, the result being known as the worst type of lace, stiff and ugly in design and coarse of execution. "_point d'argentan._" this lace is practically the same as alençon with a variation of ground, which, to the uninitiated, appears coarse. a magnifying glass, however, will speedily dispel this illusion. the ground in itself is a marvellous piece of work, each of the sides of the mesh being covered with ten buttonhole stitches. very frequently a mixed lace of alençon and argentan is found, the result being very fine. [illustration: "point de france." (_author's collection._)] [illustration: point d'argentella.] _point d'argentella._ about this lace most authorities dispute, some stoutly advocating its claims to be french lace entirely and others averring that it was made _in imitation_ of the point d'alençon by the genoese. be this as it may, the lace known as point d'argentella is exceptionally fine even amongst other fine laces, and is noted most specially for the fine "jours" which form an essential part of the pattern, every effort apparently being made to give extra scope for their employment. the specimen illustrated shows some of these "jours" having the characteristic mayflower, lozenge, and dotted patterns. much modern lace of this type is now made at burano, italy, where the coarse italian lace formerly made there has been entirely superseded. it strongly imitates alençon and argentan lace, but is without the raised cord which is so typical of these, having the pattern outlined with flat buttonhole stitches only. by many connoisseurs this is considered the finest lace of this age, being far superior to modern brussels. it is entirely handmade, which cannot be, unfortunately, averred for brussels, as the fine machine-made net, woven from the exquisitely fine thread manufactured in flanders and belgium, serves as the ground for all brussels lace made at the present time, except when special orders like royal trousseaux are in hand. the lace-makers of burano, it may be added, imitate the finest venetian rose point, point de gaze, alençon, ever produced, the prices comparing very favourably with the old work, though still very costly. [illustration: point d'argentan with point d'alençon border. (_s.k.m. collection._)] [illustration: argentella lace, showing the "partridge-eye" ground. (_s.k.m. collection._)] vi the pillow laces of france [illustration: early valenciennes. (_s.k.m. collection._)] [illustration: old valenciennes. (_author's collection._)] vi the pillow laces of france valenciennes, "vraie" and "fausse"--lille--chantilly- blonde--caen and brittany. _valenciennes._ valenciennes was formerly part of flanders, being in the province of hainault. it became a french town in 1668 by treaty. being a flemish town, the lace made there was purely pillow lace, and in fineness of thread and beauty of design it rivalled in its early stages some of the fine old flemish laces, which are more like ornamental cambric than anything else. there are two kinds of valenciennes lace, known as "vraie" and "fausse." these names are very misleading, as they merely denote the laces made in the town itself, or in the outskirts. early valenciennes can only be distinguished from flemish laces of the same age by the difference in the _ground_. by reference to the little chart of lace stitches the distinction will easily be seen, the valenciennes being much closer and thicker in the plait, and having four threads on each side of its diamond-shaped mesh. conventional scrolls and flowers were used as designs for the toile, the ground and the pattern being made at the same time. this lace is said to have been worked, like that of brussels, in dark, damp cellars, the moist atmosphere being necessary to prevent the tiny thread breaking. the lace-workers became nearly blind, and quite useless, long before they reached thirty years of age. so expensive was the fabric that a pair of ruffles for a gentleman's coat would sell for 4,000 livres. madame du barri made extravagant use of this lovely lace. in her wardrobe accounts are mentioned, in 1771, head-dress, throatlets, fichus, and ruffles, "all plissé de vraie valenciennes." the amount of lace used for a head-dress alone is said to have cost 2,400 livres. the "vraie valenciennes" was practically indestructible, earning the nickname of the "eternal valenciennes" from its durability. the well-to-do bourgeoise used to invest her savings in real lace, treasuring and wearing it on all best occasions for a lifetime. the lace-makers of the town itself were so satisfied with their own lace that they proudly boasted that if a length commenced in the town of valenciennes were taken and completed _by the same worker, and with the same thread_, outside their own damp atmosphere, the exact point of difference would be shown in the piece. [illustration: "old lille." (_author's collection._)] the earliest valenciennes laces show a closer design than that made later, which, by the way, many connoisseurs much prefer. the latter type is of clearer ground and more open design. the flowers do not follow the large scroll-like pattern of flanders, but suggest the detached sprays and festoons of alençon and argentan. in both types there is no cord outlining either pattern or edge. all is flat as a piece of fine lawn. _lille._ by no means a _favourite_ lace at any time, lille ranks next in merit as a hand-made lace. the mesh is clearer and larger than most french or belgian laces, being made by the simple twisting of two threads on four sides. the patterns are simple, and are outlined with a loose flax thread of silky appearance. the straight edges which characterise old lille lace certainly did not lend elegance to it. a large manufacture in black lace was commenced, and the black silk mantles of the eighteenth century were lavishly trimmed with it. it is entirely out of favour at this day, however, only the finest white variety being sought after. lace is still manufactured at lille, but the patterns of mechlin are copied, although the tiny square dots, one of the distinguishing points of old lille, are still used. _chantilly._ the white laces of chantilly much resemble lille, having the same fine, clear ground and a thick, silky-looking thread outlining the pattern. a little lace school was established by the duchesse de rohan early in the seventeenth century, and for quite a hundred years white laces were made, and became popular. marie antoinette used this pretty lace as well as valenciennes extensively to trim her favourite lawn dresses and fichus when she and the ladies of her court retired to the petit trianon to play at being shepherdesses. about the middle of the eighteenth century chantilly began to produce black silk lace of very fine quality. this is practically the only black lace for which there is any market. a chantilly fan or a chantilly shawl will always find purchasers. the exquisite fineness of its ground, the elegance of its floral festoons and bouquets, make it a desirable possession. with the revolution the manufacture of real old black chantilly ceased, and was only revived with the empire, when, in addition to copying the old designs, the manufacture of the famous _blonde_ laces was commenced. _french blonde lace._ at first these filmy silk laces were made in the natural colour floss silk imported from china, hence its name "blonde." some of the finest specimens are in this colour. afterwards, when the art of bleaching the silk was discovered, it was made in a peculiarly silvery colour, the loosely woven silk being worked in patterns on what appears a ground of gossamer. black blonde was afterwards manufactured, the lace being very different to that of nineteenth-century manufacture, the mesh being large and open. this was a favourite lace with the spaniards for mantillas, and much prosperity resulted to the little town of chantilly. as with all other laces, the introduction of machinery killed the industry as an art, and the only blonde laces now made are by machine, and are quite inartistic and inelegant. hand-made chantilly in black silk is still manufactured, but it has only a limited output. [illustration: "the empress eugenie" wearing blonde lace. (_from a baxter print._)] _other french laces._ lace has been made in many smaller towns in france, but in no instance has it been of sufficient artistic merit to have made a name. caen manufactured blonde lace in imitation of chantilly. in normandy the peasant women and girls in the eighteenth century were specially diligent, and made praiseworthy imitations of mechlin, flemish guipure laces, and brussels, and also introduced the working of gold and silver thread and even beads, which was much used in churches. some really exquisite blonde lace made in this manner was produced at caen, fine pearls were used in the place of beads, and this lace became extremely popular in england. the empress eugénie was particularly fond of it, and in most of the portraits of her at the zenith of her beauty she is seen wearing decorated blonde lace. it is said that this lace so soon soiled and spoiled in the making that only women having specially dry hands could be employed, and that during the summer months the lace was worked in the open air, and in the winter in rooms specially built over cow-houses, so that the animals' breath might just sufficiently warm the workers in this smokeless atmosphere. other towns engaged in lace-making were havre, dieppe (the latter town making a lace resembling valenciennes), bayeux, which carried on an extensive trade with the southern islands; mexico and spain taking an inferior and heavy blonde lace for mantillas. in bretagne so dear is lace to the heart of the french peasant woman that every garment is trimmed with lace, often of her own making; and along with the provision of a little "dot" for her daughter she makes pieces of lace for her wedding dress. a curious custom is noted, that the peasant woman often wears this treasured garment only twice, once for her wedding and lastly for her funeral! vii the laces of flanders [illustration: point d'angleterre. period louis xiv. (_author's collection._)] vii the laces of flanders early flemish--brussels lace--point d'angleterre--cost of real flanders flax thread--popularity of brussels lace--point gaze. whether italy or flanders first invented both needlepoint and pillow laces will ever remain a moot point. both countries claim priority, and both appear to have equal right. italian needlepoint without doubt evolved itself from the old greek or reticella laces, that in turn being a development of "cutworke" and drawn thread work. flanders produces her paintings by early artists in which the portraits are adorned with lace as early as the fourteenth century. an altar-piece by quentin matys, dated 1495, shows a girl making pillow lace, and later, in 1581, an old engraving shows another girl busy with her pillow and bobbins. an early flemish poet thus rhapsodises over his countrywomen's handiworks: "of many arts, one surpasses all; the threads woven by the strange power of the hand- threads, which the dropping of the spider would in vain attempt to imitate, and which pallas herself would confess she had never known." whether flanders imitated the italian laces or not, it is unquestioned that every other lace-making country imitated _her_. germany, sweden, france, russia, and england have, one after the other, adopted her method to such an extent that, following the tactics of venice in 1698, she also issued an edict threatening punishment to all who would entice her workers away. so alike are the early laces of flanders that it is impossible to distinguish what is known as flemish point, brussels point, and point d'angleterre. the last-named lace is peculiar, inasmuch as it has a french appellation, is named "english," and yet is purely brussels in character. two stories gather round this lace, which accounts for its name. one is that the english government in the time of charles ii., seeing so much money go out of the country, forbade the importation of brussels lace. the english lace merchants, not to be done out of their immense profits, smuggled it over in large quantities, and produced it as having been made in devonshire, and sold it under the name of english point. another legend is that when colbert, in the reign of louis xiv., determined to encourage lace-making in his own country, made prohibitive the importation of any other lace than france's own manufacture, the french court, which had already become enamoured of brussels lace, therefore had it smuggled into england and thence to france, as _english laces_ were at that time too insignificant to come under colbert's ban. [illustration: point d'angleterre. period of louis xiv. (_author's collection._)] whichever tale we choose to believe is of little consequence. it is sufficient to say that fine point d'angleterre is simply brussels of the best period when the glorious renaissance was at its height. it is absolutely indistinguishable from brussels of the same period. the specimen lappet, illustrated, shows the "figure" motif which appears in "point de france" and the old "venetian point," and which at once dates its manufacture. practically the term flanders or flemish lace can be applied to all the laces made in flanders and belgium of the earliest periods. it is peculiarly fine; the specimen shown is as fine as gossamer, showing a total absence of cordonnet, of course, and not even having the loose thread which marks the stems and leaves of brussels and angleterre. the flax of flanders was at the time of the great lace industry known and imported to all the towns engaged in making it. italy could procure nothing so fine and eminently suitable to the delicate work she made her own as this fine thread, grown in flanders, and spun in dark, damp rooms, where only a single ray of light was allowed to enter. the thread was so fine, it is said, that it was imperceptible to the naked eye and was manipulated by touch only. the cost of this thread was £240 a pound, and one pound could be made into lace worth £720! real flanders lace thread even now, spun with the help of machinery, costs £70, and is nothing like so durable as the old threads. when we consider that lace to be known as "old lace" must be two hundred or three hundred years old, we can understand the strength of this fairy thread, which was like a spider's web in filminess and yet durable enough to last centuries of wear, and remain as a lasting memorial of its beauty. brussels the early flemish laces cannot be traced to any particular town, but brussels early obtained a reputation for the production of the soft, elegant laces which are variously known as "real old brussels," "point d'angleterre," "point d'aiguille," and "point de gaze." almost every woman, although knowing little about lace as an art, knows and easily recognises "brussels." it has ever been the most popular lace, partly because its price has never been actually prohibitive, although always costly. choice pieces of old brussels, with real ground, rank among the laces of france and venice as pieces of price, but the later period, especially the kind known as brussels applique, is within everybody's reach, even if only as a border for a best handkerchief. [illustration: "old brussels" (hand-made ground). (_author's collection._)] [illustration: brussels lappet, made in imitation of alençon and argentan.] lace made at brussels at all periods has one characteristic that places it at once and makes identification easy at a glance. the threads of the toilé--that is, the pattern--follows the _curves_, instead of, as in other flanders laces, being straight _up_ and _down_ and _across_, each thread being exactly at right angles to the other; brussels lace also has a distinctive edge to its pattern. it has no cordonnet, but a little set of looped stitches worked along the edge of the design, afterwards whipped over to keep the edge in place. this is most clearly seen in every specimen, and, in conjunction with the curved toilé, at once settles the vexed question of the origin of point d'angleterre. the mesh or ground is, again, quite different to other laces. it has three varieties of ground-1. one, mostly used in point d'angleterre, being of fine "brides" with four or five picots, but this ground is also seen in venetian and french laces. 2. a hand-made ground made of looped buttonhole stitches, which is the finest and most gossamer-like of all; and 3. a woven ground made on the pillow with plaited thread, very like mechlin, but under the magnifying glass having two longer sides to its hexagonal mesh, and therefore being more open and clear. the hand, or rather needlepoint, ground was three times more expensive than the woven, as it was stronger and more lasting. the special value of the "vrai reseau" in our own day is that it can be imperceptibly repaired, the broken stitches replaced, whereas in the woven ground the point of junction must show. the needle-made net is so fine that one piece in my possession, though measuring 3/4 yard by 8 inches can easily, in its widest part, be gathered and passed through a finger ring. at the present day this net is not made, and even the fine woven ground is not used except for royal wedding orders or for exhibition purposes. a magnificent piece belonging to messrs. haywards, of new bond street (which cannot be photographed, unfortunately, as it is between two sheets of glass, and might fall to pieces if taken out), was made for george iv., and not delivered, owing no doubt to the usual depleted state of that monarch's exchequer. messrs. haywards (whose courtesy is as boundless as their reputation) are always pleased to show this and their other splendid specimen collections to those interested in old lace. perhaps no lace is so diversified in style as brussels. at first it was purely flemish, and almost indistinguishable from it. then the venetian influence crept in, and elaboration of pattern and the renaissance scrolls and flower work showed itself. at the louis quatorze period the introduction of the "fairy people," seen at its finest and best in point de france, marks a time of special beauty. afterwards the influence of alençon was shown (though it never rivalled the exquisite lace of this factory), and from that time to the present day these designs have remained for use in its best work. some of the choicest specimens of old brussels are shown in the now discarded "lappets," which when a lace head-piece and lappets were part of every gentlewoman's costume, were actually regulated by sumptuary laws as to length. the longer the lappets the higher the rank. [illustration: brussels lappet. eighteenth century. (_s.k.m. collection._)] the great napoleon, while reviving the lace-making of alençon, specially admired fine old brussels, and at the birth of his only son, the little "king of rome," ordered a christening garment covered with the napoleonic "n's," crowns and cherubs. this was sold in 1903 at christie's for £120. at the same sale a court train realised £140. in the "creevy papers, 1768-1838," mention is made of lord charles somerset complaining of not having slept all night, "not having had a minute's peace through sleeping in 'cambrik sheets,' the brussels lace with which the pillows were trimmed tickling his face"! this occurred at wynyards, the seat of the earl of londonderry. queen anne followed the extravagant fashion of wearing the costliest laces which william iii. and queen mary carried to such an excess. in 1710 she paid £151 for 21 yards of fine brussels edging, and two years later the account for brussels and mechlin laces amounted to £1,418. in the succeeding reign the ladies of george i.'s period wore lappets and flounces, caps, tuckers, aprons, stomachers, and handkerchiefs, all made of brussels. in the time of george ii. lace was even more worn, but english lace began to rival brussels, not in quality, but as a substitute. george iii. and his wife, queen charlotte, were economists of the first order, and personal decoration was rigidly tabooed; hence the almost total extinction of lace as an article of apparel, while in george iv.'s time dress had evolved itself into shimmery silks and lawns, lace being merely a trimming, and the enormous head-dress decorated more frequently with a band of ribbon. an exquisite portrait of louis philippe's queen, marie amelia, by the early victorian painter winterhalter (whose paintings are again by the revival of fashion coming into favour) shows this fine old _grande dame_ in black velvet dress covered with three graduated flounces of brussels lace, cap and lappets and "tucker" of the same lace, lace fan, and, sad to relate, a scarf of english machine-made net, worked with english run embroidery! although good queen adelaide had a pretty fancy for lace, she wore little of it, and it was left to queen victoria to revive the glory of wearing brussels to any extent; and she, alas! was sufficiently patriotic to encourage home-made products by wearing almost exclusively honiton, which i personally am not good englishwoman enough to admire except at its latest stage (just the past few years), when lace-making, as almost every other art work in this country, is emerging from what, from an artistic point of view, has been one long slough of despond. [illustration: comtesse d'artois, wife of one of louis xiv.'s grandsons, wearing fine brussels lace.] viii the modern brussels laces and mechlin [illustration: an old print of "marie antoinette," showing the simplicity of adornment she affected. "mechlin" lace.] viii the modern brussels laces and mechlin modern brussels, point gaze--ghent--duchesse point--mechlin (the queen of laces). magnificent laces are still made at brussels, but almost wholly on a machine-made ground, the workers and merchants apparently finding the old hand-made ground unprofitable. the machine-made ground is cheap, and often of mixed flax and cotton instead of being of purely flanders flax thread, as in the old days. both quality and colour suffer from this admixture, the lace washing badly and wearing worse. the most common lace is the point applique, in which the sprays, groups, and borders on the design are made separately by hand on the pillow, and are afterwards applied by tiny stitchings to the machine-made net. some qualities are better than others. in the better class the sprays are appliqued to the net, which is then cut away and the interstices of the design filled in with hand-made modes and brides, making a very pretty and showy lace. the best lace made in brussels now is _point gaze_, in which the finest modern lace is produced. its chief characteristics are its superb designs, repeating many of the fine renaissance patterns, its clear ground, and its use of shading in leaves and flowers, which, while it adds much to the sumptuous effect, is possibly too naturalistic. this lace is a mixture of hand and machine lace, the ground being of the best machine net, the flowers and sprays frequently needle made, the various fillings being composed of a variety of designs, and the shading often being produced in the needle-darning as in modern ghent and limerick. point de gaze is costly, but it has the reputation of appearing "worth its money" to which few other laces of the present day can aspire. other lace-making towns in belgium and flanders are-_ghent_, which produces a fine machine-made net, worked and embroidered in exact imitation of the earliest limerick lace. so _real_ is this imitation that a fine flounce of 4 yds. 32 in. wide was sold at a london auction-room a few months ago, as "real old limerick," for £60! ghent executes vast quantities of hand-made imitations of valenciennes, a good and durable lace, but much more expensive than the machine-made varieties which flood the shops as "real val." [illustration: mechlin lappet. eighteenth century. (_s.k.m. collection._)] perhaps the only other lace worth mentioning in smaller and later varieties is that known as "duchesse point" or "bruges," which while being a showy, decorative, and cheap lace, is anything but satisfactory either in design, manufacture, or wear. it is largely composed of cotton, is heavy and cumbrous in design, and after washing becomes thick and clumsy. it is pillow-made, the flowers being made on the cushion and afterwards united by coarse and few brides. almost equal in favour with old brussels lace was mechlin, which was aptly termed "the queen of laces." old mechlin was wondrously fine, and transparent. it is often spoken of as "point de malines" which, of course, is entirely wrong, as it is not point at all--being made entirely, all at one time, or in one piece, on the pillow. much of the lace known under the general name of flemish point is really malines or mechlin, the only difference being the fine silvery thread which runs all through the designs of real mechlin. the earliest date of the manufacture of mechlin is unknown, but in 1681, it is recorded, that the people of malines busied themselves with making a white lace known as mechlin. it became a fashionable lace in england in 1699, queen mary using it considerably and queen anne buying it largely, in one instance purchasing 83 yards of it for £247. it has always remained a favourite lace with english royalties, queen charlotte almost exclusively using it. the other day i discovered in a bric-à-brac shop about twenty yards of it, old and discoloured, it is true, which came directly from queen caroline, the ill-used wife of george iv. in the earlier mechlin, although pillow-made, the introduction of the "brides with picots," and also the may-flower patterns of brussels, helped to make it more decorative. the ground or réseau was very similar to brussels hand-made, but the hexagonal mesh is shorter, as reference to the diagram of réseaux will show. the exquisite "lightness" of mechlin, so specially adapted to "quillings" and "pleatings," accounted for its popularity. it was specially suitable to the lawns and muslins of the eighteenth century, but little of this lace is left owing, no doubt, to its great favour except the ubiquitous "lappets," for which it was no doubt "the queen of lace." the immediate cause of its extinction was the introduction of blonde laces, and later its final overthrow came from its being the easiest lace to reproduce by machinery. [illustration: marie antoinette, queen of louis xvi., showing how mechlin lace was used. from an old fashion plate.] ix other continental laces ix other continental laces spanish lace; gold and silver laces of spain--german laces--russian laces--maltese silk and thread laces. outside the great lace-making countries of italy, france, and flanders, little lace was ever made, and that little of less consequence. _spanish lace._ much of the old lace known as "spanish point" is not spanish at all, but the best of italian rose point on a large scale, being the variety known as gros point. it was not extensively used for dress purposes, as contemporary portraits show, but spain being such an ultra-romanist country, vast quantities of it were imported into spain for church use. when spain fell on unhappy days, in 1830, and the religious houses were dissolved, this lace was eagerly bought by connoisseurs and collectors and became known as spanish point. it is not unlikely that the italian lace was copied by the nuns of the spanish convents; indeed, at south kensington museum there is a set of church altar lace which is admittedly spanish work and is a distinct but far off imitation of italian point. spain made gold and silver laces of fine quality and gorgeous design. blonde laces in both cream and black are almost indigenous to the soil, and a particular kind of black blonde, embroidered with colours, specially appealed to the colour-loving people. _german laces._ perhaps at the present day more lace is made in germany than at any other period. an enormous manufacture of good machine-made lace is exported yearly, the variety known as saxony being both popular and cheap. germany has no national lace, the clever _hausfraus_ caring more to decorate their table and bed-linen than their persons, and using the substantial and practical embroideries of the cross-stitch patterns more than the elegant frailties of lace trimming. lacis network darned into patterns has always been popular here, as also in denmark, sweden, and norway. [illustration: duchesse lace. modern.] _russia._ the russian laces need little more than a passing note. as in germany, lacis and cutworke form the only hand-made lace known, the people contenting themselves with these varieties and using coloured threads to further decorate them. their laces may be called merely russian embroideries. peter the great did much to found a lace school, but only gold laces were made, of a barbaric character. recently an attempt has been made to imitate the venetian laces, with very fair results, but the character is very stiff and mechanical, going back to the primitive forms of reticella rather than the elegancies of italian point. the only other continental lace requiring note is _maltese_, a lace made entirely with bobbins and on a pillow. this lace is of ancient make, being known as early as the old greek laces, which it strongly resembles. its very popularity has killed its use as a fine lace, and at the present day it is copied as a cheap useful lace in france, england, ireland, and even india. the old maltese lace was made of the finest flax thread, afterwards a silk variety, which is well known, being made in cream. black lace was also manufactured, and at the time of the popularity of black lace as a dress trimming it was much used. at the present day the lace is not of the old quality, cotton being frequently mixed with the flax threads. there is no demand for it, and it is about the most unsaleable lace of the day. x a short history of lace in england [illustration: queen elizabeth: ruff of venetian point. (_national portrait gallery._)] x a short history of lace in england early samplers--lace worn by queen elizabeth; by the early stuarts--extravagant use of lace in time of charles ii.--william and mary's lace bill. even at the risk of being considered utterly unpatriotic, i cannot give much more than faint praise to the lace-making of england up to the present date, when notable efforts are at last being made to raise the poor imitation of the continental schools to something more in accordance with artistic conception of what a great national art might become. as in all countries, lace-making apparently commenced in its early english stages by drawn-thread and cutwork. in many of the charming old sixteenth-century english samplers just as exquisite cut-work, and its natural successor reticella, or "punto in aria" is shown, as in the finest examples of the venetian schools. unfortunately, however, english fine lace-making came to a sudden and inexplicable end, although we know that any quantity of fine venetian, exquisite brussels, or flemish laces, and the wonderful point de france were being imported into the country and lavishly used. as early as the reign of edward iv. lace was mentioned as being prohibited for importation amongst other items of feminine luxury, such as "ribans, fringes of silk and cotton," but it is considered that the word "laces" here means only the twisted threads that go to make up a lace or tie, commonly ending in tags or points. it must be allowed, however, that laces, or more probably "gimps" of gold and silver threads were used for trimming both lay and ecclesiastical garments, and in henry vii.'s reign we find that importation of venetian lace was permitted, but this is generally admitted still to refer to gold and silver lace, more probably coming from genoa. it was not really until the time of bluff king hal that lace became an article of fashion, when during the life of the last of his unfortunate queens he permits "the importation of all manner of gold and silver fringes, or _otherwise_, with all new 'gentillesses' of what facyion or value, for the pleasure of our dearest wyeff the queen." henry himself also began to indulge in all these little elegances of fashion, and wore his sleeves embroidered with cutwork, and handkerchiefs edged with gold and silver, treating himself liberally to "coverpanes" and "shaving-cloths" trimmed with gold lace. [illustration: edmund spenser: collar trimmed with reticella. early period.] little mention of white work was made in the inventories of henry viii. or his queens, but cardinal wolsey seems to have had more than his share of cutwork embroideries, judging from contemporary portraits. in queen mary's reign white work began to be more frequently spoken of, and in 1556 it is stated that lady jane seymour presented the queen with "a smock of fair white work, flanders making." it was not until queen elizabeth's time that lace became freely mentioned; then suddenly we are introduced to an endless variety of lace and trimmings, both of gold and silver, pearl and embroideries, and various white work! in some of the old chronicles mention was made of drawn work, cut-work, crown lace, bone lace for ruffs, spanish chain, parchment, hollow, and diamond lace. many of these terms cannot be understood. the enormous ruffs worn by queen elizabeth were introduced into england in the time of her sister mary. portraits both of philip of spain and queen mary show ruffs, but not edged with lace. queen elizabeth's, on the contrary, are both edged with lace and, in some instances, covered with it. on her poor old effigy at westminster abbey, where her waxen image is dressed in her actual garments, the only lace that appears is on the enormous ruff, three-quarters of a yard wide, covered with a fine lace of the loose network kind. the rest of her garments are trimmed with gold and silver lace and _passementerie_. in the succeeding reign lace of a geometric design shows itself on the ruffs of the richest people. pictures in the national portrait gallery show many exquisite examples of the beautiful reticella of venice, which must have been very costly to the purchaser, as twenty-five yards or more of this fine lace were required to edge a ruff. it was in the reign of james i. and his consort, anne of denmark, that flanders lace and the expensive point laces of italy first became widely popular. then, as now, they were costly--to such an extent that many gentlemen sold an estate to buy laces for their adornment. it was during this reign that we first learn of a lace being made in england, as queen anne of denmark on her journey south purchased lace at _winchester_ and _basing_, but history mentions not what kind of lace it was. apparently only a simple kind of edging was used, made on a pillow. the enormous ruffs went out of fashion with the death of james i. charles i., in all his portraits, wears the falling collar edged with vandyke lace. it was during this reign that venetian lace reached its apotheosis in england. the dress of the day has never been surpassed, though it became much more elaborate and ostentatious in the time of charles ii. and william and mary. falling collars were specially adapted to the display of the handsome laces of venice. the cuffs of the sleeves were likewise trimmed with the same; scarves were worn across the breast, trimmed with the narrower reticella. [illustration: seventeenth century falling collar trimmed with fine reticella. (_s.k.m. collection._)] during the commonwealth the laces of venice suffered a temporary eclipse, and the plainer laces of flanders were freely used. cromwell himself, it is said, did not disdain the use of it. his effigy at westminster was dressed in a fine holland lace-trimmed shirt, with bands and cuffs of the same. this effigy, by the way, was destroyed at the restoration. charles ii., who during his exile in france had become imbued with the extravagant taste of the french court, gave vast orders for "points of venice and flanders," on the plea of providing english lace-workers with better patterns and ideas. the falling collar certainly went out of fashion, but lace was liberally used on other parts of the dress. lace frills of costly point edged the knee-breeches, lace cravats were worn and deep falling cuffs. charles ii., in the last year of his reign, spent £20 for a new cravat for his brother's birthday. during james ii.'s reign extravagance in lace purchases are still mentioned, but it surely reached its culmination in the joint reign of william and mary, when enormous sums were spent by both king and queen. in one year queen mary's lace bill amounted to £1,918. new methods of using lace were fashioned. a huge head-dress called the "fontange," with upright standing ends of venetian point, double hanging ruffles falling from elbow sleeves, lace-trimmed aprons, lace tuckers, characterised the feminine dress of the day, while the "steinkirk" cravat and falling cuffs of william iii.'s day ran up accounts not much less than that of his queen. in 1690 his bill was £1,603, and in 1695 it amounted to £2,459! the effigies of william and mary in the abbey, wear the very finest venetian point laces. none of the other figures wear such costly lace, nor in such profusion. [illustration: collar in gros point de venise. louis xiv. period. (_s.k.m. collection._)] xi english laces xi english laces queen anne and mechlin--establishment of lace-making in bedfordshire and buckinghamshire--buckingham lace--wiltshire lace--devonshire lace--modern honiton revival. it was in queen anne's time that the earliest really good lace manufactured in england appeared. driven from france by the edict of louis xiv., the refugees found a home in england, and encouraged by queen anne's fondness for laces other than venetian, they made and taught the english lace-workers, among whom they settled, the art of real lace-making, which up to this time had apparently been only half understood. numerous lace schools now sprang up, the counties of bedfordshire, buckinghamshire, and northampton specially becoming known. valenciennes and mechlin were the varieties of laces principally copied; a very pretty lace, very reminiscent of mechlin, being the "baby lace," which received its name from being so much used to trim babies' caps. although very much like valenciennes and mechlin, the laces were much coarser both in thread and design than their prototypes. bedfordshire and northamptonshire did not long retain the art of lace-making, but buckingham lace remained a staple manufacture, and is much esteemed even to-day, many connoisseurs considering it far better as a lace than the somewhat clumsy laces of devonshire. the specimen shown is a piece of old buckingham lace closely copying the réseau and sprigs of lille which most lace-lovers consider it excels. the net of buckinghamshire is an exact copy of the lille mesh, being made of two threads twisted in a diamond pattern, the sprays being worked on the pillow at the same time. the patterns of the old buckingham lace are not very varied, the best known being what is called "spider lace," a coarse kind of open mesh being worked in the pattern. the principal town engaged in the eighteenth century was newport pagnel, which was cited as being most noted for making bobbin lace. old brussels designs were used, and some quaint lace of early flemish design, was made. the early english run lace, which was even so late as fifty years ago very popular, was mostly made here. aylesbury, buckingham, and high wycombe also made lace, and in the last-named old town cottage lace-making may be seen to this day. very quaint are the old lace bobbins that may be purchased in the "antique" shops of these lace-making towns. the lace-workers apparently indulged many a pretty fancy in shaping them in a diversity of ways, very few bobbins being alike. some were made of bone, really prettily turned, with dotted and pierced patterns on them. others were silver-studded, and again others were banded in silver. the wooden ones were always decorated, if possible, each one differently from the others, so that the worker might distinguish each thread without looking at it. nearly every bobbin was ended with a bunch of coloured beads strung on wire, and a collection of these bobbins, with their "gingles," often yields up a pretty and quaint necklace. one in my possession has a quaint bead made of "ancient roman glass," worth at least ten shillings. one wonders how this bit of roman magnificence had strayed into an english cottage home! [illustration: "old buckingham." (_author's collection._)] [illustration: early devonshire lace. (_author's collection._)] buckinghamshire is the only one of the midland counties which has produced _wide_ lace; the adjoining counties confined themselves to edgings at most some 6 inches wide. a flounce in my collection measures 21 inches, and is of very elegant design, and of fine quality. in wiltshire lace appears to have been made at an early date in the eighteenth century, but little lace is left to show its quality. a curious piece is said to belong to an old family in dorset, who vouch for the lace having belonged to queen charlotte, the wife of george iii. like many other traditional "antiques," this is undoubtedly a fairy story, as it claims to have been made in commemoration of the defeat of the spanish armada, _at contemporary times_. it is exceedingly handsome, showing one of philip's ships, very suggestively surrounded by big sea fish and apparently resting on the rocky bottom of the ocean. in the next panel tilbury fort is portrayed, and another ship, one of england's glory, proudly rules the waves. the design is undoubtedly english, and most probably it was made in commemoration of the historic event--but the lace is point d'argentan, and was most likely manufactured specially for queen charlotte. lyme regis at one time rivalled honiton, the laces of both towns being equally prized. queen charlotte wore a "head and lappets" made here when she first came to england, and afterwards she ordered a splendid lace dress to be made. when, however, queen victoria, in her wish to encourage the english makers, sent an order for her marriage lace, not sufficient workers were found to produce it. devonshire lace. as early as 1614 the lace-makers of devonshire were known. the influx of refugees from flanders in the midlands and southern counties undoubtedly established lace-making in both parts of the kingdom. many of the honiton lace-workers married these refugees, and to this day the people are of mixed descent. quaint names of flemish extraction appear over the shop doors. in the early days both men, women, and children seem to have pursued the art of lace-making, boys learning and working at it until the age of sixteen, when they were either apprenticed to some trade or went to sea. [illustration: old honiton (needlepoint ground).] [illustration: old honiton. (_author's collection._)] most of the old devonshire laces bear distinct likeness to the fine flemish lace, only the clumsiness of the design or the coarse workmanship differentiating them. it has, however, one special feature which gave it the name "trolly lace," as, unlike the perfectly flat lace of flanders, it has a coarse thread or "trolly" outlining its patterns, and being made of english thread, it was coarse and not very durable. _honiton_ has always easily ranked first amongst our british laces, although by many not considered equal to fine bucks. like the midland lace, it has been always made with flanders thread, and therefore has maintained its popularity because of its _wear_ and its _colour_. the early honiton workers copied "brussels" lace, but because of their inability to produce an artistic design it has never been anything but a _poor_ copy. even when the brussels influence was most direct the flowers and sprays were placed inartistically, while the scroll copies of the early flemish schools can only be termed the imitative handiwork of a child. the most prized specimens of old honiton are those with hand-made ground, made of flanders flax. very little of this real ground honiton lace is left. queen victoria did much to make honiton lace _the_ lace of the land; but although a regular trade has been established, and much good work accomplished, honiton of the past will never be regarded on the same plane as the laces of venice, france, and brussels. even in its best variety it lacks the exquisite filmy touch of brussels, the dainty grace of alençon, and the magnificence of point de france and venetian point. the honiton laces made since the introduction of machine-made net is especially poor. flower sprigs and sprays are made separately on the pillow, and afterwards applied to the machine-made ground. these are, as a rule, flowers and foliage treated naturalistically, and are heavy and close in design. these are often very sparingly applied over a wide expanse of net in order to make as much lace with as little trouble as possible. this is very different to the work of the old honiton lace-worker, who made every inch of it herself--first the sprays and scrolls, then worked the ground round it, and received, it is said, from the middleman (who purchased it for the town market) as many shillings as would cover the lace offered for sale. we are glad to say, however, that very praiseworthy efforts are being made to introduce better methods and more artistic designs in the many lace schools which are being formed in various parts of devon. mrs. fowler, of honiton, one of the oldest lace-makers in this centre, making exquisite lace, the technique leaving nothing to be desired, and also showing praiseworthy effort in shaking off the trammels of the traditional designs. [illustration: modern honiton, made by mrs. fowler.] xii scotch and irish laces xii scotch and irish laces hamilton lace--mary queen of scots--modern lace-making in ireland--limerick lace--carrick-ma-cross--irish crotchet--convent laces. scotch lace can hardly be said to exist. at one time a coarse kind of network lace called "hamilton lace" was made, and considerable money was obtained by it, but it never had a fashion, and deservedly so. since the introduction of machinery, however, there has been considerable trade, and a tambour lace is made for flounces, scarfs, &c. the more artistic class of work made by scotswomen is that of embroidering fine muslin, and some really exquisite work is made by the common people in their homes. much mention is often made of mary queen of scots and her embroideries and laces. it must be remembered that she married firstly the dauphin of france, and while at the french court imbibed the taste for elegant apparel and costly lace trimmings. there is no record that she ever wore lace of her own country's manufacture, and, although english writers often quote the lace made by her fair hands, really the needlework made by queen mary at fotheringay was embroidery. _irish laces._ the early lace of ireland was the usual cut and drawn work, and it was not until the earlier part of the nineteenth century that lace-making actually became a craft. in the eighteenth century many brave attempts were made to commence lace schools, and the best work was done in the convents, where really fine work was executed by the nuns, the patterns having been sent from italy. it was not until 1829 that the manufacture of limerick lace was first instituted. this really is not lace at all, as it is merely chain-stitch worked in patterns on machine-made net. this pretty so-called lace was first made at limerick by an oxford man, who established a school there, taking with him twenty-four girls as teachers. it quickly became very popular, in the early "fifties" every woman of either high or low degree possessing herself of at least a lace collar or fichu of limerick lace. in 1855 more than 1,500 workers were employed, but decidedly the best lace of the manufacture belongs to the time prior to this date. the quality of the net ground has also deteriorated, or perhaps the best net has not been purchased. [illustration: limerick "fillings."] very dainty little sprays and flowers are produced in the fine chain or tambour stitch, the hearts of the flowers or the centres of the scallops being worked over in an endless variety of extra stitches, as will be seen in the illustration. another variety of lace is carrick-ma-cross, which was contemporary with limerick. this is merely embroidery again, but has more claim to the title of lace, as the tiny little flowers and scrolls are connected with brides made of buttonhole stitch ornamented with picots. this is really a very handsome lace, its only drawback being that it will not _wash_. the fine lawn of which it is made is buttonholed round and then cut away. this, in cleaning or washing, _contracts_ and leaves the buttonhole edging, and in a few cleanings it is a mass of unmendable rags. slightly more serviceable is another variety of carrick-ma-cross, on which the lawn is appliquéd to a machine-made net, the pattern outlined with buttonhole stitches, and the surplus lawn cut away, leaving the network as a grounding, various pretty stitchings filling up the necessary spaces. yet another kind of lace is made, and is really the only real lace that ireland can claim. this is the irish crotchet, which in its finer varieties is a close imitation of venetian point, but made with fine thread and with a crotchet needle. some of the best is really worth purchasing, but it is costly, realising as much as five guineas per yard. a very delicate "tatting" also comes from the emerald isle, and in comparing english and irish laces one is inevitably struck with the reflection that there is more "artistry" in the production of irish laces and embroidery than in england with all her advantages. the temperamental differences of the two races are distinctly shown in this, perhaps more than any other art. much really notable work is now being executed in the irish lace schools. at youghal, co. monaghan, an exact replica of old venetian point is being worked. various fine specimens from the school occupy a place at south kensington museum, and the lace industry of ireland may be said to be in a healthy condition. [illustration: carrick-ma-cross lace. (_author's collection._)] xiii how to identify lace [illustration: the centre strip is old "reticella," with genoa borders. (_author's collection._)] xiii how to identify lace style--historical data--réseaux. the great difficulty in attempting to identify any specimen of lace is that from time to time each country experimented in the manners and styles of other lace-making nations. the early reticella workers copied what is known as the "greek laces," which were found in the islands of the grecian archipelago. specimens of these laces found in the excavations of the last thirty years show practically no difference in method and style. france copied the venetian laces, and at one period it is impossible to say whether a given specimen was made at alençon or venice. italy, in turn, imitated the flemish laces--to such an extent that even the authorities at south kensington museum, with all their leisure and opportunities for study and the magnificent specimens at hand for identification, admit that certain laces are either "italian or flemish." valenciennes was once a flemish town, and though now french, preserves the flemish character of lace, some specimens of mechlin being so like valenciennes as to baffle certainty. later, brussels borrowed the hand-made grounds of france and venice, and still later england copied brussels, the guipures of flanders, and the ground and style of lille! all this makes the initial stages of the study of lace almost a hopeless quest. the various expensive volumes on lace, although splendidly written and gorgeously illustrated, leave the student with little more than an interesting and historical knowledge on which to base the actual study of lace. here i may refer my readers to the one and only public collection of lace, i believe, in england--that of the south kensington museum, where specimens of lace from all countries and of all periods are shown, and where many magnificent bequests, that of mrs. bolckow especially, make the actual study of lace a possibility. it is to be hoped that the governing body of the museum will, in its own good time, make this a pleasure instead of a pain. the specimens, the _most important to the student_, are placed in a low, dark corridor. not a glimmer of light can be obtained on some of the cases, which also are upright, and placed so closely together that on attempting to see the topmost specimen on one side the unfortunate student literally bangs her head into the glass of the next one. a gentle complaint at the directors' office concerning the difficulty brought forth the astonishing information that there was no room at their disposal, but that in good time better light might be found. as these cases have been in identically the same place for the past fifteen years, one hopes that the "good time" may come before one becomes a "spectacled pantaloon" with no desire to see the wonders of that palace of art. [illustration: point d'angleterre. style louis xv. eighteenth century (_s.k.m. collection._)] this little protest is made in the hope that the "lords of the committee" may possibly have their attention drawn to what amongst the lace-lovers and students in this country is a "standing grievance." it is almost impossible, even from the best of photographic illustrations, to learn all the intricacies of identification. the photographs clearly show style, but it needs specimens of the actual lace to show method of working. from the illustrations in this book, specially selected from the south kensington collection, and from specimens in my own collection, every variety of style may be easily understood, as they have been particularly selected to show each point of difference. commencing with the earliest form of lacework--_i.e._, "cutworke"--nothing will better show this than the "sampler" specimen, which, half way down, shows two rows entirely typical of this kind of early lace-making--for such it is. a little lower, examples of drawn threadwork are seen, while the upper portion illustrates satin stitch patterns, which more properly belong to embroidery. the ancient collar from the south kensington collection, page 149, shows some of the finest developments of cutwork, when the foundation of linen was entirely dispensed with. the work is exceedingly fine, the threads being no coarser, indeed in many cases less so, than the fine linen it adorns. this is known as reticella, or "punto in aria." the last name is applicable to all the laces of venice which succeeded reticella, and means lace literally made out of nothing or without any building foundation. the specimen is still of the same class, but where before the design was simple geometric square and pointed as in all the early lace, it now takes on the lovely flowing scroll of the renaissance that marks the latter half of the seventeenth century. the same grand styles may be noted all through the great period of italian needlepoint lace. it will be seen in a lesser degree in the guipure laces of milan and genoa, but here the cramping influence of the flemish school shows itself distinctly. [illustration: italian ecclesiastical lace.] [illustration: flemish or genoese ecclesiastical lace. (_s.k.m. collection._)] the same bold lines may be noted in the early needlepoint lace of france, which had not then become sufficiently sure of her capacity to develop a style of her own, and all show the renaissance spirit. afterwards when the superb point de france was at its height of manufacture along with grand outline and exquisite handicraft, the influence of the mighty monarch louis xiv. asserted itself and although the lace itself commands unbounded admiration, fantastic little notions, symbolical and naturalistic, showed itself--as an illustration page 75: little figures representing "the indian," "canopied crown over a sealed lady," trees growing all manner of bizarre fruit and flowers, all symbolical of louis the magnificent's unbounded power and sway. in the south kensington museum there is a still finer specimen, which has not yet been photographed, i believe--a magnificent flounce, about eighteen inches wide (really two boot top pieces joined), of what is known as pseudo-oriental character, which shows amongst the usual exquisite scrolling no less than seven different figures on each piece--viz., an indian, a violinist in dress of louis xiv. period, a lady riding on a bird, two other ladies, one with a pet dog and the other a parrot, a lady violinist, and another lady seated before a toilet-table. these little figures are not more than three-quarters of an inch high, but are worked with such minuteness that even the tiny features are shown. this fantastic adoption of the human figure was copied in italy and flanders. the finest specimens of point d'angleterre (brussels) show the same designs; and it may broadly be stated that all lace with figures is of the louis xiv. period, and over two hundred years old. succeeding this period came the dainty elegance of the french laces, when the workers of alençon and argentan had developed a purely french style. note the point d'alençon, illustration page 83, where the characteristics of the period are fully shown. the illustration shows a mixed lace, which only recently has been acknowledged by the south kensington people as point d'argentan. along with the typical argentan ground of the upper portion is the fine alençon mesh and varied jours of the border. this also is louis xiv. style. the lappet shown next is exceedingly instructive, as till quite lately the people who professed to understand lace agreed to call this genoese, although it was quite unlike anything else made there. this lappet was so labelled at south kensington, but now is admittedly argentella (or little argentan). it is remarkably like alençon, being of the same period, the only points of difference being that the design is not outlined with a raised cordonnet (though in different places of the design a raised and purled cordonnet is often stitched on it) and the special ground (partridge eye) which is agreed to denote "argentella" lace--page 83. it is sometimes called the may-flower ground, but this is somewhat misleading as that design occurs in other laces. the only other great style is that of flanders, which at its earliest period had received no influence from the renaissance that had seized the southern countries of europe and was still in the grip of mediæval art. it was not until italian influence permeated france that flemish lace perceptibly altered in character. these are to all intents and purposes the three great styles of lace. england had no style: she copied flemish, brussels, and mechlin laces. ireland, on the contrary, copied italian in her irish crotchet and carrick-ma-cross (in style only, but not workmanship), and adapted lille and mechlin and brussels and buckingham in her limerick lace. the student must next make herself familiar with the methods pursued by the old lace-workers, and here the difficulty commences. all lace is either needlepoint, pillow-made, or machine-made. _needlepoint_ explains itself. every thread of it is made with a needle on a parchment pattern, and only two stitches are used, buttonhole and a double-loop which is really a buttonhole stitch. [illustration: brussels lappet. nineteenth century. (_s.k.m. collection._)] this can be clearly understood by referring to charts nos. i. and ii., where the _two brussels grounds_ are shown. the needlepoint ground, no. i., is formed by a buttonhole stitch, which loops over again before taking the next. the pillow-made ground, no. ii., shows the threads plaited or twisted together to form a hexagonal or a diamond-shaped network. this is all the difference between needle-made and pillow-made lace, and in itself helps to identify in many instances its country and period when it was produced. all the early italian laces were needlepoint, and all the early french laces were the same. all the flemish laces (including brussels) were pillow-made, and mixed laces in any of these countries are of later make. italy adapted the flemish pillow-lace, and produced genoese and milanese guipures, in addition to the coarse imitation of reticella which she now made by plaiting threads on the pillow. brussels adopted the needle-made motifs and grounds of italy, and produced perhaps her finest lace, weaving her beautiful designs and outlines on the pillow, and afterwards filling the spaces with needle-made jours and brides, as in point d'angleterre. a study of chart ii. will show the different style of grounds or réseaux of both needlepoint and pillow-made lace, the buttonhole grounds being either of "brides" with or without picots, or buttonhole loops, as in brussels, and alençon (with a straight thread whipping across to strengthen the ground), loops buttonholed over all as in argentan, or made of tiny worked hexagons with separate buttonholed threads around them as in argentella. the pillow-made grounds are made of two plaited or twisted threads, except in the case of valenciennes, when it is made of four threads throughout (hence its durability). in brussels, it will be noted, the threads are twisted twice to commence the mesh. these meet two other threads, and are plaited four times, dividing into two again, and performing the same twist, the whole making a hexagon rather longer than round. mechlin has precisely the same ground, only that the threads are plaited _twice_ instead of four times, as in brussels, making the hexagon roundish instead of long. the ground of lille lace is of exactly the same shape as valenciennes, but is composed of two threads twisted loosely twice each side of the diamond, and that of valenciennes being made of four threads plaited. with the aid of these little charts, a remembrance of the various styles and a few actual specimens of lace, and _a powerful magnifying glass_, it is not beyond the power of any reader of this little book to become expert in the identification of old lace. [illustration: real "point de gaze" (needle-made ground). (_author's collection._)] xiv sale prices xiv sale prices lace is such an article of luxury, and, as a rule, only belonging to the wealthiest class, that it seldom or ever comes into the open market. in 1907 two collections were dispersed at christie's--those of mrs. massey-mainwaring and mrs. lewis hill. the most costly laces are the venetian points, some of the fine rose points being priceless. it is so fragile that little of it remains, and the smallest piece is eagerly snapped up by collectors. in 1904 at christie's lace sold for the following prices- £ a 58-inch length of 24-ins. deep point de venise 600 a 4-yards length of rose point, 11 inches deep 420 the same year- £ 4 yards of point d'argentan, 25 inches deep 460 44 inches point d'alençon, 17 inches deep 43 2-1/2 yards point d'alençon, 14 inches deep 46 in 1907, march 11, _massey-mainwaring sale_ at christie's- sold for £ s. d. 1-1/2 yards venetian gros point, 8 inches deep 16 16 0 5 yards length of reticella, 7-1/2 inches deep 33 12 0 4 short lengths 42 0 0 7 pieces of point d'alençon 21 0 0 4 yards narrow point d'argentan 15 15 0 3 pairs point d'argentan lappets 15 15 0 30 yards narrow mechlin in odd lengths 21 0 0 april 15th, the _lewis-hill sale_ at christie's:- sold for £ s. d. 4 yards venetian point, 15-1/2 inches deep 68 5 0 4 " " " 8-1/2 " " 52 10 0 3 yards spanish point, 6-1/2 inches deep 73 10 0 an old brussels scarf in two pieces 10 10 0 6 yards brussels applique 23 10 0 a point gaze parasol-cover 6 16 0 a brussels flounce 12 1 6 3 yards honiton flounce, 17 inches deep 69 6 0 another similar 69 6 0 6 yards honiton lace in three pieces 24 3 0 an old lace coverlet 25 4 0 another ditto 26 5 0 a lace altar-frontal 21 1 0 with the exception of the honiton flounces, which sold beyond their market value, all the above pieces were bought by london lace dealers! the famous collection of the late mrs. hailstone was sold in 1909. this lady had for many years been known as a lace collector, and the sale of her effects was eagerly anticipated. the result was extremely interesting to the collectors, as mrs. hailstone had collected specimen lengths of almost every known lace. no huge prices obtained, but the sale may be regarded as representative, and the prices quoted as being open-market value. £ s. d. a set of bed-hangings, forming six curtains, made of italian lace and linen 40 0 0 a large portière curtain of italian lacis-work 10 10 0 a point d'alençon fichu 30 0 0 " " " cravat end, a pair of sleeves, one odd piece 18 0 0 a pair of argentan lappets and six yards lace 12 0 0 a panel fine raised venetian point, 22 inches wide, 28 inches long 24 0 0 a berthe, point de venise, 1 yard 120 inches, 12 inches deep 25 0 0 a point de venise berthe 36 0 0 a 1 yard 13 inches x 7 inches panel venetian lace 50 0 0 two specimen pieces, 3-1/4 inches, all of point de venise à réseau 14 10 0 a buckinghamshire collar, sleeves, and pieces 5 5 0 a specimen of old honiton, baby's cap, bodice, and handkerchief 3 5 0 an old honiton baby's robe, said to have belonged to princess charlotte 15 10 0 seven volumes of lace specimens of old and modern lace 35 0 0 in december, 1910, probably the most valuable collection ever placed upon the market was dispersed at messrs. christie's. the late sir william abdy bt., had for many years devoted his time and money to the collection of valuable lace, such as now can only be seen in the great national collections. the prices obtained are significant of the huge sums which must be paid to obtain wearable pieces of valuable lace such as skirt lengths, 3or 4-yard lengths of deep flouncings, shawls, coverlets, aprons, &c. £ s. d. a fine point d'alençon skirt, 2-1/2 yards, 44 inches deep 160 0 0 a fine point d'alençon scarf, 2 yards 9 inches × 10 inches deep 72 0 0 a point d'argentan berthe, 9-1/2 inches deep 39 0 0 a point d'argentan flounce, 6 yards 30 inches × 5-1/2 inches deep 140 0 0 a point d'argentan flounce, 2 yards 26 inches long × 25 inches deep 210 0 0 a point d'argentan flounce, 3 yards 28 inches long × 24 inches deep 310 0 0 a point d'argentan flounce, 3 yards 35 inches long × 25 inches deep 431 0 0 a point d'argentan flounce, 3 yards 16 inches long × 24-1/2 inches deep 290 0 0 an italian gold and thread lace flounce, 4 yards long, 29 inches deep 740 0 0 a length of italian rose point, 4 yards 15 inches long, 3 inches deep 70 0 0 an old italian rose point flounce, 3 yards 31 inches long, 17-1/2 inches deep 660 0 0 an old italian rose point square, 31 inches × 34 inches 180 0 0 an old italian rose point flounce, 3 yards 19 inches long, 7-1/2 inches deep 520 0 0 an old italian rose point panel, 34 inches × 9 inches 95 0 0 a point de venise lappet à réseau, 46 inches long, 5-1/4 inches wide 22 0 0 point de venise trimming, 8 yards long × 4 inches deep 65 0 0 a piece of flat venetian insertion, 4 yards × 3-3/4 inches deep 92 0 0 a rose point flounce, 4 yards long × 5 inches deep 200 0 0 a rose point flounce, 3 yards 31 inches long × 22 inches deep 600 0 0 a rose point flounce, 4 yards 7 inches long × 24 inches deep 540 0 0 a rose point flounce, 3 yards 32 inches long × 15 inches deep 560 0 0 a rose point flounce, 4 yards 11 inches long × 18 inches deep, and a pair of sleeves en suite 650 0 0 a rose point flounce, 4 yards 3 inches long × 11-1/2 inches deep 510 0 0 a raised point de venise square, 1 yard 24 inches long × 1 yard 6 inches wide 450 0 0 an old brussels apron, 41 inches wide, 37 inches deep 145 0 0 a specimen piece of early valenciennes, 2 yards long × 7 inches deep 42 0 0 the following prices have been given by the south kensington authorities for specimens shown:- £ s. d. a venetian point altar-frontal, 8 × 3 feet 350 0 0 a venetian chasuble, stole, maniple, and chalice veil 200 0 0 a 2 yards × 5/8 yard venetian flounce 125 0 0 a gros point collar 21 0 0 a brussels lappet 23 0 0 a drawn-thread jacket 10 10 0 linen cutwork tunic 20 0 0 [illustration: egyptian embroidery. found in a tomb at thebes.] chats on needlework i old english embroidery needlework pioneer art--neolithic remains--earliest known english specimens--bayeux tapestry. while the subject of lace-making has been treated as almost cosmopolitan, that of embroidery, in this volume, must be regarded as purely national! i purposely refrain from introducing the embroideries of other countries, other than mentioning the ancient civilisations which shared the initial attempts to decorate garments, hangings, &c. (of which we really know very little), and shall confine myself to the needlework of this country, more especially as it is the one art and craft of which england may be unfeignedly proud. it is assumed that needlecraft was the pioneer art of the whole world, that the early attempts to decorate textiles by embroideries of coloured silks, and the elaborate use of gold and silver threadwork, first suggested painting, sculpture, and goldsmith's work. certainly early egyptian paintings imitated embroideries, and we have good ground for supposing that stained glass was a direct copy of the old ecclesiastical figures or ancient church vestments. the neolithic remains found in britain show that at a very early period the art of making linen-cloth was understood. fragments of cloth, both of linen and wool, have been discovered in a british barrow in yorkshire, and early bone needles found at different parts of the country are plentiful in our museums. there is no doubt that we owe much of our civilisation to the visit of the phoenicians, those strange people, who appear to have carried all the arts and crafts of ancient babylon and assyria to the wonder isles of the greek archipelago, to egypt, to southern spain, and to cornwall and devonshire. these people, dwelling on the maritime border of palestine, were the great traders of their age, and while coming to this country (then in a state of wildest barbarism) for tin left in exchange a knowledge of the arts and appliances of civilisation hitherto not understood. the roman invasion (45 b.c.) brought not only knowledge of craftsmanship but also christianity. st. augustine, to whom the conversion of the britains is credited, carried with him a banner embroidered with the image of christ. after the romans had left the country, and it had become invaded by the celts and the danes, and had again been taken possession of by the saxons, a period of not only rest but advancement arrived, and we see early in the seventh century the country prosperous and settled. aldhelm, bishop of sherborne, wrote a poem in which he speaks of the tapestry-weaving and the embroidery which the women of england occupied their lives. [illustration: a length of the famous bayeux tapestry.] the earliest specimen of embroidery known to have been executed in england is that of the stole and maniple of st. cuthbert, which is now treasured at durham cathedral. these were worked by aelfled, the queen of edward the elder, alfred the great's son. she worked them for bishop fridhestan in 905 a.d. her son athelstan, after her death, visited the shrine of st. cuthbert, at chester-le-street, and in an inventory of the rich gifts which he left there, there is recorded "one stole with a maniple," amongst other articles. these very embroideries were removed from the actual body of st. cuthbert in 1827. they are described by an eyewitness as being "of woven gold, with spaces left vacant for needlework embroideries." exquisitely embroidered figures are in niches or clouds. the whole effect is described as being that of a fine illuminated ms. of the ninth century, and indescribably beautiful. another great prelate, st. dunstan, archbishop of canterbury, designed embroideries for the execution of pious ladies of his diocese (924 a.d.). emma, queen of ethelred the unready, and afterwards of canute, designed and embroidered many church vestments and altar-cloths, and editha, wife of edward the confessor, embroidered the king's coronation mantle. the great and monumental bayeux tapestry--which is miscalled, as it is _embroidery_--was the work of queen matilda, who, like penelope, wove the mighty deeds of her husband and king in an immense embroidery. this piece of needlecraft comes upon us as a shock, rather than an admiration, after the exquisite embroideries worked by and for the church. it is interesting, however, as a valuable historic "document," showing the manners and customs of the time. the canvas is 227 feet long and 20 inches wide, and shows events of english history from the accession of edward the confessor to the defeat of harold, at hastings. it is extremely crude; no attempt is made at shading, the figures being worked in flat stitch in coloured wools, on linen canvas. certainly it is one of the quaintest and most primitive attempts of working pictures by needlecraft. the evidence of the costumes, the armour, &c., are supposed to tell us that this tapestry was worked many years after the conquest, but it can be traced by documentary evidence as having been seen in bayeux cathedral as far back as 1476. in the time of napoleon i. it was removed from the cathedral and was actually used as a covering for a transport waggon. finally, however, it was exhibited in the musée napoleon, in 1803, and was afterwards returned to bayeux. in 1840 it was restored and relined, and is now in the hôtel de ville at bayeux! [illustration: king harold. (_from the bayeux tapestry._)] ii the great period of embroidery ii the great period of embroidery "opus anglicanum"--the worcester fragments--st. benedict--legend of pope innocent--the "jesse" cope--the "syon" cope. the great period of english embroidery is supposed to have been from the twelfth to the thirteenth century. very little remains to show this, except a few fragments of vestments from the tombs of the bishops dating from the twelfth and thirteenth centuries, and other data obtained from various foreign inventories of later date referring to the use of "opus anglicanum." some portion of the worcester fragments may be seen in the south kensington museum, and can only be described as being so perfect in workmanship, colour, and style as even at this day to be more like a magnificent piece of goldsmith's work than that of needlecraft. the background is apparently one mass of thread of fine gold worked in and out of a silken mesh, the embroidery appearing just as clear and neat in manipulation as an illumination. the coloured photographs, which may be seen in the same room, of the stole and maniple of st. cuthbert are of precisely the same work. judging from these, and the embroidered orphrey which the authorities bought from the hockon collection for £119 1s. 10d. and which is only 4 feet 8 inches long, there is no doubt that this was, _par excellence_, the finest period. the work can only be described as being like an old italian painting on a golden ground. we see precisely such design and colouring in ancient paintings for altars as in the old italian triptychs. this style was carried out as literally as possible. even the defects, if so they may be called, are there, and a slight topheaviness of the figures serves but to accentuate the likeness. there is a legend that during the times of the danish incursions st. benedict travelled backwards and forwards through france and italy, and brought with him during his _seven_ journeys artificers in _glass_ and _stone_, besides costly books and copies of the scriptures. the chief end and aim of monastic life, both of monk and nun, in those early days was to embroider, paint, and illuminate their sacred books, vestments, and edifices with what was to them a newly-inspired faith. dr. rock, in his "church of our fathers," says that from the twelfth century to the time of henry viii. that only the best materials that could be found in our country or that of other lands were employed, and that the art that was used on them was the best that could be learnt or given. the original fabrics often came from byzantium or were of saracenic origin. [illustration: from the "jesse" cope (_south kensington museum_). english, early fourteenth century.] the story of pope innocent iii., who, seeing certain vestments and orphreys, and being informed that they were english, said, "surely england must be a garden of delight!" must be quoted to show how english work was appreciated in those early days. the choicest example in this country of this glorious period of english embroidery is the famous syon cope, which is supposed to rank as the most magnificent garment belonging to the church. it may be regarded as a typical example of real english work, the "opus anglicanum" or "anglicum," which, although used for other purposes, such as altar-cloths and altar-frontals, found apparently its fullest scope in these large semicircular mantles. amongst the many copes treasured at south kensington there are none, amidst all their splendour, as fine as this, although the fragment of the "jesse" cope runs it very closely. there are many copes of this period in different parts of the continent--the daroca cope at madrid, one at ascagni, another at bologna, at st. bertrand-de-comminges, at "st. john lateran" at rome, at pienza and toleda, and a fragment of one with the famous altar-frontal at steeple aston. these are all assumed to be of "opus anglicanum," and they may be described as being technically perfect, the stitches being of fine small tambour stitch, beautifully even, and the draperies exquisitely shaded. the illustration showing the syon cope requires some little explanation. it is wrought on linen, embroidered all over with gold and silver thread and coloured silk. it is 9 feet 7 inches long, 4 feet 8 inches wide. the whole of the cope except the border is covered with interlacing quatrefoils outlined in gold. the ground of these quatrefoils is covered with red silk and the spaces between them with green silk. each quatrefoil is filled with scenes from the life of christ, the virgin, and figures of st. michael and of the apostles. on the green spaces are worked figures of six-winged angels standing on whorls. the chief place on the quatrefoils is given to the crucifixion, where the body of the saviour is worked in silver and cloth of gold. the virgin, arrayed in green tunic and golden mantle, is on one side and st. john, in gold, on the other. above the quatrefoil is another representing the redeemer seated on a cushioned throne with the virgin, and below another representing st. michael overcoming satan. other quatrefoils show "christ appearing to st. mary magdalen," "the burial of the virgin," "the coronation of the virgin," "the death of the virgin with the apostles surrounding her," "the incredulity of st. thomas," "st. simon," "st. bartholomew," "st. peter," "st. paul," "st. thomas," "st. andrew," and "st. james." portions of four other apostles may be seen, but at some period the cope has been cut down. in its original state the cope showed the twelve apostles. the lower portion has been cut away and reshaped, and round this is an edging apparently made out of a stole and maniple which point to a later date, as they are worked chiefly in cross-stitch. on the orphrey are emblazoned the arms of warwick, castile and leon, ferrars, geneville everard, the badge of the knights templars, clifford, spencer, lindsay, le botelier, sheldon, monteney of essex, champernoun, everard, tyddeswall grandeson, fitz alan, hampden, percy, clanvowe, ribbesford, bygod, roger de mortimer, grove, b. bassingburn, and many others not recognisable. these coats of arms, it is suggested, belonged to the noble dames who worked the border. the angels which fill the intervening spaces are of the six-winged varieties, each standing on whorls or wheels. [illustration: the "syon" cope. (_s.k.m. collection._)] the cope is worked in a fine tambour or chain stitch principally. all the faces, bodies, and draperies are composed of this. a specially noticeable point is that the faces are worked spirally, beginning in the centre of the cheek and being worked round and round, conforming with the muscles of the face. the garments are worked according to the hang of the drapery, very fine effects being obtained. after the work has been completed a hot iron something like a little iron rod with a bulbous end has been pressed into the cheeks, under the throat, and in different parts of the nude body. occasionally, but seldom, the same device may be seen in the drapery. all the work is exquisitely fine and perfectly even. the groundwork of the quatrefoils is of gold-laid or "couch" work, as is also that of the armorial bearings. the name "syon" is somewhat misleading, as the cope was not made here, but came into the hands of the bridgettine nuns in 1414, when henry v. founded the convent of "syon" at isleworth. its origin and date will ever be a matter of conjecture, but dr. rock infers that coventry may have been the place of its origin. taking coventry as a centre with a small radius, several of the great feudal houses the arms of which are on the border of the cope may be found, and dr. rock further supposes that eleanor, widow of edward the first, may have become a sister of the fraternity unknown, as her arms, castile and leon, are on it. "the whole must have taken long in working, and the probability is that it was embroidered by nuns of some convent which stood on or near coventry." however this may be, it is certain that this splendid piece of english work came into the hands, by some means, of the nuns of syon, and after remaining with them at isleworth till elizabeth's time, it was carried by them through flanders, france, and portugal. they remained at the latter place till the same persecution which dispersed the famous spanish point lace over the length and breadth of the continent, and about eighty years ago it was brought back to england, and was given by the remaining members of the order to the earl of shrewsbury. after further vicissitudes of a varied character it was bought by the south kensington museum for £110, and now sheds the glory of its golden threads in a dark transept unnoticed except by the student. iii ecclesiastical embroideries and vestments [illustration: half of the steeple aston altar frontal. english, fourteenth century.] iii ecclesiastical embroideries and vestments the pierpont morgan purchase--the steeple aston altar-frontal--the "nevil" altar-frontal at s. k. m.--city palls--diagram of vestments. other copes of the same period are in the madrid museum, two copes at bologna, and the "ascoli" cope recently purchased by mr. j. pierpont morgan and generously returned by him. some cushions from catworth church, huntingdon, now at the south kensington museum, were probably cut from copes, and bought by permission of the bishop of ely for £27. a long band of red velvet at south kensington museum embroidered with gold and silver and coloured silk has evidently been made from the "apparels" of an alb. it is in two pieces, each piece depicting five scenes divided by broad arches. the first five are from the life of the virgin, and are: "the angel appearing to anna," "the meeting of anna and joachim," "birth of the virgin," "presentation of the virgin," "education of the virgin." in the second piece are: "the annunciation," "the salutation," "the nativity," "the angel appearing to the shepherds," and the "journey of the magi." another piece of similar work is the altar-frontal of steeple aston, which was originally a cope, and the cope now at stonyhurst college, originally belonging to westminster cathedral. it is made of one seamless piece of gold tissue. during this great period of english embroidery certain characteristics along with its superb workmanship must be noticed. the earlier the work the finer the modelling of the figures. in the figures of the st. cuthbert and the worcester fragments the proportions of the figures are exquisite; at a later date, while the work is just as excellent, the figures become unnatural, the heads being unduly large, the eyes staring, and the perspective entirely out of drawing. until the fourteenth century this comes so gradually as to be scarcely noted; but after and through the fifteenth century this becomes so marked as to be almost grotesque, and only the genuine religious fervour with which these poor remnants have been worked prevents many of them being ridiculous. the faces gradually show less careful drawing and working, and the figures become squat and topheavy. the emblems of the saints are often omitted. [illustration: the "nevil" altar frontal. (_s.k.m. collection._)] this decline in the embroiderer's art is specially noticeable in an extraordinary panel to be seen at south kensington museum, where an altar-frontal of stamped crimson velvet is appliqued in groups of figures in gold, silver, and silks. in the middle is the crucifixion, with the virgin and st. john standing on a strip covered with flowers. on the left is ralph nevil, fourth earl of westmoreland, 1523, kneeling, and behind him his seven sons. on the right is lady catherine stafford, his wife, also kneeling, and behind her kneel her thirteen daughters. the frontal cost the museum £50 and is well worth it as an historical document. other important embroideries of the period to be found in england are at cirencester cathedral, ely cathedral, salisbury and carlisle cathedrals, chipping norton and little dean in gloucestershire, east langdon in kent, buckland and stourton in worcester, littleworth in leicestershire, lynn in norfolk, and the parish church at warrington. many of the palls belonging to the great city companies belong to this date. the saddlers' company's pall is of crimson velvet embroidered with angels surrounding "i.h.s.," and arms of the company. the fishmongers' pall, made at the end of the fifteenth century, has at one end the figure of st. peter (the patron saint of fishermen) enthroned, and angels on either side, and at the other end st. peter receiving the keys from our lord. the vintners' pall is made of italian velvet and cloth of gold and embroidered with st. martin of tours. religious influence characterised the embroideries of england practically from the ninth to the sixteenth centuries. practically all needlework prior to 1600 is entirely ecclesiastical, and from its limited range in choice of subjects barely does justice to the fine work this period produced. dr. rock says that "few persons of the present day have the faintest idea of the labour, the money, the time, often bestowed on old embroideries which had been designed by the hands of men and women each in their own craft the best and ablest of the day." we do not know the length of time these ancient vestments occupied in the making, but twenty-six years is stated to be the period of making the vestments for the church of san giovanni, in florence. this is all worked in close stitches similar to our english work. _ancient church vestments._ the names of the ecclesiastical vestments are somewhat puzzling to those of us who do not belong to the romish church, or even to the english high church. the vestments described are, we believe, in use in the romish churches now as in the early times when church embroidery was the pleasure and the labour of all classes of english women. the accompanying diagram will better illustrate the use of these vestments than a page of writing. [illustration: ecclesiastical vestments. 1. amice. 2. orphreys. 3. chasuble. 4. sleeves of alb. 5 and 9. apparel of alb. 6. maniple. 7. stole. 8. alb. _from "a guide to ecclesiastical law," by kind permission of mr. henry miller._] * * * * * the alb is often trimmed handsomely with lace, the apparels are stitched on to the front. the stoles ought to have three crosses embroidered on it and be 3 yards long. over this comes the chasuble, which is the last garment the priest puts on before celebrating mass. the cope is a huge semi-circular 10 ft. wide cape. the maniple is a strip of embroidery 3 ft. 4 in. long worn over the left wrist of the priest. [illustration: ecclesiastical vestments. english, fifteenth or early sixteenth century. (_s.k.m. collection._)] iv tudor embroidery iv tudor embroidery the influences of the reformation--queen catherine of aragon's needlecraft--the gorgeous clothes of henry viii.--field of the cloth of gold--queen elizabeth's embroideries. after the reformation and the wholesale destruction of the cathedrals, monasteries, and churches, the gentle dames of england found their occupation gone. the priestly vestments, the sumptuous altar-cloths, and gorgeous hangings were now needless. those which had been the glory of their owners, and the pictorial representations of biblical life to the uneducated masses of people, had been ruthlessly torn down and destroyed for the sake of the gold to be found on them. as in the time immediately preceding the french revolution, costly embroideries were unpicked, and the amount of gold and silver obtained from them became a source of income and profit to their destroyers. apart from her household, women had no other interests in those days, unless we accept such anomalies as lady jane grey, who was a marvel of learning and wisdom. all their long leisure hours had been spent, not in improving their minds, but in beautifying the churches with specimens of their skill. catherine of aragon, one of the unfortunate queens of henry viii., was a notable needlewoman, and spent much of her short, unhappy time as queen of england in embroidery. the lace-making of northampton is said to have been commenced by her during her period of retirement after her divorce. the "spanish stitch," which was known and used in embroidery of that period, was introduced by her from her own country, and many examples of her skill in embroidery are to be seen in the british museum and the various homes belonging to our old nobility. during the reign of henry viii. dress became very sumptuous, as the contemporary pictures of the times show. indeed, all the fervour and feeling which ladies had worked in religious vestments now seemed to find refuge in the over-elaboration of personal wear. very little lace was used, and that of only a primitive description, so that effect was produced by embroidery in gold and silver threads and the use of pearls and precious stones. the dress of the nobles in the time of henry viii. was especially gorgeous, the coats being thickly padded and quilted with gold bullion thread, costly jewels afterwards being sewn in the lozenges. it is related that after his successful divorce king henry gave a banquet to celebrate his marriage to anne boleyn, and wore a coat covered with the jewelled letters "h," and in the height of his satisfaction allowed the ladies to cut or tear away the jewels as souvenirs of his triumph over wolsey and catherine. it is said that he was left in his underwear, so great was the competition for these favours! robes made of gold tissue, then called cloth of gold, were used, and in henry's meeting with francis i. the english and french armies vied with each other as to which should present a greater magnificence. the name "the field of the cloth of gold" remains as a guarantee of its splendour. under the more austere and religious rule of queen mary we might suppose that ecclesiastical embroidery would have somewhat regained a foothold. but the landmarks had been entirely swept away, and we have little to record of the reign, except that mary herself was a clever needlewoman and worked much of her heartache, at the neglect of her spanish husband, into her needlework. her jealousy of her sister elizabeth caused the latter to spend her life away from the pomps and ceremonies of the court, and she has left many records of her handiwork, some well authenticated, as, for example, the two exquisite book-covers in the british museum. queen elizabeth cannot, however, be said to have been in any way a patroness of the art of needlecraft. her talent seems rather to have been devoted to affairs of state--and her wardrobe! on her death, at seventy years of age, she left over one thousand dresses, most of which must have been a cruel weight, so overburdened were they with stiff bullion and trimmed with large pearls and jewels. her dresses were literally diapered with gold and silver "gimps" inset with heavier stones, but little real embroidery is shown. mary queen of scots, on the contrary, was a born needlewoman. during her married life in france she learned the gentle arts of embroidery and lace-making, accomplishments which, as in many humbler women's lives, have served their owners in good stead in times of loneliness and trouble. the duke of devonshire possesses specimens of queen mary's skill, worked during the long, dreary days of her imprisonment at fotheringay. it is said that queen elizabeth was not above helping herself to the wardrobe and laces that the unfortunate queen of scotland brought with her from france. much embroidery must have been worked for the adornment of the house after the reformation, but beyond an occasional old inventory nothing is left to show it. after the reformation greater luxury in living obtained, and instead of the clean or rush-strewn floors some kind of floor-covering was used. furniture became much more ornamental, and the use of hangings for domestic purposes was common. not a thread of these hand-worked hangings remain, but we have the immense and immediate use of tapestry, which first became a manufacture of england in the reign of henry viii. it is easy to conceive that english women would readily seize upon the idea supplied in tapestry and adapt its designs to that of embroidery. it is certain that hangings for the old four-post beds were embroidered, as in the inventory of wolsey's great palace at hampton court there is mention of 230 bed-hangings of english embroidery. nothing of this remains, so that its style is simply conjectural; and we can only suppose these hangings to have been replicas of the magnificent velvet and satin hangings, covered with laid or couched gold and silver threads, such as catherine of aragon would bring with her from spain. this also would account for their absolute disappearance. the value of the gold and silver in embroidery has always been a fertile source of wealth to the destroyer of ancient fabrics, while many embroideries worked only in silks have escaped this vandalism. v early needlework pictures and accessories [illustration: early "petit point" picture. late sixteenth century. (_s.k.m. collection._)] v early needlework pictures and accessories "petit point"--old list of stitches--stuart bags--gloves--shoes--caps. towards the end of james i.'s reign it is supposed that the earliest needlework pictures appeared. they were obviously literal copies of the tapestries which had now become of general use in the homes of the wealthy, being worked in what is known as "petit point," or "little stitch." this stitch was worked on canvas of very close quality, with fine silk thread, one stitch only being taken over the junction of the warp and the weft of the canvas instead of the "cross stitch" of later days. very few of these specimens are left of an early date. a panel, measuring 30 inches by 16 inches, in perfect condition, and dated 1601, was sold at christie's rooms this year for £115. the purchaser, mr. stoner, of king street, sold it next day at a very considerable profit. at this period the workers of these pictures did not draw upon biblical subjects for their inspiration (with great advantage to the picture, it may be stated). the subjects were either fanciful adaptations from real life, with the little people dressed in contemporary costume, or dainty little mythological subjects, such as the "judgment of paris," "corydon wooing phyllis," with most absurd little castles of tudor construction in impossible landscapes, where the limpid stream meandered down fairy-like hills into a shining lake, which held dolphins under the water and water-fowl above it. the illustration depicts such a specimen, and shows one of these tiny pictures worked in no less than ten different stitches of lacework, in addition to the usual petit point. the number of these stitches is legion. in the reign of charles i., john taylor, the water-poet, wrote in 1640: "for tent worke, raised worke, first worke, laid worke, net worke, most curious purl, or rare italian cut worke, fire, ferne stitch, finny stitch, new stitch, chain stitch, brave bred stitch, fisher stitch, irish stitch, and queen stitch, the spanish stitch, rosemary stitch, and mowle stitch, the smarting whip stitch, back stitch, and cross stitch; all these are good, and this we must allow, and they are everywhere in practice now." [illustration: very early "petit point" picture. (_author's collection._)] these are not _all_ the stitches in vogue during the first era of needlework pictures. a single glance at one of the early specimens, though it may not _charm_, fills one with amazement at the amount of toil, ingenuity, patience, and downright _love_ for the work the ancient needlewoman must have possessed. not only pictures, however, were made in petit point. many dainty little accessories of the toilet gave scope to the delicate fancy and nimble fingers of the ladies who had found solace from the cessation of their labours for the priesthood in making dainty little handbags and other pretty articles, each a marvel of minute handicraft. one bag in my possession measures only four inches square, and is worked on fine canvas, about forty threads to the square inch, the design being the favourite tudor rose, each petal worked in lace stitch, and raised from the centre which is made of knots worked with golden hair, flat green leaves exquisitely shaded, and a charming bit of the worker's skill in the shape of a pea's pod, open and raised, showing the tiny little peas in a row. an exquisitely worked butterfly with raised wings in lace stitch is on the other side. the grounding of the whole is run with flat gold thread, making a "cloth of gold" ground, strings made of similarly worked canvas, with gold thread and silk tassels complete a bag fit for the princess golden locks of our fairy tales. this little bag cost the writer 5 guineas, and was cheap at the price. the south kensington museum have several specimens, and although many are very exquisite, there is not one quite so perfect in design nor in such condition. other little trifles made in similar style are the embroidered gauntlets of the buff leather glove worn at the time. these have become rarer than any other embroideries, as they were not merely for ornament but for actual wear. four or five of these gauntlet gloves are in the south kensington collection, but are of a later date than the "petit point" period. the use of gloves in england was not very general, we may infer, in the earlier ages of embroidery. there are certain evidences, however, showing that the glove was part of the priestly outfit, remains of gloves having been found on the bones of thomas à becket when they were transferred from the crypt of canterbury cathedral to the special shrine prepared for them; and a crimson leather pair, bearing the sacred monogram in embroidered gold, are preserved in the new college, oxford, belonging to the founder, william of wykeham, who opened the college in 1386. it was not until the fourteenth century that the wearing of gloves became general, and practically nothing remains to show what manner of hand-covering was worn until the tudor period. henry viii. was exceptionally lavish and extravagant in the use of handsomely embroidered gloves, and few of his portraits show him without a sumptuous glove in one hand. he had gloves for all functions--like a modern fashionable woman. a pair of hawking gloves belonging to him are in the ashmolean museum, oxford, and in south kensington is one of a pair presented by henry to his friend and councillor sir anthony denny. it is of buff, thin leather, with a white satin gauntlet, embroidered with blue and red silk in applique work, decorated with seed-pearls and spangles, and trimmed with gold lace. the tudor rose, the crown, and the lion are worked amidst a splendour of gold and pearls. [illustration: a stuart glove. (_s.k.m. collection._)] queen elizabeth must have inherited her love for gorgeous apparel along with her strong personality and masterful spirit, as her expenditure for gloves alone was proverbial. the favourite offering to her was a pair of gloves, but she was not above accepting shoes, handkerchiefs, laces, and even gowns from her faithful and admiring subjects. on her visit to oxford in 1578 she was presented by the chancellor of the university with a pair of perfumed gloves, embroidered with gold and set with jewels, which cost the university sixty shillings, an immense sum in those days. other historic gloves are in the various museums of the country, seldom or never coming into the open market. in the braikenridge collection sold at christie's in february of this year i was able to secure one for £2 12s. 6d., immediately afterwards being offered double the price for it. the gloves belonging to charles i. and queen henrietta maria were very ornamental, and it is said that even oliver cromwell, with all his austerity, was not proof against the fascination of the decorated glove. with charles ii. the embroidered gloves seem to have vanished along with the stumpwork pictures, of which more anon. dainty shoes were embroidered in those old times. these, being articles of wear, like the gloves, are very rare. the same fine petit point work is seen on them; seed-pearls and in-run gold threads adorn them, and frequently the tudor rose, in raised work, forms the shoe knot. two pairs in lady wolseley's collection, sold in 1906, fetched six guineas, and nine and a half guineas. tiny pocket-books were covered with this pretty work, and charming covers almost as fresh as when they were worked are occasionally unearthed, made to hold the old-fashioned housekeeping and cooking books. one wonders oftentime how many, and yet, alas! how few, specimens of this old petit point work have been preserved. it is only during recent years that the "cult of the antique" has been fashionable, and is also becoming a source of income and profit to the many who indulge in its quest. only members of learned antiquarian societies or born reliquaries troubled themselves to acquire ancient articles of historic interest because they were _old_, and served to form the sequence in the fairy tales of time. anything "old" was ruthlessly destroyed, as being either past wear, shabby, or old-fashioned, and countless treasures, both in ecclesiastical and secular art, have at all periods been recklessly destroyed for the sake of their intrinsic value in gold or jewels. in the early days of my life i was allowed to pick out the corals and seed-pearls from an old stuart needle picture "for a doll's necklace!" the picture itself probably going into the "rag-bag" of the mid-victorian good housekeeper. vi stuart caskets and mirrors vi stuart caskets and mirrors secret drawers and hidden receptacles--high prices in the salerooms. among the many treasures of this exquisite period of needlecraft are the well-known stuart caskets. very interesting and valuable are these charming boxes, many of them being in a fine state of preservation, owing to their having been enclosed in either a wooden or leathern box specially made to contain them. these queer little boxes are frequently made in the shape of noah's ark. the lid being raised, a fitted mirror is disclosed. the mirror slides out, and a secret recess may be discovered to hold letters. the front falls down, disclosing any number of tiny drawers, each drawer being silk-lined and the front of it embroidered. here, again, we may look for secret drawers. very seldom does the drawer run to the width of the cabinet, but by removing every drawer and carefully searching for springs or slides many a tiny recess is disclosed, where costly jewels, and perhaps a love-gage, has reposed safely from the sight of unworthy eyes. every square inch of these caskets is covered with embroidery, sometimes in canvas, worked with the usual scriptural or mythological design, and in others with white satin, exquisitely embroidered with figures and floral subjects. those in best preservation have been covered with mica, which has preserved both the colour and the fabric. the fittings are generally of silver. on the few occasions when these boxes or caskets come into the market high prices are realised. messrs. christie last year obtained £40 for a good specimen. i have never seen one sold under £30, and as much as £100 has been given. another pretty fancy was to cover small trays, presumably for the work or dressing table, with embroidery. not many of these remain, the wear of removing them from place to place having been too much for their staying powers. one in my possession is a small hexagonal tray with raised sides, embroidered in coloured silks in floral design, on what was once white satin. it is by no means a thing of beauty now, but as a specimen it is interesting, and "a poor thing, but mine own," which covers a multitude of shortcomings in these old relics, fortunately. [illustration: "stuart" mirror frame. (_lady wolseley's collection._)] far more frequently met with, though quite prohibitive in price, are the stuart embroidered mirrors, which easily command £80 to £100 in the salerooms. they are generally set in a frame of oak, leaving five or six inches (which would otherwise be covered with carving or veneer) for the embroidery. the mirror itself is comparatively small, being only a secondary consideration, and often little remains of it for its original purpose, as the glass is blurred and the silvering gone. many of these mirrors have _bevelled_ glass, which, of course, is wrong. the mirror shown in the illustration is one recently belonging to viscountess wolseley and sold by her, among other stuart needlework specimens, at messrs. puttick & simpson's in 1906. this mirror sold for £100. the figures represent charles i. and queen henrietta maria, one on either side of the mirror. the figure at the top of the frame is difficult to understand; whether she is an angel or a mere court lady must be left to conjecture. the rolling clouds and the blazing sun are above her head, and a peacock, with tail displayed, is on one side and a happy-looking stag on the other. two royal residences adorn the topmost panels on either side, with all their bravery of flying flags and smoking chimneys, and the lion and the leopard occupy the lower panels. the latter animal identifies the king and queen, who might otherwise be charles ii. and his consort, as after charles i.'s time the leopard gave place to the unicorn for some unexplained reason. other typical little stuart animals and birds fill in the extra panels, such as the spotted dog who chases a little hare who is never caught, and the gaily-coloured parroquet and kingfisher, which no respectable stuart picture would be without. the caterpillar, the ladybird, and the snail are all _en evidence_; and below is a real pond, covered with talc, and containing fish and ducks, the banks being made of tiny branching coral beads and tufted silk and bullion work. about this time, when venetian lace came into fashionable use as an adjunct to the exquisite stuart dress, tiny coloured beads were imported from venice. the embroiderers at once seized upon them as a new and possibly more lasting means of showing their pretty fancies in design. many delightful specimens of these beadwork pictures are preserved, the colours, of course, being as fresh as yesterday. the ground was always of white satin, now faded and discoloured with age, and often torn with the heaviness of the beadwork design. they are scarcely so charming as the all needlework pictures, but still are delightful and covetable articles. the exigencies of the beadwork, however, lends a certain stiffness and ungainliness to the figures. vii embroidered books and "black work" [illustration: "stuart" book cover. (_british museum._)] vii embroidered books and "black work" style and symbolism--specimen in british museum and bodleian libraries--"black work" among the many dainty examples of tudor and stuart needlework are to be found the exquisitely embroidered book-covers which date from queen elizabeth's girlhood until the time of charles ii. they were always of diminutive size, and many stitches diversify their covering; oftentimes they were liberally embroidered with seed-pearls, and in these instances most frequently this fashion has been their salvation. a book somehow always seems to be a more sacred thing than a picture, and the costly little volumes which remain to show this dainty handicraft have apparently always been used either for church or private devotional purposes. the designs of the book-covers almost always follow certain styles. these are either heraldic, scriptural, symbolical, floral, or arabesque. the first-named variety usually belonged to royalty or one of the many noble houses whose ladies busied themselves with fair needlework. the shield, containing the coat of arms of the family, occupied the centre of the book-cover, being formed in raised gold and silver guipure or cord, and on the reverse the worker's initials frequently appear, with a pretty border in gold and silver, to outline the edges. the scriptural book-covers are always worked on canvas in fine petit point stitches. one in south kensington museum is larger than most of these volumes, and has on one side solomon in all his glory and on the reverse jacob and his ladder and king david. these canvas-covered books appear to have suffered most from the wear and tear of time, and very few remain. the symbolical covers are few, and mostly uninteresting. they are worked as a rule on silk and satin in loose satin stitches, which have suffered much from friction. the sacred monogram is often the centre of the device. a favourite design was adorning the back of the books with portraits of the martyred king charles i., queen henrietta maria, and the popular duke of buckingham. [illustration: pocket-book of satin, embroidered with coloured silks and silver-gilt thread. said to have been the property of queen elizabeth. (_in countess brownlow's collection._)] the stitches used were generally chain-stitch, split-stitch, petit point, and lace-stitch; and the patterns were most frequently outlined with a gimp made of flattened spiral wire, or _purl_, which was a fine copper wire covered with coloured silks and cut in lengths for use. very often, also, small silver spangles were employed, either stitched down with a piece of purl or a seed-pearl. frequently the covers were of velvet with the designs appliquéd down to it, and _laid_ or _couch_ work outlined the designs. sometimes flat pieces of metal were cut to shape and stitched down, as in one instance where the corners of the books were trimmed with the rays of the sun cut in gold, and stitched over with a gold thread. many of the charming little bags of which mention has already been made are supposed to have been worked to hold the prayer book and book of psalms, without which no devout lady deemed herself fully equipped. the most famous book is queen elizabeth's book in the british museum. the cover is of choice green velvet, the flat of the back has five roses embroidered in lace, raised stitches and gold and pearl. the royal arms are on either side of the book in a lozenge of red silk and pearls. the whole design, apart from this, is worked in red and white roses and scrolls of gold and silk. this gorgeous little cover contains "the mirrour of glasse of the synneful soul," written by elizabeth herself, and of it she writes that she "translated it out of french ryme into english prose, joyning the sentences together as well as the capacities of my symple witte and small lerning could extende themselves." it is dedicated "to our most noble and virtuous queen katherine [katherine parr] from assherige, the last day of the year of our lord god, 1544." in the bodleian library there is another treasured little book, again worked by queen elizabeth. it is only 7 inches by 5 inches, and has the same design on both sides. in this the ground is what is known as "tapestry stitch," worked in thick, pale-blue silk, and the design is of interlacing gold and silver threads with a tudor rose in each corner. "k. p." is marked on the cover, and shows that this also was worked for queen katherine parr. yet another little book is in the british museum. it contains a prayer composed by queen katherine parr, and is written on vellum by queen elizabeth. the cover illustrated is a typical example of the class of embroidered works of the period. later the covers showed less intricate work, and finally developed into mere velvet covers embroidered with silver or gold. [illustration: stuart embroidered cap. (_s.k.m. collection._)] black work. a curious phase of old english embroidery is the well-known "black work," which is said to have been introduced by catherine of aragon into england, and was also known as "spanish work." the work itself was a marvel of neatness, precision, and elegant design, but the result cannot be said to have been commensurate with the labour of its production. most frequently the design was of scroll-work, worked with a fine black silk back-stitching or chain-stitch. round and round the stitches go, following each other closely. bunches of grapes are frequently worked solidly, and even the popular peascod is worked in outline stitch, and often the petit point period lace stitches are copied, and roses and birds worked separately and after stitched to the design. there are many examples of this famous "spanish" work in the south kensington museum. quilts, hangings, coats, caps, jackets, smocks are all to be seen, some with a couched thread of gold and silver following the lines of the scrolls. this is said to be the spanish stitch referred to in the old list of stitches, and very likely may be so, as the style and manner are certainly not english; and we know that catherine of aragon brought wonders of spanish stitchery with her, and she herself was devoted to the use of the needle. the story of how when called before cardinal wolsey and campeggio, to answer to king henry's accusations, she had a skein of embroidery silk round her neck is well known. the black silk outline stitchery or linen lasted well through the late seventeenth and eighteenth centuries. very little of it is seen outside the museums, as, not being strikingly beautiful or attractive, it has been destroyed. another phase of the same stitchery was working cotton and linen garments, hangings, and quilts in a kind of quilted pattern with yellow silk. anything more unlike the quilting of fifty years ago cannot be imagined. the finest materials were used, the padding being placed bit by bit in its place--not in the wholesale fashion of later years, when a sheet or two of wadding was placed between the sheets of cotton or linen, and a coarse back-stitching outlined in great scrawling patterns held the whole together. the old "quilting" work was made in tiny panels, illustrating shields and other heraldic devices, and had a surface as fine as carved ivory. when, as in the case of one sample at south kensington, the quilt is additionally embroidered with beautiful fine floss silk flowers, the effect is very lovely. viii stuart pictures viii stuart pictures "petit point"--"stump work"--royalistic symbols. though these pictures bear the name of stuart, many of them are undoubtedly tudor. the earliest (if the evidence of costume is of any value) must have been worked in elizabeth's time, but as the authenticated specimens date only from the reign of james i. they are known as stuart. the only pictures worked in the early days of this art were worked in petit-point, the tiny stitch which imitated tapestry, and very quaint are the specimens left to us. the favourite themes were entirely pagan. gods and goddesses disported themselves among leafy trees. cupid lightly shot his arrows, the woods were inhabited by an unknown flora and fauna which seem all its own. the very dogs seem to be a different species, having more likeness to the china dogs of the spotted or liver and white variety which the staffordshire potters made at the beginning of our own century. innumerable little castles were perched in perfectly inaccessible positions on towering crags, and the laws of perspective were generally conspicuous by their absence. the sun in those days was a very visible body, and apparently delightful to work, no stuart picture being without one; the rolling clouds oftentimes are confused with the convoluted body of the caterpillar, little difference being made in the design. the birds were of very brilliant plumage, and the world was evidently a very gay and sportive place when these fair ladies spent their leisure over this embroidery! these early pictures seldom show the religious feeling that afterwards slowly worked its way through the stuart days (though, perhaps, disguised under royalistic symbolism), until in the reign of queen anne it became more or less a fashion, in pictorial needle-craft. it burst out afresh in the early nineteenth century and became an absolute obsession of the early victorian berlin-wool workers with most disastrous results to both design and work. until the end of charles i.'s reign needlework pictures must have been scarce, as we find one enumerated in the inventory of his "closet of rarities." it is possible that the many pictures which represent charles i. were worked by loyalist ladies, _after his execution_ and _during the commonwealth_. in many of these pictures his own hair is said to have been used, thereby becoming relics of him who was known as "the martyred king." on a very finely worked portrait of charles i., at south kensington museum, king charles's hair is worked amongst the silken threads. [illustration: king charles i., worked in fine silk embroidery. (_s.k.m. collection._)] throughout this time, no matter what the subjects, most of which were notably striking scenes from scripture history, such as "esther and king ahasuerus," "solomon and the queen of sheba," "the judgment of solomon" (a very favourite subject), and other scenes of old testament history, all the kings were charles i. and all the queens henrietta maria. one and all wore early stuart costumes. even pharaoh's daughter wore the handsome dress of the day, with point lace falling collar and real pearls round her neck. it is a fashion to jeer at this anachronism; but may it not perhaps be that we take these pictures too literally, and deny the workers their feelings of passionate devotion to the lost cause. doubtless they worked their loyalty to their beloved monarch into these pretty and pleasing fancies, just as it is said that the fashion of "finger-bowls" was introduced later so that the loyal gentlemen of the day might drink to the king "_over the water_." i see no cause to deny intelligence to these dear dead women, who were capable of exquisite needlecraft and fine design, and whose devotion was shown in many instances by giving up jewels, houses, and lands for the king! the fashion of "stump" or stamp work appears to have been derived from italy. italian needlework of this time abounds with it, and, it must be admitted, of a superior design, and style to that which was known here as "stump" work. until the eighteenth century english work was more or less archaic in every branch. personally, i see no more absurdity in the queer doll-like figures than in contemporary wood-carving. it was a period of tentative effort, and was, of course, beneath criticism. english art has ever been an effort until its one bright burst of genius in the eighteenth century, while the continental nations appear to have breathed artistic perception with life itself. the prototype of our stump work pictures, the italian raised work, are gracious, graceful figures perfectly proportioned, and set in lovely elegant arabesques, with no exaggeration of style or period. some specimens of this work must have been brought from italy, through france, and the english workers quickly adopted and adapted them to their own heavier intelligence. some of the little figures are certainly very grotesque. frequently the tiny little hands are larger than the heads, but the _stitchery_ is exquisite. no time seems to have been too long to have been spent in perfecting the petals of a rose, the loose wing of a butterfly, or to make a realistic curtain in fine point lace stitches to hang from the king's canopy. some of the king's dresses are said to have been made of tiny treasured pieces of his garments. there is no doubt that much devoted sentiment was worked into these little figures, and these touches of nature add a pathetic interest to them. [illustration: superb example of stuart picture. (_s.k.m. collection._)] in the illustration of "king solomon receiving the queen of sheba" from the south kensington collection solomon is obviously king charles i., while the queen of sheba is equally recognisable as queen henrietta maria. the picture is perhaps the finest in the kensington collection, the colours being fresh and the work intact. the little faces are worked over a padding of soft frayed silk or wool, the features being drawn in fine back-stitch. natural hair is worked on the king's and queen's heads, and the crowns are real gold thread set with pearls. the canopy is worked _solidly_ in silk and gold thread, and from it hang loose curtains in old brocade, worked over and over with gold and silken thread. the king's mantle and that of the lord chamberlain are worked in point lace stitches, afterwards applied to the bodies and hanging loosely. the queen's dress is brocade, worked over with gold and silver, while strings of real pearls decorate the necks and wrists of the ladies, and real white lace of the venetian variety trims the neck and sleeves of these fairy people. the stuart castle we see perched up among the trees and touching the sun's beams is more like an english farmhouse than whitehall. yet either this or windsor castle is always supposed to be represented. the british lion and the leopard, again, make the identity of these little people more certain. the quaint little trees bear most disproportionate fruits, the acorn and pears being about the same size, but all beautifully worked in point-lace stitches over wooden moulds. the hound and the hare, the butterfly and the grub, and the strange birds make up one of the most typical stuart pictures. the next illustration shows another development of picture-making. here the grounding is of white satin, as in the previous illustration, but the figures are worked on canvas separately, in fine petit-point stitch, afterwards being cut away and placed on the white satin ground with a few silk stitches and the whole outlined with a fine black silk cord. the subject is "the finding of moses," and is as full of anachronisms as the last, only that here again pharaoh's daughter is worked in memory of queen henrietta maria, and the tiny boy in the corner is charles ii., and moses the infant duke of york. the four-winged cherubs are the guardian angels who are watching over the lost fortunes of the stuart family, and the rose of england and the lilies of france which form the border are emblematical of the royal lineage of their lost king's family. the hound and hare still chase each other gaily round the border, and in the picture the hare is seen emerging, like the stuarts, from exile and obscurity. sufficient has perhaps been said to cause those who possibly may have misunderstood these pictures to give them another glance, and allow imagination to carry them back to the times of the exiled royal family and their brave adherents, whose women allowed not their memories to slumber nor their labours to flag. these pictures must have been made during the commonwealth and the reign of charles ii. in no case, to my knowledge, has king charles ii. been depicted in stitchery, nor yet catherine of braganza. james ii. is equally ignored, and with him their mission seemed to have been accomplished. possibly the people had had by this time sufficient of the stuarts, and the memory of king charles the martyr had waxed dim. certain it is that with james ii. stuart needlework pictures suddenly ceased. [illustration: stuart picture, showing the finding of moses. (_s.k.m. collection._)] _stump work symbols._ the symbolism of the various animals, birds, insects, and flowers which are, apparently without rhyme or reason, placed in one great disarray in the stuart pictures is said to have been heraldic and symbolic. the sunbeam coming from a cloud, the white falchion, and the chained hart are heraldic devices belonging to edward iii. the buck and the strawberry, which are so often seen, belong to the frazer clan of scotland, and may have been worked by ladies who were kith and kin of this clan. the unicorn was the device of james i. and the siren or mermaid of lady frazer, who is said to have worked her own golden hair in the heart of a tudor rose on a book cover for james i. the hart was also a device of richard ii. and the "broom pod" of the plantagenets. the caterpillar and butterfly were specially badges of charles i., while the oak-tree and acorn were invariably worked into every picture in memory of charles ii.'s escape in an oak tree. ix samplers ix samplers real art work--specimens in south kensington museum--high price now obtained. a "sampler" is an example or a sample of the worker's skill and cleverness in design and stitching. when they first appeared, as far as we know about the middle of the seventeenth century, they were merely a collection of embroidery, lace, cut and drawn work stitches, and had little affinity to the samplers of a later date, which seemed especially ordained to show various patterns of cross stitches, the alphabet, and the numerals. the early samplers were real works of art; they were frequently over a yard long, not more than a quarter of a yard wide, and were adorned with as many as thirty different patterns of lace and cut and drawn work. this extreme narrowness was to enable the sampler to be rolled on a little ivory stick, like the japanese _kakemonas_. the foundation of all the early samplers was a coarse linen, and to this fact we owe the preservation of many of them. those made two hundred years later, on a coarse, loose canvas, even now show signs of decay, while these ancient ones on linen are as perfect as when made, only being gently mellowed by time to the colour of old ivory. the earliest sampler known is dated 1643, and was worked by elizabeth hinde. it is only 6 inches by 6-1/2 inches, and is entirely lacework, and apparently has been intended for part of a sampler. the worker perhaps changed her mind and considered rightfully that she had accomplished her _chef d'oeuvre_, or as so often explains these unfinished specimens, the reaper gathered the flower, and only this dainty piece of stitching was left to perpetuate the memory of elizabeth hinde. the sampler in question is just one row of cut and drawn work and another of fine venetian lacework, worked in "punto in aria." a lady in court dress holds a rose to shield herself from cupid, a dear little fellow with wings, who is shooting his dart at her heart. perhaps poor elizabeth hinde died of it and this is her "swan song." [illustration: a seventeenth-century "sampler" (english), showing cut and drawn work. (_s.k.m. collection._)] the earliest samplers appeared to have been worked only on white cotton or silk. a favourite design, apart from the lacework samplers, was the "damask pattern" sampler, a specimen of which may be noted, commencing with the fifth row, on the sampler illustrated. sometimes the sampler was entirely composed of it, and although ineffective, remains as a marvel of skill. it was worked entirely in flat satin stitch and eyelet holes, known as the "bird's eye" pattern. in the illustration four rows of cutwork will be noted, followed by five rows of drawn threadwork, and above are patterns worked in floral and geometric designs in coloured silks. the alphabet and the date 1643 complete this monument of skill, which may be seen in the south kensington museum. the succeeding illustration shows a more ambitious attempt, and is considered one of the finest specimens known. it was worked by elizabeth mackett, 1696. it is on white linen with ten rows of floral patterns worked with coloured silks in cross, stem, and satin stitches, with some portions worked separately and applied. five rows of white satin stitch, two rows of alphabet letters in coloured silks, and four rows of exquisite punto in aria lace patterns are followed by the alphabet again in white stitches and the maker's name and date. the sampler is in superb preservation, the colours are particularly rich and well chosen. this sampler is also from the south kensington collection. often the worker's name is followed by a verse or rhyme having a delightfully prosaic tendency. one can imagine the poor girls, in the early days we are writing of, writhing under the infliction of having slowly and painstakingly to work the solemn injunction- "when this you see remember me and keep me in your mind, and be not like a weathercock that turns at every wind. when i am dead and laid in grave, and all my bones are rotten, by this you may remember me when i should be forgotten." and we can appreciate how little maggie tulliver ("the mill on the floss") must have girded at the philosophy she was compelled to work into her sampler- "look well to what you take in hand, for learning is better than house or land; when land is gone and money is spent then learning is most excellent." with the eighteenth century the beauty of the samplers distinctly declined. they became squarer, and were bordered with a running pattern, and the whole canvas became more or less pictorial. inevitably the end of this art came. ugly realistic bowpots with stumpy trees decorated the picture in regular order. the alphabet still appeared, and moral reflection seemed to be the aim of the worker rather than to make the sampler show beauty of stitchery. quaint little maps of england are often seen, surrounded with floral borders, but it remained to the early nineteenth century to show how the sampler became reduced to absurdity. one of the quaintest and most amusing samplers at south kensington is a 12-inch by 8-inch example in woollen canvas and embroidered with coloured silk. at the lower end is a soldier, a tiny realistic house, a dovecot, any number of flowering plants, a stag and other animals. above is a band of worked embroidery enclosing the words, "this is my dear father." the remaining spaces are filled in with angels blowing trumpets, double-headed eagle, peacocks and other birds, and baskets of fruit. in spite of its absurdity, this little piece is far more pleasant than the tombstone inscriptions which abound, and is, after all, delightfully suggestive of home and affection. [illustration: early english "sampler," showing embroidery in coloured silk. (_s.k.m. collection._)] [illustration: early english "sampler," showing bird's-eye embroidery and cut and drawn work. (_s.k.m. collection._)] another quaint piece at south kensington is a sampler worked by poor harriet taylor, _aged seven!_ at the top are four flying angels, two in clouds flanking a crown beneath the letters "g. r." in the middle stands a flower-wreathed arch, with columns holding vases of flowering plants; above are the words, "the temple of fancy," and within an enclosed space the following homily: "not land but learning makes a man complete not birth but breeding makes him truly great not wealth but wisdom does adorn the state virtue not honor makes him fortunate learning, breeding, wisdom get these three then wealth and honor will attend on thee." then follows a house called "the queen's palace," standing in an enclosed flower-garden. this masterpiece of moral philosophy from the hands of a child of seven years is dated 1813. an exaggerated conception of the value of old samplers is very widely spread. only the seventeenth-century samplers are really of consequence, and these fetch fancy prices. in the sale-rooms a long narrow sampler of lace stitches and drawn-thread work would bring as much as a handsome piece of lace. they are practically unattainable, and in this case the law of supply and demand does not obtain. it is beyond the needlewomen of the present day to imitate these old samplers. life is too short, and demands upon time are so many and varied, that a lifetime of work would result in making only one. therefore, the fortunate owners of these seventeenth-century samplers may cherish their possessions, and those less lucky possess their souls in patience, and hoard their golden guineas in the hope of securing one. twenty years ago a few pounds would have been ample to secure a fine specimen, but £30 will now secure only a short fragment. during the last three years i have not seen a good sampler at any london curio or lace shop, and none appear in the sale-rooms. the eighteenth-century samplers are comparatively common, the map variety especially so, and can be purchased for a pound or so, but these are not desirable to the collector. x the william and mary embroideries [illustration: jacobean wall-hanging worked in coloured crewels on linen ground. (_s.k.m. collection._)] x the william and mary embroideries queen mary "a born needlewoman"--the hampton court embroideries--revival of petit point--jacobean hangings. one of the most convincing facts in arguments that there _is_ a revival in the gentle art of needlecraft is that it has become the fashion to drape our windows, cover our furniture, and panel our walls with printed copies of the old jacobean needlework. many people, knowing nothing whatever about the history of needlework, wonder where the designs for the printed linens which line the windows of messrs. liberty, goodall and burnett's colossal frontages in regent street have been found. in time amazement gives way to admiration for these quaint blues and greens, roses and pale yellows, worked in great scrolls with exotic flowers and still more exotic birds, and the funny little hillocks with delightful little pagoda-like cottages nestling amongst them, and many and various little animals which seem to keep perpetual holiday under the everlasting blooms. the designs are taken bodily from the historical hangings of the later seventeenth century. after the abdication and flight of james ii. to st. germains, his daughter mary came over with her dutch husband, william the stadtholder--or, rather, william came over and brought his wife, the daughter of the late king, for william had no intention of assuming the style and life of prince consort, but came well to the front, and kept there. it was not "victoria _and albert_" in those days, but william and mary, who ruled england, and ruled it well. william iii. must have been a man of strong personality, and he managed to quell all the rebellions of his reign, and during the time he ruled over us the country settled down to a peaceful state that has remained to the present time. queen mary had quite sufficient employment in settling herself and her household, and generally managing the domestic matters pertaining to the new kingdom she had come into. she apparently had a very free hand in rebuilding hampton court, which she particularly made her home, absolutely pulling the interior down, and rebuilding and redecorating it according to her own taste, which was not that of the stuart persuasion with its gorgeous magnificence, but the more homely and solid dutch. very little of the original hampton court _interior_, built and furnished by cardinal wolsey, exists. just here and there we find delightfully dark little dens with the original linen-fold panellings and ceilings that are a ravishment to look upon; but mostly the rooms are high, plain-panelled, and with the quaint ingle-nook fireplaces, with shelves above, upon which mary placed her lovely "blue and white" porcelain which had been brought to her by the dutch merchants who at that time were the great traders of the sea. [illustration: enlargement of "jacobean" spray. (_s.k.m. collection._)] queen mary ought to be regarded as the patron saint of english needlewomen. she was happiest when employed furnishing every bed-covering, every chair and stool, and supplying the hangings for her favourite home. it is said that she spent her days over her embroidery frame, knowing full well that affairs of state were in the capable hands of her husband. there are few relics left of her handiwork outside hampton court. she left no dainty little book-covers, bags, or boxes, as her ideas were fixed on larger pieces of embroidery. had she lived in the berlin-wool picture days, she would have filled every nook and cranny with these atrocities, as many humbler devotees to the needle have done to our own knowledge. needlework can become a _passion_, and certainly queen mary must have possessed it. after the complete collapse of the stuart stump pictures, when every vestige of loyalty seems to have been swept away with the hated james ii., the ancient petit point pictures came back into fashion. very clever work was put into them, but, alas! their scope was purely to depict religious scenes of the rigorous kind. no dainty fairy-like little people now ruled in pictured story, but actual representations of bible history. the illustration of "the baptism of the ethiopian eunuch by st. philip" is a fair sample of the needlework picture of this time. the picture is a strange mixture of the early stuart petit point, the jacobean wall-hanging, and the newly revived religious spirit. the duck-pond, the swans and the water-plants might have been copied bodily from james i.'s time. the paroquet and the flying bird, and the immense leaves and blossoms, are direct from the wall-hangings, while the figures only too surely foretell the coming dark days of needlecraft, when a scripture picture and a coarsely worked sampler were part of every girl's liberal education. the work in this picture is extremely good, and it is excruciatingly funny without intending to be so. the pretty little equipage with its diminutive ponies surely was never intended to carry either st. philip or the eunuch! the open book, with hebraic inscription, is very delightful. it brings to mind the tables of the law rather than the light reading that the charming little cinderella coach should carry. these pictures are not common, and we scarcely know whether to be thankful for them or not. unlike the early petit point, they were worked in _worsteds_, whereas the early pictures were wrought in silk. the moth has a natural affinity for wool, as we all know, and his tribe has cleared off many hundreds of examples. why so many of the old jacobean hangings remain is that they were worked for _use_, and not ornament, and even after they ceased to be fashionable ornaments for sitting and bed rooms, they were either relegated to the servants' quarters, or given to dependants, who used them constantly, shaking and keeping them in repair, as the eighteenth-century housewives liked to keep their homes swept and garnished. [illustration: needlework picture of queen anne period. (_s.k.m. collection._)] it is strange to see these old jacobean hangings (perhaps the drapery of the now tabooed four-post bedstead), which might some thirty years ago have been carried off for the asking, sell at christie's for £800, as happened in the dispersal of the massey-mainwaring sale last year. even a panel of no use except to frame as a picture, say 4 feet by 3 feet, will fetch £30 and a full-sized bed-cover can only be bought for over £100. the reason is not far to seek. the colouring and the drawing of this fine old crewel-work are exquisite (even though the design savours of the grotesque), and time has dealt very leniently with the dyes. i endeavoured to match some of these old worsteds a little time ago, and though able to find the colours, could not get the tone. after much tribulation i was advised to hang the skeins of worsted on the trees in the garden and _forget all about them_, and certainly wind and weather have softened the somewhat garish worsteds to the soft, _fade_ colours of the old work. the same class of embroidery was executed during the reign of queen anne, though she herself did little of it. costly silks and brocades and venetian laces were the dress of the day, and no little dainty accessories appear to have been made. xi pictorial needlework of the eighteenth century [illustration: a fine "painted face" silk-embroidered picture. (_author's collection._)] xi pictorial needlework of the eighteenth century the "painted faces" period--method of production--revival of scriptural "motifs"--modern fakes--black silk and hair copies of engravings. an immense number of pictures must have been worked during the eighteenth century. almost, we might say, no english home is without an example. much of the work is intensely bad, and only that time has tenderly softened the colours, and the old-time dresses add an element of quaintness to the pictures, can they be tolerated. works of art they are not, and, indeed, were never intended to occupy the place their owners now proudly claim for them. just here and there a picture of the painted face type is a masterpiece of stitchery, as in the example illustrated, where every thread has been worked by an _artiste_. looking at this little gem across a room, the effect is that of a charming old colour print, so tenderly are the lines of shading depicted. this is the only picture of this class that i have seen for years as an absolutely perfect specimen of the eighteenth-century silk pictures, though doubtless many exist. the discrepancy which is usually found is that, although the design and outline is perfect, the faces and hands exquisitely painted, the needlework part of the picture has been executed in a foolish, inartistic manner, and no method of light and shade has been observed. some little time ago i published an article in one of the popular monthly magazines illustrating this same picture, and was afterwards inundated with letters from correspondents from far and near sending their pictures for valuation and--admiration! not one of these pictures was good, though there were varying degrees of _badness_. but in no instance was the painted face crudely drawn or badly coloured. the explanation is that just as the modern needlewoman goes to a needlework depôt and obtains pieces of embroidery already commenced and the design of the whole drawn ready for completion, so these old needle pictures were sold ready for embroidering, the outline of the trees sketched in fine sepia lines, the distant landscape already painted, the faces and hands of the figures charmingly coloured, in many instances by first-class artists. when we remember that the eighteenth century was _par excellence_ the great period of english portrait painting and colour printing, we can understand that possibly really fine artists were willing to paint these exquisite faces on fine silk and satin, just as good artists of the present day often paint "pot-boilers" while waiting for fame. [illustration: embroidered silk picture of "the last supper." eighteenth century. (_s.k.m. collection._)] angelica kauffmann's style was often copied. is it too much to believe that some of these charming faces may have been from her hands? we know that she painted furniture and china, therefore why not the faces of the needlework pictures so nearly akin to her own work? the eighteenth-century costume was particularly adapted to this pretty work. we cannot imagine the voluminous robes of queen mary or queen anne in needle-stitchery, but the soft, silky lawns of the georgian periods, the high-waisted bodices, the _bouffant_ fichus and the flowing head-dresses, all were specially easy and graceful to work. many of the pretty children sir joshua loved to paint were copied. "innocence" made a charming picture, and several of the less rustic morland pictures were copied. we would imagine that when the beginnings of the picture were so glorious the needlewoman would have made some endeavour to work up to it. but, alas! it was not so. though often the stitching is neat and small, not an idea of shading seems to have entered the worker's mind, and whole spaces, nay, a complete garment, are often worked solid in one tone of colour! on the whole there is far more artistic sense and feeling in the stump pictures it is the fashion to deride. not always were dainty pastoral and domestic scenes worked. very ghastly creations are still existent of scriptural subjects. coarsely worked in wool, instead of silk, or in a mixture of both. the painting is still good, but the work and the subjects are execrable! "abraham about to sacrifice isaac," on the pile of faggots already laid, and isaac bound on it, with a very woolly lamb standing ready as a substitute, was a favourite subject. "abraham dismissing hagar and ishmael," with a malignant-looking sarah in the distance, vies with the former in popularity. "the woman of samaria," and "the entombment," are another pair of unpleasant pictures which we are often called upon to admire. the best of these pictures were worked in fine floss silk, not quite like the floss silk of to-day, as it had more twist and body in it, with just a little fine chenille, and very tiny bits of silver thread to heighten the effect. the worst were worked in _crewel_ wools of crude colours. fortunately, the moth has a special predilection for these pictures, and they are slowly being eaten out of existence, in spite of being cherished as heirlooms and works of art. another pretty style which we seldom meet with was some part of the picture covered with the almost obsolete "ærophane," a kind of chiffon or crape which was much in request even up to fifty years ago. a certain part of the draperies was worked on the silk ground, without any attempt at finish. this was covered with ærophane, and outlined so as to attach it to the figure. this again was worked upon with very happy effects, very fine darning stitches making the requisite depth of shading. the illustration shows the use of this, but this cannot be said to be a very good specimen. [illustration: "painted face" silk-embroidered picture. eighteenth century. (_author's collection._)] these painted face, silk-worked pictures are the only needlework examples the collector _need to beware of_, as they are being reproduced by the score. the method of working in the poorer specimens is very simple, and it pays the "faker" to sell for £2 or £3 what takes, perhaps, only half a day to produce. when a well-executed picture is produced it is worth money, but so far i have seen none, except at the royal school of needlework, where the copying of old pictures of the period is exceedingly well done, and not intended to deceive. the prices, however, are almost prohibitive, as no modern needlework picture is worth from £15 to £30. they are, after all, only copies, and in no sense of the word works of art. during the eighteenth century, also, a fashion set in of adorning engravings with pieces of cloth, silk, and tinsel. at best it was a stupid fancy, and was responsible for the destruction of many fine old mezzotints and coloured prints. the hands, face, and background of an engraving were cut out, and pasted on a sheet of cardboard, pieces of some favourite brocaded gown, perhaps, were attached to the neck and shoulders, tiny lace tuckers were inserted, and gorgeous jewellery was simulated by wretched bits of tinsel trimming. the realism of the stuart stump picture was never so atrocious as this baleful invention, which was as meretricious as a waxwork show. not so popular, but far better, were the pictures worked on white silk with black silk and hair. there were no artistic aspirations about these--they were copies in black and white of the engravings of the day, just as a pen-and-ink or pencil copy might be made. very dainty stitchery was put in them, the stronger parts of the lines being in fine black silk, the finer and more distant being worked in human hair of various shades from black to brown. occasionally golden and even white hair is used, and the effect is often that of a faded engraving. the silk ground on which these little pictures were worked is, however, often cracked with age, and many pretty specimens are ruined. the illustration shows an example of the type of picture, and depicts "charlotte weeping over the tomb of werther." [illustration: black silk and hair picture. imitation of engraving. eighteenth century. (_author's collection._)] xii needlework pictures of the nineteenth century xii needlework pictures of the nineteenth century entire decline of needlework as an art--miss linwood's invention!--the berlin-wool pictures--lack of efficient instruction--waste of magnificent opportunity at south kensington museum. it were kindest to ignore 19th century needlework, but in a book treating of english embroidery something must be said to bridge over the time when needlecraft as an art was _dead_. during the earlier part of the century taste was bad, during the middle it was beyond criticism, and from then to the time of the "greenery-yallery" æsthetic revival all and everything made by woman's fingers ought to be buried, burnt, or otherwise destroyed. indeed, if that drastic process could be carried out from the time good queen adelaide reigned to the early "eighties" we might not, now and ever, have to bow our heads in utter abjection. the originator and moving spirit of this bad period was miss linwood, who conceived the idea of copying oil paintings in woolwork. she died in 1845. would that she had never been born! when we think of the many years which english women have spent over those wickedly hideous berlin-wool pictures, working their bad drawing and vilely crude colours into those awful canvases, and imagining that they were earning undying fame as notable women for all the succeeding ages, death was too good for miss linwood. the usual boiling oil would have been a fitter end! miss linwood made a great _furore_ at the time of her invention, and held an exhibition in the rooms now occupied by messrs. puttick & simpson, leicester square. can we not imagine the shade of the great sir joshua reynolds, whose home and studio these rooms had been, revisiting the glimpses of the moon, and while wandering up and down that famous old staircase forsaking his home for ever after one horrified glance at miss linwood's invention? not only miss linwood, but mrs. delany and miss knowles made themselves famous for berlin-wool pictures. the kindest thing to say is that the specimens which are supposed to have been worked by their own hands are considerably better than those of the half-dozen generations of their followers. during the middle and succeeding twenty years of the nineteenth century the notable housewife of every class amused herself, at the expense of her mind, by working cross-stitch pictures with crudely coloured wools (royal blue and rose-pink, magenta, emerald-green, and deep crimson were supposed to represent the actual colours of nature), on very coarse canvas. landseer's paintings were favourite studies, "bolton abbey in the olden times" lending itself to a choice range of violent colours and striking incidents. nothing was too sacred for the berlin-wool worker to lay hands upon. "the crucifixion," "the nativity," "the flight into egypt," "the holy family" were not only supposed to show the skill of the worker, but also the proper frame of mind the embroideress possessed. pleasing little horrors such as the "head of the saviour in his agony," and that of the virgin with all her tortured mother love in her eyes were considered fit ornaments for drawing-room, which by the way were also adorned with wool and cotton crochet antimacassars, waxwork flowers under glass, and often astonishingly good specimens of fine chelsea, worcester, and oriental china. never was the questions of how "having eyes and yet seeing not" more fully exemplified. the nation abounded in paintings, prints, fine needlework, and the product of our greatest period of porcelain manufacture. fine examples were at hand everywhere. exquisite prints belonging to our only good period, the eighteenth century, were common; yet rather than try their skill in copying these, the needlewomen, who possessed undoubted skill, enthusiasm, and infinite patience, preferred to copy realistic paintings of the landseer school and the highly coloured prints of the baxter and le blond period. unfortunately, the craze is by no means buried. within the last twelve months i was invited to see the "works" of a wonderful needlewoman in a little middlesex village. the local clergyman and doctor were sufficiently benighted even in these days of universal culture to admire her work, and her fame had spread. room after room was filled with 10 by 8-feet canvases; every drawer in the house was crammed with the result of this clever woman's work--for clever she undoubtedly was. after exhausting all the known subjects of landseer and his school, she had struck out a line for herself, and had copied the _graphic_ and _illustrated london news_ supplements of the stirring scenes from the south african war, such as "the siege of ladysmith," "the death of the prince imperial" in all its gruesome local colouring, were worked on gigantic canvases. her great _chef d'oeuvre_ was, however, the memorial statue of queen victoria, copied from the _graphic_ supplement _in tones of black, white, and grey_, a most clever piece of work; but--well, she was happy and more than delighted with my perfectly honest remark that i had _never seen anything like it_! ah! if only this dear woman and the many others who are wasting their time and eyesight over fashions which perish could only be reached and aroused by the influence of the lovely old english stitchery of our great period! if only the purblind authorities and custodians of our national collections could awaken to the infinite possibilities which they hold, once again "opus anglicum" might rule the world, and the labour of even one woman's life might be of lasting value. it is useless to refer to the many schools of embroidery there are in different parts of the country, where fine work is being done on the best lines. these schools, from the royal school of needlework downwards, are "closed corners," and no attempt is made to reach the great public. the royal school of needlework is maintained by no subsidy as it ought to be, but by the many ladies of position and taste who liberally support it, both for the instruction and employment of "ladies of reduced circumstances," and for _the disposal of its work at very high prices_. other schools in town are simply private adventure institutions, run at a considerable profit to the principals. the superb collection at south kensington might as well be buried in the crypt of westminster cathedral for all the value it is to the general public. there is not the slightest attempt to allow these unique pieces of "opus anglicum" to point a moral or adorn a tale. the magnificent copes and vestments, of which there are some score, are merely tabulated, paragraphed, and photographed, and there is an end of them. during my constant visits to these treasures of english art i have not once discovered another interested visitor amongst these beautiful vestments; and the officials, when interviewed, though perfectly courteous, apparently resent inquiries; and woe betide the unfortunate inquirers who _might_ have found the required information from the tiny little printed card hidden either too low or too high in the dark recesses of the corridors, and so spared these _savants_ the trouble of an interview! why a continuous course of lectures on this and every kindred art subject is not made compulsory at the victoria and albert museum is one of the burning questions of the hour among the cultured collectors of the day. the custodians are supposed to be men of special insight in the branches over which they preside, yet for all the advantage to the public they might as well be waxwork dummies. what we want as a nation is "culture while we wait," and writ so large that those who run may read, and until this consummation is attained we shall ever remain in the slough of despond, and art for art's sake will continue dead. xiii embroidery in "costume" xiii embroidery in "costume" early greek garments--biblical references to embroidery--ecclesiastical garments--eighteenth-century dresses, coats, and waistcoats--muslin embroideries. the subject of costume has been most admirably treated in another volume of this series, but a reference must be made to it as affecting our topic, english embroidery, as costume has played no little part in its history. from the earliest ages embroidery has been used to decorate garments. the ancient greeks embroidered the hems of their graceful draperies in the well-known greek fret and other designs so invariably seen on the old greek vases. the legend that minerva herself taught the greeks the art of embroidery illustrates how deeply the art was understood; and the pretty story told by an old botanist of how the foxglove came by its name and its curious bell-like flowers is worth repeating. in the old greek days, when gods and goddesses were regarded as having the attributes of humanity in addition to those of deities, juno was one day amusing herself with making tapestry, and, after the manner of the people, put a thimble on her finger. jupiter, "playing the rogue with her," took her thimble and threw it away, and down it dropped to the earth. the goddess was very wroth, and in order to pacify her jupiter turned the thimble into a flower, which now is known as digitalis, or finger-stole. this little fairy tale can scarcely be taken as proof conclusive of the existence of either needle tapestry or thimble use, but its telling may amuse the reader. in all ancient histories we find continuous references to the embroidered garment worn by its people. it was well recognised that no material was sufficiently beautiful not to be further embellished with rich embroideries. in the psalms we find that "pharaoh's daughter shall be brought to the king in a raiment of needlework," and that "her clothing is of wrought gold." phrygia was above all the country most noted for embroideries of gold, and for many years the name "phrygian embroidery" was sufficient to describe any highly decorated specimen. it is said that the name of the vestment or trimming, the "orphry" is derived from the word "auri-phrygium," meaning "gold of phrygian embroidery." the phrygians are credited with having taught the egyptians the art, while the hebrews, while sojourning in the land of egypt, learned the art from their captors, and carried it with them all through their journeys to the promised land, and their final settlement in palestine. the mention of gold and purple embroideries, both as garments and hangings, is conspicuous throughout all bible history. the egyptian and greek arts are in almost all respects concurrent. the phoenicians carried examples of each country's work from one to another. after the conquest of greece the romans absorbed her art, and developed it in their own special style. they in turn carried their arts and crafts to gaul and britain, and by degrees needlecraft permeated the whole of europe. dealing with the embroidered costumes of our own country, the ancient records, illuminated missals, and other contemporary data show that very sumptuous were both the ecclesiastical and lay garments. heavy gold embroideries were worked on the hems of skirts and mantles. the kings' coronation robes and mantles were beautiful specimens of handicraft, often after a king's death being given to the churches for vestments. from anglo-saxon to norman times extensive use was made of the work of the needle for clothing, but after the conquest till quite late in the tudor period little has been found to throw light upon the use of embroidery for the lay dress of the time. all woman's taste and energy seem to have been devoted to make monumental embroideries for church use. it was, indeed, not until the gorgeous period of henry viii. that embroidery, as distinct from garment-making, appeared; and then everything became an object worthy of decoration. much fine stitchery was put into the fine white undergarments of that time, and the overdresses of both men and women became stiff with gold thread and jewels. much use was made of slashing and quilting, the point of junction being dotted with pearls and precious stones. noble ladies wore dresses heavily and richly embroidered with gold, and the train was so weighty that train-bearers were pressed into service. in the old paintings the horses belonging to kings and nobles wear trappings of heavily embroidered gold. even the hounds who are frequently represented with their masters have collars massively decorated with gold bullion. the skirts of the ladies of this time were thickly encrusted with jewels, folds of silk being crossed in a kind of lattice-work, each crossing being fixed with a pearl or jewel, and a similar precious stone being inserted in the square formed by the trellis. the long stomachers were one gleaming mass of jewelled embroidery, the tiny caps or headdresses being likewise heavily studded with gems. during the reign of charles i. a much daintier style of dress appeared. velvet and silken suits were worn by the men, handsomely but appropriately trimmed with the fine "punto in aria" or reticella laces of venice; and in this and the three succeeding reigns dress was of sumptuous velvets, satins, and heavy silks, unembroidered, but trimmed, and in charles ii.'s time _loaded_ with costly laces. it will be noted that whenever lace is in the ascendant, embroidery suffers, as is quite natural. lace itself is sufficient adornment for fine raiment. [illustration: _photo by e. gray, bayswater._ mrs. tickell and her sister, mrs. sheridan, by gainsborough, showing how lace was superseded by filmy muslins. (_dulwich gallery._)] as the use of the fine venetian and flemish and french laces declined, and tuckers and frillings of mechlin, valenciennes, and point d'angleterre appeared, the use of embroidery asserted itself, and the pretty satins and daintily coloured silks of william and mary, queen anne, and more specially the earlier georges, began to be embroidered in a specially delicate fashion. fine floss silk was used in soft colourings, and whole surfaces were covered with tiny embroidered sprays of natural-coloured flowers. really exquisite stitchery was put into the graceful honeysuckle, the pansy, carnation, and rose clusters which decorated the dresses. the bodices, sacques, and skirts of the early eighteenth-century ladies were embroidered with real artistic taste and feeling. some of the old dresses kept at south kensington show the exquisite specimens of this class of needlework; while the coats and waistcoats of the sterner sex are not a whit behind the feminine garments in beauty. the long waistcoats were most frequently made of cream, pale blue, or white silk or satin, delightfully embroidered with tiny sprays of blossoms, and fastened with fine old paste buttons; while the coat, frequently of brocade, was heavily embroidered down the front with three or four inches of solid embroidery of foliage and flowers, oftentimes mixed with gold and silver threads. the tiny cravat of mechlin, cuff ruffles, knee breeches, silken hose, and buckled shoes, along with the powdered hair, complete a costume that has never been equalled, either before or afterwards, in beauty, grace, and elegance. during the william iv. and the long victorian period, with the exception of a very fine embroidery on muslin, in the earlier part of it, nothing but fine stitchery for the use of underwear was made, if we except the hundreds and thousands of yards of cut and buttonholed linen which seemed to have been the solace and delight of our grandmothers when they allowed themselves to be torn away from their beloved berlin-wool work. to sit on a cushion and sew a fine seam appears to have been the amusement of the properly constituted women of the early and mid-nineteenth century. xiv sale prices xiv sale prices ancient embroideries so seldom come into the salerooms that it is rarely an opportunity occurs for obtaining market prices, therefore lady wolseley's sale on july 12, 1906, must be accepted as a standard. immense prices are asked at the antique shops, the dealers apparently basing their prices on this sale by auction and _doubling_ them. i have visited every shop in the trade in search of prices for this book before procuring the auctioneer's catalogue, and was aghast at the terrific sums asked for oftentimes indifferent specimens in comparison to what was paid in the auction-room. during the past year anything from £15 15s. to £40 has been paid at christie's for specimens of varying degrees of perfection of work and condition. the latter state is even of greater importance than the first, as no matter how good the work originally, if discoloured and frayed, prices go down and down. nearly all the finest specimens of the stump-work period are marred by the tarnishing of the gold and silver threads. instead of these being a glory and a great enhancement to the embroidery, they prove a great disfigurement, and thereby cause a considerable reduction in value. the earlier petit point pictures, having little or no bullion in their execution (and when cared for and not exposed to too much sunlight), have kept their condition very well, and now are quite the favourite kind for collection. it speaks much for the quality of the silks used and the dyes of nearly three hundred years ago that the fugitive greens and blues and delicate roses in these little works of art, as in the superb tapestries of the same date, should be as fine as when made, whereas to-day's colours are as fleeting as the glories of the rainbow. * * * * * the following are the principal prices in lady wolseley's sale: £ s. d. a small bag, red and gold brocade 2 15 0 a small bag or purse 5 0 0 a fine bead book-cover 6 0 0 same, trimmed with silver lace (harris) 6 16 0 a pair of embroidered shoes (harris) 6 0 0 a small pocket-book, silk embroidery on silver ground 8 17 6 a pair of stuart shoes 9 19 6 a stumpwork picture, a most curious globe, showing europe, asia, africa, and america, 1648 (s. g. fenton) 24 0 0 a double book of psalms, embroidered binding with tudor rose 23 10 0 a petit point picture, 12-1/2 × 9-1/2 11 11 0 a small picture, partly sketched and partly worked 4 14 6 a stuart stump picture, 18 × 15-1/2 18 18 0 a stuart stump picture, king under canopy, 17-1/2 × 14 14 14 6 a stuart bullion picture, vase, in tortoiseshell frame, 23 × 18 8 8 0 same, with herodias's daughter and john the baptist 5 5 0 a portrait of henry, prince of wales, in flat-stitch on rose satin 21 0 0 another on satin, "bathsheba," spangled, 17 × 13 6 16 0 another on satin, birds on gold and silver, 13 × 13 (harris) 13 13 6 a bead picture, 15 × 11 11 11 0 a stump and bead picture, 12 × 11 12 1 6 a small book-cover, 14 × 8 13 12 0 a stuart stump picture, figures and silver fountain, tortoiseshell frame, 22 × 16 15 15 0 a stump picture, lady with coral necklace, 18 × 12 23 10 0 a stump picture, lady under arch with a black swan, 20 × 16 (stoner) 34 0 0 a stump picture, king charles as ahasuerus with haman and mordecai, and pearl-embroidered carpet, 23 × 17 28 0 0 a stump picture, lady under a canopy, large pearls, 13 × 19, (stoner) 34 0 0 a stuart petit point picture, abraham and hagar 16 16 0 a stuart petit point picture, "judgment of paris," 24 × 17 25 0 0 a stuart petit point picture, king solomon and queen of sheba 18 18 0 a beadwork picture, lady and gentleman, lion and unicorn, 21 × 17 12 12 6 an embroidered picture, "peter denying christ," 24 × 17 (s. g. fenton) 9 19 6 a petit point picture, lake with boats and figures, 15 × 12 (harris) 14 14 6 a large stump picture, with horse and rider and figures of four seasons 30 10 0 a stumpwork picture, four figures, castle and birds and flowers (s. g. fenton) 33 0 0 a picture sketched on white satin, not worked 4 15 0 a stuart picture on canvas 9 19 6 a fine stuart jewel-casket, numerous secret drawers, covered in needlework (s. g. fenton) 47 5 0 a stuart box, covered with bullion-work (s. g. fenton) 12 12 0 a stuart box, with embroidery and pearls (spero) 16 16 0 a stuart box, coloured bullion, 10 × 6 9 9 0 an embroidered box, with portrait on lid (s. g. fenton) 53 11 0 a stuart mirror, covered with stump embroidery, representing charles i. and his queen (illustrated), (rosthron) 102 18 0 another mirror, with painted and embroidered figures (harris) 34 0 0 a charles i. mirror in old lace and gold frame, with borders in embroidery, with portrait, castle, and floral decoration 40 0 0 3 yds. 13 inches long, 12 inches deep, cornice in petit point, christie's, july, 1908 (harris) 204 15 0 xv conclusion xv conclusion needlework as a national art is as dead as the proverbial door-nail; whether or not it ever regains its position as a craft is a matter of conjecture. personally, i incline to the belief that it is absolutely extinct. the death-knell rang for all time when the sewing-machine was invented. the machine has been a very doubtful blessing, as it has allowed even the art of stitchery in ordinary work to slide into the limbo of forgotten things. what woman now knows what it is to "back-stitch" a shirt cuff, for instance, drawing a thread for guidance, and carefully going back two or three threads in order to make a neat, firm line of stitching? the sewing-machine does all this, and _does_ it _well_, a clever machinist turning out more work in a week than a seamstress in a year. if this were all, it would be no matter for regret, but with the necessity for needlework has vanished the desire. the lady quoted in green's history is now non-existent. "she was a pattern of sobriety unto many, very seldom seen abroad except at church; when others recreated themselves at holidays and other times, she would take her needlework, and say, 'here is my recreation.'" in spite of the many schools of embroidery, with a few notable exceptions, nothing is done to raise the standard of embroidery above making miserable little cushion-covers, table-centres, and suchlike pretty fripperies for the temporary adornment of the house. the women of germany, holland, sweden, italy, on the contrary, take a great interest in the embroidery of the bed and table linen and the really artistic embroidery of their national costumes. nothing of this is seen in england. table linen is bought _ready hemmed_ at the shop. dainty tea-cloths and serviettes are purchased ready embroidered (by machine) and trimmed with machine-made lace. even _lingerie_ of all classes is machine-made and bought by the dozen, instead of being made by the daughters of the house. the only hope of a revival lies in the various art schools in the country where designing for fine embroidery and lace is encouraged. unfortunately, however, equal facilities are offered for designing of machine-made imitations. the royal school of needlework, not being a government institution, offers no encouragement to outsiders. it is in the hands of a number of ladies, who manage it as they will; and although very fine work is accomplished, they trust too much to modern designers and artists who work out their own pet theories and hobbies. if only they would put aside all theories and new ideas, and _go back_ to the best periods of english art both for their designs and execution, even yet, with the intelligent use of the glorious examples in the adjoining museum, much might be done to revivify this expiring art. finis index index old lace. (_for needlework see page 384_) a adelaide, queen, 116 age of lace, 108, 191 alençon lace, 29, 78, 183, 191 argentan lace, 29, 78, 191 argentella lace, 29, 81, 192 anne, queen, 157 appliqué, 175 aylesbury, 158 b baby lace, 157 barri, madame du, 90 beading, 41 beads on bobbins, 161 bed furnishing, 73 bedfordshire lace, 37, 157 belgian lace, 37 black lace, 94 blonde lace, 94 bone lace, 41 bobbins, 41, 158 bolckow, mrs., 54 brides, 38, 127 brussels lace, 37, 81, 104, 108, 123, 195 brussels appliqué, 123 brussels vrai reseau, 111 buckinghamshire lace, 30, 35, 157, 158, 161 burano, 54, 81 buttonhole stitch, 195 c caen lace, 97 carrick-ma-cross, 175 catherine de medici, 73 chantilly lace, 37, 93 charles i., 148 charles ii., 104, 148, 151 charlotte, queen, 161 christie's sale-room, 115, 201 colbert, 29, 73, 77, 102 collar lace, 61 collar, medici, 53 commonwealth, 148 cordonnet, 41, 53, 77 convents, 26 coptic embroideries, 21 couronnes, 41 cravat, 151 creevy papers, 115 cromwell, 151 crotchet, 175 cut worke, 73, 187 cuthbert, st., 22 d danish lace, 134 darned netting, 173 debenham & storr's sale-room, 54, 200 dentelé, 41 devonshire lace, 30, 162 dorsetshire lace, 161 drawn work, 21 duchesse lace, 127 durham cathedral, 22 e ecclesiastical lace, 62 edgings, 31 edward iv., 144 egyptian netting, 22 elizabeth, queen of england, 54, 147 embroidered net, 172 english laces, 157 empress eugénie, 97 f falling collar, 148 fausse valenciennes, 89 fillings, 40, 173 "figure" motifs, 107 flanders lace, 29, 103 flat point (point plat), 50 flax thread, 61, 107 florence, 53 flemish point, 103 fond, 42 fontange, 151 fowler, mrs., of honiton, 166 france, point de, 74 french revolution, 78 g genoese lace, 29 george i., 115 george ii., 115 george iii., 115 george iv., 112 german laces, 134 ghent laces, 124 gingles, 161 gold and silver laces, 134 greek laces, 103, 183 groppo, punto a, 62 gros, point de venise, 53 grounds, 37 guipure, 42, 61 gold lace, 22 h hamilton lace, 171 "hayward's," 114 henry vii., 144 henry viii., 147 high wycombe, 158 history of lace, 21 honiton, 30, 35, 165 honiton appliqué, 30 huguenots, 30 i identification of lace, 183 irish lace, 30, 172, 176, 192 italian lace, 45 j james i., 148 james ii., 151 jours, 41, 81 k kenmare, lady, 75 king of rome, 112 l "lacis," 29, 73 lappets, 112 lawn, 93 lewis hill, mrs., 201 lille, 35, 91 limerick, 124, 172 l'onray, 76 louis xiv., 29, 46, 73, 74 louis xv., 78 lyme regis, 162 m machine-made ground, 172 macramé, 37, 64 malines, 127 maltese, 137 mantillas, 97 marie antoinette, 78, 123, 129 massey-mainwaring, mrs., 200 marie de medici, 53 marie stuart, 171 mary, queen, 147 mary ii., 151, 152 mechlin, 37, 127 medici collar, 53 mezzo punto, 62 milanese lace, 29, 62 mixed lace, 37, 62, 124 modern point lace, 124 montespan, madame de, 74 n napoleon i., 78, 112 national library, s.k.m., 50 needlepoint lace, 49, 73, 108 network, ancient, 3 newport pagnell, 158 normandy lace, 97 norway, 134 northamptonshire lace, 157 nuns, 26 o oeil de perdrix, 83, 192 origin of lace, 21 p palliser, mrs. bury, 9 parchment, 25 parasole, 50 pearls, 97 peter the great, 134 picots, 42 pillow lace, 29, 37 point lace, 25, 37 point à réseau, 53 point d'aiguille (brussels), 108 point d'alençon, 76 point d'angleterre, 102, 107, 192 point appliqué, 123 point de france, 46, 76, 188 point de gaze, 108, 124 point de venise, 49 point de venise gros, 50, 53, 54 point de neige, 49, 50 point plat, 50 punto in aria, 25, 143 punto a groppo, 37, 62 punto tagliato a foliami, 53 q quillings, 128 quentin matys, 103 queen anne, 157 queen mary ii., 117, 127, 151 queen charlotte, 117, 128 queen of laces, 128 queen victoria, 116, 162 r raised stars, 49 rose point, 49, 50 renaissance, 53, 107, 188 reseau, 36, 39 reticella, 26, 50, 73, 103, 143, 188 revolution, french, 78 rococo, 78 royal trousseaux, 81 ruffles, 90 russian lace, 134 s st. cuthbert, 22 sale prices, 199 samplers, 25, 187 saxony lace, 134 scotch lace, 171 silk lace, 94 smocks, 25 spanish point, 133 steinkirk, 151 sumptuary law, 112 south kensington museum, 187 t tambour lace, 172 tape lace, 62 tatting, 175 thread, 61 toilé, 108 trolly lace, 165 v valenciennes lace, 37, 89 vandyke, 61, 148 venice, 183 vicellio, 50 venetian lace, 50 victoria, queen, 162, 165 vinciolo, 29, 50 vraie valenciennes, 89, 90 w westminster effigies, 147, 151, 152 william and mary, 148, 151 "wynyards," 115 william iii., 115 wiltshire lace, 115 willis's rooms, 201 y youghal laces, 176 needlework a athelstan, 213 alb, 238 aldhelm, bishop of sherborne, 213 aelfled, queen of edward the elder, 213 angelica kauffmann, 339 art, the pioneer, 209 ascagni cope, 223 ascoli cope, 233 b bags, stuart, 261 bayeux tapestry, 214 beads, venetian, 274 berlin wool pictures, 350 bishop fridhestan, 213 black work, 284 bologna cope, 223 book-covers, 279 bridgettine nuns, 227 c catworth cushions, 233 catherine of aragon, 248, 251, 284 caskets, 269 chain stitch, 227 charles i., 265, 273 charles ii., 265, 273 chasubles, 241 christie's sale-rooms, 257, 265, 270, 367 city palls, 237 church vestments, 238 coventry, 228 copes, 241 crewel work, 329 d daroca cope at madrid, 223 dr. rock, 227 e earl of shrewsbury, 228 editha, queen of edward the confessor, 213 egyptian embroidery, 210 emma, queen of ethelred the unready, 213 elizabeth's wardrobe, 249 elizabeth's book at british museum, 283 elizabeth's book at the bodleian library, 283 elizabeth hinde's sampler, 309 elizabeth mackett's sampler, 311 f field of the cloth of gold, 249 g georgian costumes, 363 georgian pictures, 335 gimps, 249 gloves, 262, 265 greek garments, 359 h hampton court, 250, 322 hair and silk pictures, 343 henrietta maria, queen, 265 henry viii., 247 höchon collection, 220 i isleworth, 227 italian raised work, 295 j james i., 257 jacobean hangings, 321 "jesse" cope, 223 john taylor's needlework rhyme, 258 l lady jane grey, 247 "laid," or couch work, 227 linwood, miss, 350 m maniple, 241 mary queen of scots, 250 mary ii. embroidery, 325 minerva, 358 mirror frames, 273 n needlework pictures, 291, 335, 349 neolithic remains, 210 "nevil" altar-frontal, 234 o opus anglicum, or anglicanum, 219, 223 p "painted face" picture, 335, 343 petit point, 257, 325 phoenicians, 359 phrygian embroidery, 358 pierpont morgan, 233 pocket books, 281 pope innocent iii., 223 q quilting, 287 r reformation, 246 roman invasion, 210 royal school of needlework, 353 rock's "church of our fathers," 220 s samplers, 307 st. augustine, 210 st. benedict, 220 st. cuthbert, 213 st. dunstan, 213 steeple aston altar-frontal, 234 stoles, 238 stump work, 295 stump work symbols, 302 "syon" cope, 223 subjects of needle pictures, 295 t tambour stitch, 227 tudor embroideries, 247 trays, 270 w wonderful needlewoman, a, 351 wolsey, cardinal, 249, 250 wolseley's, lady, collection, 265, 273, 368 worcester fragments, 219 _printed in great britain by_ unwin brothers, limited, the gresham press, woking and london * * * * * transcriber's note: obvious punctuation errors have been corrected. inconsistent hyphenation in the original has been preserved, e.g. cutwork, cut-work; hand-made, handmade; lace-workers, laceworkers; may-flower, mayflower; needle-craft, needlecraft; needle-point, needlepoint; salerooms, sale-rooms; semi-circular, semicircular. inconsistent use of accents has been preserved, e.g. applique, appliqué; réseau, reseau; toile, toilé. in the index, pierpoint was corrected to pierpont to match the body of the text. the main body of the text refers to the "hockon collection", which is referred to in the index as the "höchon collection". it is unclear which of these is correct so they have been preserved as they appear in the original. page 25: 'survival of the fitting' changed to 'survival of the fittest'. page 38: 'accompanying diagrams' changed to 'accompanying diagram'. page 42: 'little loop' changed to 'little loops'. page 127: '"duchesse point" of "bruges,"' changed to '"duchesse point" or "bruges,"'. page 192: 'of same period' changed to 'of the same period'. page 196: 'other two' changed to 'two other'. page 300: 'and rose of england' changed to 'and the rose of england'. page 303: 'and butterfly was' changed to 'and butterfly were'. page 315: 'a long narrow samplers' changed to 'a long narrow sampler'. page 383: 'punto à groppo' changed to 'punto a groppo'. the ladies' work-book containing instructions in knitting, crochet, point-lace, &c. [illustration] london: john cassell, la bell sauvage yard, ludgate hill. list of illustrations. casting on with one needle to cast on with two needles plain knitting the german manner purling to make a stitch to take up stitches to knit two pieces together to form a round to cast off infant's shoe in knitting the tulip-wreath flower-vase mat a woven parasol anti-macassar anti-macassar netted anti-macassar bound couverette for an easy chair or sofa floral anti-macassar ottoman cover music-stool couverette chair cushion toilet-cover in crochet star-pattern d'oyley crochet d'oyley rose d'oyley toilet cover tidy in square crochet arabesque toilet cover in square crochet cover for a hadrot lamp lamp mat candle-lamp mat hand-screen crochet counterpane for a bassinet deep border for bassinet quilt crochet stripe for bed-quilt centre stripe for bed-quilt handkerchief case, for hanging to the head of a bed watchpocket toilet sachet a lady's nightcap a shaving tidy oval tidy for easy chair crochet window-curtain window-curtain window-curtain and stove apron netted window-curtain bread-cloth bread-cloth a spangled wool netted cover for a tea-poy, square work-table, or if drawn together at the top, makes a glittering fire-veil netted anti-macassar short purse, in netting bridal purse, in crochet lady's short purse handsome purse mousquetaire crochet collar raised rose crochet collar point collar point collar, in crochet lounging-cap, in crochet crochet edgings and insertions insertions venetian edging venetian bars edging venetian bars sorrento bars stitches open english lace brabant edging lyons point brussels lace little venetian lace deep point-lace edging collar in spanish rose point handkerchief border, in antique point lace apron in broderie en lacet pincushion cover in point lace pincushion * * * * * the ladies' work book. * * * * * knitting. there is not one art practised by ladies which is more deservedly popular than knitting. it is so easy, requires so little eyesight, and is susceptible of so much ornament, that it merits the attention of every lady; and in giving instructions for acquiring it, we add, also, such admirable diagrams of the various processes, we are sure that no difficulty will be felt in executing any pattern. [illustration: casting on with one needle.] the first process in knitting is known by the term casting on. there are two ways of doing this: with one needle, and with two. our first diagram represents the former process. take the thread between the second and third fingers of the left hand, leaving an end of about a yard for every hundred stitches; pass it round the thumb of that hand, giving it a twist, so as to form a loop. take a knitting-needle in the right hand, insert the point in the loop, and pass the thread from the ball round the needle; then bend the point of the needle through the loop, which tighten, and one stitch will be complete. continue to make loops over the thumb, with the end of thread, and knit them with that from the ball until the proper number is cast on. to cast on with two needles (generally called the spanish method), begin by making a loop on the end of the thread, into which slip the point of one needle, holding it in the left hand. take the other needle in the right hand, and slip its point into the same loop, bring the thread round the point of this needle, and bend the needle towards you, so that the thread forms a loop on it. slip that also on the left needle, without withdrawing it from the right. put the thread round the right again, and repeat the process. [illustration: to cast on with two needles.] plain knitting.--after all the stitches are cast on, hold the needle containing them in the left hand. pass the thread round the little finger of the right hand, _under_ the second and third, and above the point of the first. then take the other needle in the right hand, slip the point in the first stitch, and put the thread round it; bring forward the point of the right-hand needle, so that the thread forms a loop on it. slip the end of the left-hand needle out of the stitch, and a new stitch is knitted. german manner.--the thread, instead of being held by the fingers of the right hand, is passed over and under those of the left. the process otherwise is exactly the same. purling.--begin by bringing the thread in front of the right-hand needle, which slip into a stitch pointing towards you; that is in the reverse of the usual mode (see diagram). put the thread round the point of the needle, still bringing it towards you, bend the needle backwards to form a loop, and withdraw the stitch from the point of the left-hand needle. [illustration: plain knitting.] when knitted and purled stitches occur in the same row, the thread must be brought forward before a purled stitch, and taken back before a knitted one. [illustration: the german manner.] to make a stitch. bring the thread in front, as if for a purled stitch, so that when you knit one the thread will pass over the needle, and will make a hole in the following row. this diagram shows the manner of making three stitches, and any other number could be made, by putting the thread round a proportionate number of times. in the engraving it will be seen that the thread is put twice entirely round the needle; and then brought forward, so that the next knitted stitch will take it over a third time. in doing the next row, knit one, purl one, knit one of these stitches; however many are made, they must be alternately knitted and purled in the next row. when the stitch allowing the made stitches is to be purled, the thread must be entirely passed round the needle, once for every stitch to be made, and brought forward also. [illustration: purling.] [illustration: to make a stitch.] slip stitch.--pass a stitch from the left needle to the right, without knitting it. there are two ways of decreasing: first, by knitting two, three, or more stitches as one, marked in knitting, as k 2 t, k 3 t, etc. secondly, in the following way: slip one stitch, knit-one, pass the slip stitch over: this decreases one stitch. to decrease two; slip one, knit two together, pass the slip stitch over. [illustration: to take up stitches.] a reverse stitch is taken off the left-hand needle, in the reverse way to knitting and purling. in both these, the right-hand needle is inserted in the middle of the stitch, and the point brought out towards you or otherwise. but to make a reverse stitch, you insert the point of the needle in the stitch _at the back of the work_, and bring it forward through the opening in which it generally is inserted. the thread is to be placed round it, as for a purled stitch. [illustration: to knit two pieces together.] to reverse two, three, or more stitches together, insert the needle in them all at once, _from the last to the first_. to take up stitches.--insert the needle in the loop, pass the thread round, and knit it in the usual manner. do not draw out any loop more than can be avoided, while knitting it. to knit two pieces together.--to do this there must be an equal number of stitches on both. [illustration: to form a round.] hold the needles together in the right hand, and knit as usual, inserting the left-hand needle in a loop of each at the same time, and treating the two as one. [illustration: to cast off.] to form a round:--this diagram represents the french manner of performing this process by casting the whole number of stitches on one needle, and then distributing them on three, or perhaps four. but the english mode is to divide the number of stitches, and cast so many on each needle, not withdrawing the last stitch of each needle from the point of the next needle. when all are cast on, the round is made by knitting the _two first_ stitches on to the last needle. four needles are employed for stockings, five for doyleys and other round articles. to cast off:--knit two stitches, insert the point of the left hand needle in the first stitch, and draw it on the other. knit another stitch, and treat these two in the same way. * * * * * infant's shoe, in knitting. materials.--1 ounce of white berlin wool. 1 skein of white, and 1 of embroidery wool, 4 knitting needles, no. 21, and 2, no. 19. with the fine needles cast 30 stitches on one, and 20 on each of two others. join into a round, and purl one round. [illustration: infant's shoe, in knitting] 1st pattern round: x slip 2, taking them off the needle in the same way as if you were going to purl them, but with the wool at the back; knit 3. x repeat all round. 2nd, 3rd, and 4th rounds: the same. 5th and 6th: purl every stitch. 7th to 10th inclusive: x knit 3, slip 2 as before, x repeat all round, 11th and 12th purled. 13th to 16th inclusive: x knit 2, slip 2 as before, knit 1, x repeat all round. 17th and 18th purled. repeat these 18 rounds again. then do the same twice more; but, instead of knitting three stitches, always decrease by knitting two together (once) on the needle that has the thirty stitches in every row which is not plainly purled, until only twelve stitches are left on it. when 72 rounds are done, the boot will be sufficiently long. purl two rounds, divide the whole number of stitches on two needles, taking care that the 12 stitches shall be exactly in the centre of one; then join up the toe by casting off, knitting one stitch from each needle together. now take up the twenty centre stitches of the 70 originally cast on--that is, the twenty middle ones of the thirty that were on one needle, and which were decreased to twelve. knit them backwards and forwards 40 rows. with another needle take up on each edge of this plain knitting 20 more stitches, so that there are 60 altogether. these stitches must be knitted backwards and forwards thus:-1st row: x knit 3, slip 2 as before, x repeat with the last stitch, take up one of the 70 next to the 20. 2nd: slip 2, but as if you were going to knit plain, purl 3. repeat; join on to the 70 at the other end. 3rd: like first. 4th: like 2nd. 5th: purled; join at the end. 6th: knitted; join at the end. 7th: x knit 2, slip 2, knit 1, x join at the end. 8th: x purl 1, slip 2, knit 2, x join as before. 9th: like 7th. 10th: like 8th. 11th: purled. 12th: knitted. 13th: x knit 1, slip 2, knit 2, x join at the end. 14th: x purl 2, slip 2, knit 1, x join. 15th: like 13th. 16th: like 14th. 17th: purled, with join at the end. 18th: knitted. the same. repeat these 18 rows. take up the remaining stitches of the 70, and form the whole into a round for the ankle. purl four rounds. 5th round: x knit 3, make 1, knit 2 together, x all round. purl 6 more rounds, and cast off. for the tassels.--plait some wool into a cord, and fasten at each end a tassel of white and pink wool combed out. for the ruche.--cast on five stitches with the coarser needles, and the white embroidery wool. knit and purl the rows alternately, winding the wool six times round two fingers of the left hand at every stitch, and taking up those threads with the stitches. do about ten rows so; then for ten more wind the wool only for the first and last stitches, and the pink for the others of each row. do enough to go twice round the top of each boot. cut the loops, and comb out the wool. sew it round the top of the boot. * * * * * the tulip wreath flower-vase mat. materials.--12 shades of amber, 7 shades of lilac, 4 shades of green. 4 skeins of each colour. 5 steel needles, no. 14. cardboard foundation, covered with white or amber cambric, 8 inches in diameter. for the mat.--knit 4 rounds of each shade of amber, beginning with the lightest. cast on 2 stitches on each of 4 needles; bring the wool forward, knit half the stitches on the first needle; t. f. and k. [footnote: k. means knit; k. 2+ knit two together; p. purl; t. f. thread forward.] the other half; repeat the same on each of the other 3 needles; k. the next round plain; repeat these two rounds until there are 48 stitches on each needle; then cast off, and sew this on the covered cardboard foundation. for the tulips.--5 tulips to be knitted in 7 shades of amber, and 5 in 7 shades of lilac; 4 rounds to be knitted of each shade; 4 needles. cast on 2 stitches on each of 3 needles; t.f. at the commencement of each needle; k. 1 plain round; purl a round, increasing at commencement of each needle. repeat these two rounds till there are 22 stitches on each of the three needles; then first k. 3, k. 2+, k. 1, k. 2+, k. 3; turn the work back, and purl the stitches. [illustration: the tulip wreath flower-vase mat.] 3rd: k. 2, k. 2+, k. 1, k. 2+, k. 2. 4th: turn back and purl. 5th: k. 2, k. 2+, k. 1, k. 2+, k 2. 6th: turn back and purl. 7th: k. 1, k. 3+, k. 1. 8th: purl. 9th: k. 3+. 20 tulips will be required. the leaves (10 of which will be necessary).--4 shades of green, 12 rows of each; 2 needles. cast on 3 stitches; k. plain, till before the centre stitch; t.f. and k. the centre stitch; t.f., k. the remainder plain; p. the next row; repeat these 2 rows, till there are 12 open stitches up the vein of the leaf; then k. 1, k. 2+, k. plain, till 2 from the centre stitch; then k. 2+, t.f., k. 1, t.f., k. 2+, k. plain, till 3 from the end; then k. 2+, k. 1; p. the next row; repeat till there are 8 more open stitches, that is, 20 from the beginning; then k. 2+ at the beginning and end of every other row, till the last ends in a point. now sew the leaves round the mat by the part where the stem should be; then sew the tulips on as in engraving, sewing the leaf about 6 rows from the point on the stem of the tulip. * * * * * [illustration: a woven parasol.] * * * * * crochet. * * * * * the stitches used in crochet are, _chain, slip, single, double, treble, and long treble crochet_. to make a chain, form a loop on the thread, insert the hook in it, and draw the thread in another loop through this. continue this to form a succession of stitches. slip-stitch is made by drawing a thread _at once_ through any given stitch and the loop which is on the needle. single crochet (written s.c.)--having a loop on the needle, insert the hook in a stitch, and draw the thread through in a loop. you then have two on the hook; draw the thread through both at once. double crochet (d.c.)--twist the thread round the hook before inserting it in the stitch, through which you draw the thread in a loop. three loops being then on the needle, draw the thread through two, and then through the one just formed and the remaining one. treble crochet (t.c.) and long treble (long t.c.) are worked in the same manner; in the former the thread is put _twice_, in the latter _three times_, round the hook, before inserting it into the stitch. to join leaves.--when one part of a leaf, flower, etc., is to be joined to another, drop the loop from your hook, which insert in the place to be joined; draw the loop through and continue working. to pass from one round to another without breaking the thread.--in working mats and many similar articles this is very desirable. having finished one round, see whether a s.c., d.c., or t.c. stitch begins the next; for s.c. make one chain, for d.c. three, for t.c. four; slip the needle out, and twist the chain, then continue working. this twisted chain will have all the appearance of a d.c. or t.c. stitch. should the round not begin exactly in the same place, slip-stitch to the part where it commences, as it will seldom be more than a few stitches in advance. square crochet is a term often used, and generally understood, as the engraved patterns are mostly in it. lest, however, any of our readers should not be familiar with the name, we will explain it. the squares are either open or close. an open square consists of one d.c., two ch.--missing two on the line beneath, before making the next stitch. a close square has three successive d.c. thus, any given number of close squares, followed by an open, will have so many times three d.c., and _one over_; and any foundation made for a pattern to be worked in square crochet will have a number of chains divisible by three, leaving one over. to contract an edge.--in forming leaves and many other things, this is very useful. it can be done in d.c., t.c., or long t.c. having twisted the thread round the needle as often as the stitch may require, insert it in the work, and half-do a stitch. instead of completing it, again twist the thread round, until the same number of loops are on, and work a stitch completely. thus, for two stitches taken in the work, there is only one head. this being successively repeated materially contracts an edge. to join on a thread.--avoid joins in open work as much as possible. in close work, whether d.c. or s.c., they will not be perceived. finish the stitch by drawing the new thread through, allowing a couple of inches for both ends, which you hold in. to work with several colours.--hold the threads not in use along the edge of the work, and work them in. when the colour is to be changed, begin the stitch with the old colour, and complete it with the new, which continue to work with, holding the other in. if only one stitch of a colour is to be used, you finish one stitch, and begin the next with it; then change. colours are seldom intermixed, except in solid work, such as the ends of purses, mats worked over cord, and the like. to work over cord.--hold it in the left hand, with the work, and work round it, as you would if it were merely an end of thread. the stitches must, however, be sufficiently close to cover it entirely. to work with beads.--beads must be first threaded on the silk, or other material, and then dropped, according to the pattern, on what is usually thought the wrong side of the work. this side presents a more even appearance than the other. it follows that when bead purses are worked from an engraving, they are worked the reverse of the usual way--namely, from right to left. the marks used in crochet receipts.--these are very simple when understood. they are printers' marks--asterisks, crosses, daggers, and sometimes one or two others. they are used to mark repetitions, and save space. the principal thing to observe is, that in every row or round, if _one_ of any kind is used, a second, _similar_ one, is sure to be found; and that the repetition occurs between the two, however far distant apart. suppose a row of a pattern to be written thus:--x 2 d.c., 4 ch., miss 4, * 5 d.c., 1 ch., miss 1, * three times, 5 d.c., x, * twice; it would, at full length, be--2 d.c., 4 ch., miss 4, 5 d.c., 1 ch., miss 1, 5 d.c., 1 ch., miss 1, 5 d.c., 1 ch., miss 1, 5 d.c., 2 d.c., 4 ch., miss 4, 5 d.c., 1 ch., miss 1, 5 d.c., 1 ch., miss 1, 5 d.c., 1 ch., miss 1, 5 d.c. it will be seen that one repetition often occurs _within another_, as in the stitches between the asterisks. another mode of shortening receipts can be used only where a row has a centre both sides of which correspond; the latter being the same as the former, worked _backwards_. then the letters _b, a_, are used, to mark that in the latter part of the row you reverse the instructions. _b_, 7 d.c., 3 ch., miss 2, 1 d.c., 2 ch., miss 1, _a_, 1 d.c. (the centre stitch), would be, 7 d.c., 3 ch., miss 2, 1 d.c., 2 ch., miss 1, 1 d.c., miss 1, 2 ch., 1 d.c., miss 2, 3 ch., 7 d.c. these letters and the printers' marks are equally used in knitting. it is easy to see how much space is gained by the use of these abbreviations, a knowledge of which is easily acquired. probably many of our friends are already familiar with the substance of this preliminary lesson; but as daily experience convinces us that many are still ignorant of the principles of crochet, we trust the good-nature of the adepts will lead them to excuse this occupation of a page, in consideration of the benefit it will be to their less fortunate friends. one word on the implement termed a crochet-hook. it should not be sharp or pointed, either in the point or barb, but smooth, and quite free from any angularity that can catch the silk. cheap and common crochet-hooks are in the end the dearest, as they break cotton, ravel silk, wear out the patience, and prick the finger. they should be of the best steel, highly polished, and firmly fixed in ivory handles. those we use have been made at our recommendation, and have the _size_ engraved on every handle. this saves the tiresome and uncertain reference to a gauge. these hooks are termed "_tapered, indented_" crochet-hooks. * * * * * anti-macassar. materials.--four reels of brooks' great exhibition prize goat's-head crochet cotton, no. 8, 1 ditto, no. 4, 4 ounces of turquoise blue beads. the anti-macassar of which we give a representation in the engraving is intended to fit the top of a library chair. one half only is seen. a similar piece of crochet is to be made and sewed to it, the two forming a sort of bag, which is slipped over the back of the chair. it is a great improvement on the old-fashioned anti-macassar, as it is not liable to be displaced. a border is added to the front of it, the pattern of which is made in beads (in the style of the bassinet quilt, page 24). this, from its weight, serves to keep the anti-macassar from shifting, and is finished with a handsome fringe. spotted muslin, or any similar material, may be used for the back of the anti-macassar, instead of crochet, for those who would prefer saving themselves the trouble of working the second piece. [illustration: anti-macassar.] the upper part may be worked from the engraving, being done in square crochet, for which we have already given full directions. make a chain of 277 stitches. do one row of double crochet; then work from the engraving, beginning with that row which is in open square crochet, except the first and last squares, which are close. when you come to the diminished part, begin the row thus:--miss 1, slip on the 2nd, single crochet on the 3rd, double crochet on the 4th. reverse the process at the end of the row. this diminishes the row one square at each end. some few rows narrow the squares at each end. in that case miss 4 at the beginning and end, instead of one. work in the ends as you go on. this part of the anti-macassar uses three reels of cotton. thread the blue beads on the 4th, no. 8 reel, and work the borders. begin by a row of single crochet on the _wrong_ side, on the foundation chain. all the subsequent rows are done on the same side. begin every row with two plain stitches, beside those in the pattern. 1st pattern row: x 2 plain, 2 beads, 5 plain, 2 beads, 14 plain x repeat to the end in this and every future row. 2nd: x 1 plain, 1 bead, 2 plain, 3 beads, 1 plain, 3 beads, 14 plain x. 3rd: x 1 plain, 1 bead, 2 plain, 1 bead, 2 plain, 3 beads, 15 plain x. 4th: x 2 plain, 7 beads, 1 plain, 1 bead, 14 plain x. 5th: x 4 plain, 4 beads, 3 plain, 1 bead, 13 plain x. 6th: x 4 plain, 4 beads, 4 plain, 1 bead, 12 plain x. 7th: x 3 plain, 6 beads, 3 plain, 1 bead, 5 plain, 4 beads, 3 plain x. 8th: x 2 plain, 3 beads, 2 plain, 3 beads, 2 plain, 1 bead, 6 plain, 5 beads, 1 plain x. 9th: x 1 plain, 3 beads, 4 plain, 3 beads, 1 plain, 1 bead, 7 plain, 5 beads x. 10th: x 1 plain, 2 beads, 6 plain, 3 beads, 8 plain, 3 beads, 2 plain x. 11th: x 10 plain, 3 beads, 7 plain, 1 bead, 1 plain, 1 bead, 2 plain x. 12th: x 9 plain, 1 bead, 1 plain, 3 beads, 1 plain, 3 beads, 4 plain, 1 bead, 2 plain x. 13th: x 8 plain, 1 bead, 3 plain, 3 beads, 3 plain, 1 bead, 2 plain, 2 beads, 2 plain x. 14th: x 8 plain, 1 bead, 4 plain, 3 beads, 5 plain, 2 beads, 2 plain, x. 15th: x 8 plain, 1 bead, 3 plain, 1 bead, 1 plain, 3 beads, 3 plain, 3 beads, 2 plain x. 16th: x 9 plain, 3 beads, 3 plain, 3 beads, 2 plain, 3 beads, 2 plain x. 17th: x 16 plain, 6 beads, 3 plain, x. 18th: x 6 plain, 1 bead, 10 plain, 5 beads, 3 plain x. 19th: x 6 plain, 3 beads, 8 plain, 5 beads, 3 plain x. 20th: x 6 plain, 6 beads, 3 plain, 7 beads, 3 plain x. 21st: x 6 plain, 5 beads, 2 plain, 10 beads, 2 plain x. * * * * * anti-macassar. materials.--brooks' great exhibition prize goat's-head crochet cotton, no. 24. this anti-macassar must be begun on the line of d.c., forming one end. make a chain of the required number of stitches, including the borders, and work the whole anti-macassar, except the border which is at the one end, below the foundation chain, which must be done last of all. or the centre can be done entirely first, and the border worked all round afterwards, increasing at the corners. we, however, recommend the former method. this pattern is extremely well adapted for darning on square netting. in that case the netting may be done in brooks' knitting cord, no. 60, and the darning in embroidery cotton, no. 70. the centre only can be done thus--a netted border must trim it. [illustration: anti-macassar.] * * * * * netted anti-macassar. [illustration: netted anti-macassar.] materials.--brooks' great exhibition prize goat's-head knitting cord, no. 40, and embroidering goat's-head cotton, no. 70; mesh, one-third of an inch wide. this anti-macassar is done in the fashionable style of netting, with a pattern darned on it after it is worked. make a foundation, on which work sixty-seven stitches. repeat these, backwards and forwards, until a square is done, of as many holes up the sides as along the width. remove the foundation, and add either a crochet-bead border all round, or a netted one. the bead border makes the shape more solid; the netted one is certainly lighter, and the following is very pretty:-with a mesh three times the size of that used for the square do one entire round, with three stitches in one at the corners. 2nd round: with the small mesh. miss the first stitch, net the second, then the missed one, repeat all round. 3rd: x net a stitch of each of seven stitches, miss one stitch of the last round, x repeat all round. observe, before doing this round, count the number of stitches; if they cannot be divided by eight, add at the corners as many as may be required. supposing there are so many eights and five over, then three more will be wanted, and one must be added (by doing two in one) in each of the three corners. 4th: x 6 over seven, miss the long stitch, x repeat. 5th: x 5 over six, missing as before, x repeat. 6th: x 4 over five, as before, x repeat. 7th: x 3 over four, as before, x repeat. 8th: x 2 over three, as before, x repeat. before darning netting, wash it perfectly clean, stiffen it by dipping it into a little gum-water, and pin it out on a pillow, in the proper form, to dry. then darn it with embroidery cotton, every square of the pattern being closely filled up. * * * * * round couverette for an easy chair or sofa. 1st round: 9 ch., unite; 3 ch., this forms 1 l. stitch; under this circle work 24 l., that is, including the 3 ch., which reckon as "1 l.;" in fastening off this round, simply insert the hook through the 3rd loop of 3 ch., draw the cotton through, cut it off, draw it down at the back, and tie it in a neat and secure knot. 2nd: be careful not to begin in any row in the same place where the previous row was terminated. 2 l. into every loop of last row; there should be 48 l. 3rd: 1 l. into every loop, with 1 ch. between each. 4th and 5th: 1 l. upon every l., with 2 ch. between each. 6th: commence upon a l. stitch, * 2 l. into 1 loop, 5 ch., miss 2 loops, repeat from * 3 times more, then 3 ch., miss 2 loops, 10 l., 3 ch., miss 2 loops, repeat. 7th: * 2 l. into the 3rd loop of the 5 ch.; 5 ch., repeat from * twice more, then 10 l. on l., repeat. 8th: 3 d.c. stitches, the 1st into the 2nd loop of the 5 ch., after the l. stitches, 5 ch., repeat from * 3 times more, 12 l. the 1st into next loop, repeat. 9th: * 3 d.c. the 1st into the 2nd loop of the 1st 5 ch., 5 ch., repeat from * twice more, miss 1 loop, 18 l. the 1st in 2nd loop. 10th: d.c. into the centre loop of the 5 ch., 5 ch., d.c. into centre loop of next 5, 3 ch., 24 l. the 1st on next d.c. stitch, 3 ch., repeat. 11th: 3 d.c. the 1st into 2nd loop of 5 ch., 3 ch., 1 l. on every l., with 1 ch. between each, 3 ch., repeat. 12th: 1 l. on l., 1 ch., repeat over the l. stitches, then 3 ch., 3 d.c. on the 3 d.c., 3 ch., repeat. 13th: 1 l. on l., 1 ch., repeat this over the l. stitches, 7 ch., repeat. 14th: the same. 15th: 1 l., 2 ch. over the l. stitches, then 3 ch., 1 l. into 3rd loop of the 7 ch., 5 ch., miss 1 loop, 1 l. into next loop, 3 ch., repeat. 16th: 7 sq., 6 l., 14 sq., 3 ch., d.c. into centre loop of 5 ch., 3 ch., repeat. 17th: 6 sq., 12 l., 13 sq., 3 ch., 1 l. on d.c. stitch, 3 ch., repeat. [illustration: round couverette for an easy chair or sofa.] 18th: 6 sq., 12 l., 4 sq., 9 l., 2 sq., 3 l., 3 sq., 3 ch., d.c. on d.c., 3 ch., repeat. 19th: 6 sq., 12 l., 3 sq., 12 l., 2 sq., 3 l., 3 sq., 3 ch., d.c. on d.c., 3 ch., repeat. 20th: 6 sq., 6 l., 1 sq., 3 l., 2 sq., 15 l., 1 sq., 3 l., 4 sq., 3 ch., d.c. on d.c., 3 ch., repeat. 21st: 6 sq., 6 l., 1 sq., 3 l., 1 sq., 6 l., 1 sq., 6 l., 1 sq., 3 l., 5 sq., 3 ch., d.c. into centre loop of 1st 3 ch., 3 ch., d.c. into centre loop of next 3 ch., repeat. 22nd: 3 sq., 6 l., 1 sq., 12 l., 1 sq., 3 l., 1 sq., 6 l., 8 sq., 5 ch., 1 l. into centre loop of centre 3 ch., 5 ch., repeat. 23rd: 2 sq., 12 l., 1 sq., 3 l., 2 sq., 12 l., 9 sq., 5 ch., d.c. into centre loop of 1st 5 ch., 5 ch., d.c. into centre loop of 2nd 5 ch., 5 ch., repeat. 24th: 2 sq., 3 l., 2 sq., 6 l., 1 sq., 6 l., 1 sq., 6 l., 10 sq., 7 l., d.c. into centre loop of 2nd 5 ch., 7 ch., repeat. 25th: 3 sq., 9 l., 1 sq., 12 l., 1 sq., 15 l., 6 sq., 5 ch., d.c. into centre loop of 7 ch., 5 ch., d.c. into centre loop of 7, 5 ch., repeat. 26th: 7 sq., 12 l., 1 sq., 3 l., 2 sq., 9 l., 5 sq., 5 ch., d.c. into centre loop of 5, 3 ch., 5 l., with 1 ch. between each, under the next 5 ch., 3 ch., d.c. into centre loop of 5, 5 ch., repeat. 27th: 3 sq., 12 l., 1 sq., 6 l., 1 sq., 21 l., 1 sq., 3 l., 3 sq., 5 ch., d.c. into centre ch. of 5, 3 ch., 11 l. the 1st into 3rd loop of 3 ch., 3 ch., d.c. into 5, 5 ch., repeat. 28th: 2 sq., 9 l., 1 sq., 6 l., 2 sq., 6 l., 1 sq., 12 l., 3 sq., 3 l., 2 sq., 5 ch., d.c. into centre of 5, 3 ch., 13 l., the 1st into 3rd loop of 3 ch., 3 ch., d.c. into centre of 5, 5 ch., repeat. 29th: 2 sq., 6 l., 1 sq., 24 l., 7 sq., 3 l., 2 sq., 5 ch., d.c. into centre loop of 5 ch., 3 ch., 15 l., the 1st into 3rd loop of 3 ch., 3 ch., d.c. into centre loop of 5, 5 ch., repeat. 30th: 2 sq., 15 l., 1 sq., 6 l. 1 sq., 6 l., 1 sq., 3 l., 3 sq., 6 l., 3 sq., 5 ch., d.c. into centre loop of 5, 3 ch., 8 l., the 1st into the 3rd loop of the 3 ch., 1 ch., miss 1 loop, 8 l., 3 ch., d.c. into centre of 5 ch., 5 ch., repeat. 31st: 2 sq., 12 l., 3 sq., 6 l., 1 sq., 6 l., 1 sq., 9 l., 5 sq., 5 ch., d.c. into centre loop of 5, 3 ch., 8 l., 3 ch., d.c. into centre loop of 3 ch., 3 ch., 8 l., the 1st or 2nd d.c., 3 ch., d.c. into centre loop of 5, 5 ch., repeat. 32nd: 3 sq., 6 l., 4 sq., 15 l., 1 sq., 3 l., 7 sq., 5 ch., d.c. into centre loop of 5, 3 ch., 9 l., the 1st into 3rd loop of the 3 ch., 3 ch., d.c. on d.c., 5 ch., d.c. into same loop, 3 ch., 9 l., the 1st on next l., 3 ch., d.c. into centre loop of 5, 5 ch., repeat. 33rd: 10 sq., 12 l., 2 sq., 3 l., 6 sq., 5 ch., d.c. on d.c., 3 ch., 8 l., the 1st on 1st l., 3 ch., 5 l., with 1 ch. between each under the 5 ch., 3 ch., 8 l., the 1st on 2nd l., 3 ch., d.c. on d.c., 5 ch., repeat. 34th: 11 sq., 9 l., 2 sq., 3 l., 6 sq., 5 ch., d.c. on d.c., 3 ch., 6 l., the 1st on 2nd l., 3 ch., 9 l., the 1st on next l., 3 ch., 6 l., the 1st on 2nd l., 3 ch., d.c. on d.c., 5 ch., repeat. 35th: 4 sq., 9 l., 1 sq., 6 l., 6 sq., 9 l., 4 sq., 5 ch., d.c. on d.c., 4 ch., 4 l., the 1st on 2nd l., 3 ch., 11 l., the 1st into 4th loop, 3 ch., 4 l., the 1st on 2nd l., 4 ch., d.c. on d.c., 5 ch., repeat. 36th: 4 sq., 18 l., 1 sq., 3 l., 3 sq., 3 l., 1 sq., 9 l., 3 sq., 5 ch., d.c. on d.c., 5 ch., 2 l., the 1st on 2nd l., 6 ch., 9 l., the 1st on 2nd l., 6 ch., d.c. on d.c., 5 ch., repeat. 37th: 5 sq., 15 l., 1 sq., 3 l., 3 sq., 6 l., 1 sq., 6 l., 3 sq., 5 ch., 1 l. on d.c. stitch, 5 ch., 5 l., with 1 ch. between each under the 6 ch., 3 ch., 7 l., the 1st on 2nd l., 3 ch., 5 l., with 1 ch. between each under the 6 ch., 5 ch., d.c. on d.c., 5 ch., repeat. 38th: 7 sq., 6 l., 1 sq., 3 l., 4 sq., 3 l., 3 sq., 3 l., 3 sq., 5 ch., 1 l. on l., 5 ch., 9 l., the 1st on next l., 5 ch., 1 l. on l., 5 ch., repeat. 39th: 7 sq., 9 l., 4 sq., 3 l., 1 sq., 3 l., 1 sq., 3 l., 1 sq., 3 l, 2 sq., 5 ch., 1 l. on l., 5 ch., 11 l., the 1st into the 5th loop of the 5 ch., 5 ch., 3 l., the 1st on 2nd l., 5 ch., 11 l., the 1st into 6th loop, 5 ch., 1 l. on l., 5 ch., repeat. 40th: 2 sq., 9 l., 1 sq., 12 l., 4 sq., 6 l., 1 sq., 3 l., 1 sq., 6 l., 2 sq., 5 ch., 1 l. on l., 3 ch., 1 l. into same loop, 5 ch., 11 l., the 1st on 2nd l., 5 ch., d.c. on 2nd l. stitch, 5 ch., 11 l., the 1st into 6th loop, 5 ch., 1 l. on l., 3 ch., 1 l. into same loop, 5 ch., repeat. 41st: 2 sq., 21 l., 5 sq., 6 l., 2 sq., 3 l., 1 sq., 3 l., 2 sq., 5 ch., 5 l., with 1 ch. between each, under the 3 ch., 5 ch., 11 l., the 1st on 2nd l., 5 ch., 1 l. on d.c. stitch, 5 ch., 11 l., the 1st into 5th loop, 5 ch., 5 l., with 1 ch., between each, under the 3 ch., 5 ch., repeat. 42nd: 3 sq., 15 l., 1 sq., 6 l., 3 sq., 3 l., 1 sq., 9 l., 4 sq., 5 ch., 9 l., the 1st on next l., 5 ch., 11 l., the 1st on 2nd l., 7 ch., 11 l., the 1st into 5th loop of the 5 ch., 5 ch., 9 l., the 1st on next l., 5 ch., repeat. 43rd: 2 sq., 15 l., 2 sq., 3 l., 1 sq., 6 l., 3 sq., 6 l., 5 sq., 2 ch., 1 l., into 3rd loop, this forms another sq., and is reckoned as such in the next rows; 5 ch., 9 l. on the l., 7 ch., 11 l., the 1st on 2nd l., 7 ch., 11 l., the 1st. into 4th loop, 7 ch., 9 l. on the l., 5 ch., 1 l., into 3rd loop, 2 ch., repeat. 44th: 3 sq., 15 l., 2 sq., 3 l., 14 sq., 5 ch., 9 l. on the l., 7 ch., 9 l., the 1st on next l., 3 ch., 9 l., with 1 ch. between each, under the 7 ch., 3 ch., 9 l., the 1st on 3rd l., 7 ch., 9 l. on l., 5 ch., repeat. 45th: 5 sq., 9 l., 3 sq., 3 l., 13 sq., 7 ch., 7 l., the 1st on 2nd l., 7 ch., 9 l., the 1st into 9th loop, 3 ch., 17 l., the 1st on next l., 3 ch., 9 l., the 1st on 2nd l., 7 ch., 7 l., the 1st on 2nd l., 7 ch., repeat. 46th: 5 sq., 6 l., 4 sq., 3 l., 1 sq., 12 l., 8 sq., 7 ch., 5 l., the 1st on 2nd l., 7 ch., 9 l., the 1st into 8th loop, 3 ch., 15 l., the 1st on 2nd l., 3 ch., 9 l., the 1st on 2nd l., 7 ch., 5 l., the 1st on 2nd l., 7 ch., repeat. 47th: 5 sq., 6 l., 4 sq., 21 l., 7 sq., 7 ch., 3 l., the 1st on 2nd l., 7 ch., 8 l., the 1st into 8th loop, 7 ch., 13 l., the 1st on 2nd l., 7 ch., 8 l., the 1st on 3rd l., 7 ch., 3 l., the 1st on 2nd l., 7 ch., repeat. 48th: 6 sq., 3 l., 3 sq., 12 l., 1 sq., 6 l., 8 sq., 5 ch., 1 l., into 4th loop, 5 ch., 1 l. on 2nd l., 5 ch., 1 l. into 5th loop, 5 ch., 6 l., the 1st on 2nd l., 5 ch., 1 l. into 5th loop, 5 ch., 11 l., the 1st on 2nd l., 5 ch., 1 l. into 5th loop, 5 ch., 6 l., the 1st on 2nd l., 5 ch., 1 l. into 5th loop, 5 ch., 1 l. on 2nd l., 5 ch., 1 l. into 4th loop, 5 ch., repeat. 49th: 10 sq., 15 l., 2 sq., 12 l., 4 sq., 5 ch., 1 l. into centre loop of the 5 ch. for 4 times, 5 ch., 4 l., the 1st on 2nd l., 5 ch., 1 l. into centre loop of 5 twice, 5 ch., 9 l., the 1st on 2nd l., 5 ch, 1 l. into centre loop of 5 ch. twice, 5 ch., 4 l., the 1st on 2nd l., 5 ch., 1 l. into centre of loop of 5, 3 times, 5 ch., repeat. 50th: 10 sq., 6 l., 1 sq., 6 l., 1 sq., 18 l., 3 sq., 5 ch., 1 l. into centre of each 5, for 5 times, 5 ch., 2 l., the 1st on 2nd l., 5 ch., 1 l. into centre of 5, 3 times, 5 ch., 7 l., the 1st on 2nd l., 5 ch., 1 l. into centre of 5, 3 times, 5 ch., 2 l., the 1st on 2nd l., 5 ch., 1 l. into centre of 5, for 5 times, 5 ch., repeat. 51st: 10 sq., 3 l., 1 sq., 3 l., 1 sq., 3 l., 1 sq., 9 l., 6 sq., 5 ch., and 1 l. into centre loop of 5 ch., for 10 times, 5 ch., 5 l., the 1st on 2nd l., 5 ch., 1 l. into centre loop of the 5 ch., for 10 times, 1 ch., repeat. 52nd: 11 sq., 9 l., 1 sq., 15 l., 5 sq., 5 ch., and 1 l. into centre loop of each 5 ch., for 11 times, 5 ch., 3 l., the 1st on 2nd l., 5 ch., and 1 l. into centre loop of 5 ch., 11 times, 5 ch., repeat. 53rd: 10 sq., 33 l., 4 sq., 5 ch., and 1 l. into centre loop of the 5 ch., 5 ch., repeat. 54th: 10 sq., 24 l., 1 sq., 6 l., 4 sq., 3 ch., 7 l., the 1st on next l., * 4 ch., 1 l. on l., 4 ch., 7 l., the 1st on next l., repeat from * twice more, 4 ch., 7 l., the 1st on next l., 4 ch., 7 l., the 1st on next l., ** 4 ch., 1 l. on l., 4 ch., 7 l., the 1st on next l., repeat from ** twice more, 3 ch., repeat from beginning. 55th: 9 sq., 6 l., 1 sq., 6 l., 1 sq., 12 l., 6 sq., 3 ch, 7 l., the 1st on next l., * 7 ch., d.c. on the l. stitch, 7 ch., 7 l. on the l., repeat from * twice more, then 4 ch., 7 l. on l., 4 ch., 7 l. on l., ** 7 ch., d.c. on l., 7 ch., 7 l. on l., repeat from ** twice more, 3 ch., repeat. 56th: 9 sq., 6 l., 1 sq., 6 l., 2 sq., 6 l., 1 sq., 3 l., 5 sq., 3 ch., 7 l. on l., * 4 ch., d.c. into 4th loop of 7 ch., 3 ch., d.c. into 4th loop of 7 ch., 5 ch., 7 l. on l., repeat from * twice more, 4 ch., 7 l. on l., 4 ch., 7 l. on l., repeat from the 1st *, then 3 ch., repeat from beginning. 57th: 13 sq., 3 l., 6 sq., 3 l., 4 sq., 3 ch., 7 l. on l., * 4 ch., 1 l. into 2nd loop of 3 ch., 5 ch., 1 more l. into same loop, 4 ch., 7 l. on l., repeat from * twice more, then 4 ch., 7 l. on l., 4 ch., 7 l. on l., repeat from the 1st * again, 3 ch. then repeat from beginning. 58th: 16 sq., 6 l., 2 sq., 3 l., 4 sq., now work the same as last row, only making 3 ch. instead of 5. 59th: 16 sq., 3 l., 1 sq. 3 l., 1 sq., 3 l., 4 sq., now work the same as last row. 60th: 13 sq., 6 l., 2 sq., 9 l., 5 sq., now the same as last row. 61st: 8 sq., 9 l., 1 sq., 3 l., 1 sq., 3 l., 3 sq., 3 l., 6 sq., now the same as last row. 62nd: 7 sq., 3 l., 3 sq., 9 l., 3 sq. 3, l., 7 sq., now the same as last row. 63rd: 14 sq., 9 l., 8 sq., now the same as last row. 64th: 25 sq., 3 ch., 7 d.c. over the l., * 3 d.c. under the 3 ch., 5 d.c. under next 3, 3 d.c. under next 3, 7 d.c. over the l., repeat from * twice more, 4 d.c. under the 4 ch., 7 d.c. on the l., 4 d.c. under the 4 ch., 7 d.c. over the l., repeat from the 1st * 3 times, 3 ch., repeat from beginning. 65th: 25 sq., making in these squares 3 ch. instead of 2, then d.c. over the d.c. stitches, 3 ch., repeat. 66th: a row of long stitches all round. fringe.--d.c. into a loop, make * 70 ch., rather loosely, miss loop of last round, d.c. into next loop, repeat from *. * * * * * floral anti-macassar. in square netting and darned. [illustration: floral anti-macassar.] materials.--brooks' goat's-head netting and knitting cotton, no. 36. brooks' embroidering goat's-head cotton, no. 40. rather a fine embroidering needle. steel mesh, no. 12 steel netting needle. work the same number of squares, as in the engraving, by commencing on one stitch, and increasing one at the end of every row till you get sufficient length of one side; and then decrease one at the end of every row by taking two loops into one. then darn according to the engraving. make sufficient number of tassels to go round. wind the cotton over a card three inches wide, cut one end, and draw through the loop of netting, and make four more tassels larger; over a card six inches wide for the corners. six squares measure one inch. * * * * * ottoman cover. in square netting; the pattern diamond. [illustration: ottoman cover.] materials:--brooks' goat's-head netting cotton, nos. 30 and 36; embroidering, no. 40; steel mesh, no. 12, and steel netting needle. for the upper side of the cushion use no. 36 cotton, and commence with one stitch, and make one at the end of every row until you have 83 loops on your mesh; then decrease one at the end of every row until you have only one left; then fasten off; then darn it with embroidering cotton, no. 40, according to the engraving, always taking care that there are the same number of threads in every square, and that the threads all run the same way, making as few breaks in the cotton as possible; in fastening off, or beginning again, always let it be on the under-side, that the ends may not be seen. then for the under-side of the cushion, make another piece exactly similar to the other one in size, but with a thicker cotton, no. 30. the two pieces must then be joined together, and placed upon a cushion stuffed with wool and covered with a dark purple, crimson, or green velvet; the whole afterwards finished with a thick twisted cord in two colours, with massive tassels at the corners to match. * * * * * the pine couvrette, for a music stool, in crochet. materials.--eight reels of brooks' goat's-head crochet cotton, no. 8; crochet hook, no. 18. this couvrette is begun in the centre, and worked round and round, the thread never being broken off but when it is so mentioned in the receipt. make a chain of 6; close it into a round, on which do 8 s.c. stitches. 2nd round: x 1 d.c. under a stitch (taking up both sides of the chain), 2 ch., miss none, x 8 times. close the round with a slip stitch on the first d.c. 3rd: 1 s.c. on every chain stitch, and 2 s.c. on every d.c. in the round. 4th: 3 ch., twist them, and continue as a d.c. stitch; x 3 ch., miss 3, 3 d.c., all on the second of the 2 s.c. worked on one in last row, x 7 times; 3 ch., miss 3, 2 d.c. on last stitch of last row; slip on the top of the three-twisted chain, which completes the round. 5th: begin this and all succeeding rounds with a d.c. stitch, made of 3 ch., x ch., miss 3 ch., 2 d.c. on first d.c., 1 on next, 2 on next, x 7 times; 3 ch., miss 3, 2 d.c. on 1 d.c., 1 d.c. on next; slip on top of the 3 chain that began the round. 6th: worked exactly like 5th, with 2 d.c. on the first and last of every 5, and 1 on each of the intermediate, so that the round consists of 8 sides, of 7 d.c. each, divided by a chain of three. 7th: the same, with 10 d.c. over the 7. 8th: the same, with 12 d.c. over the 10. 9th: 3 ch., twist it into a d.c. stitch, x 3 more chain, 2 d.c. in the first of 12, 4 d.c. in next 4, 3 ch., miss 2, 4 d.c. in 4, 2 d.c. in last of 12, x 7 times; 3 ch., 2 d.c. in first, 4 d.c. in 4, 3 ch., miss 2, 4 d.c. in 4, 1 d.c. in the same as the twisted chain; finish with a slip stitch. 10th: begin, as usual, with 6 ch; then on each section of the octagon, x 4 d.c. on first 4, 3 ch., miss 2, 3 d.c. on 3 ch., 3 ch., miss 2, 4 d.c. on 4, x 3 ch. between. at the last of the 8 finish with 3 d.c., as the last is made at the beginning of the round; slip on the top of it. 11th: begin and end as usual [_see note_]. on each section do x 2 d.c. on 2, 3 ch., miss 2, 3 d.c. on 3 ch., 3 ch., miss 3 d.c., 3 d.c. on 3 ch., 3 ch., miss 2, 2 d.c. on last 2, 3 ch., x. 12th: begin and end as usual. on each section work x 2 d.c. on 1, 4 d.c. on 4, 3 ch., miss 3, 3 d.c. on 3 ch., 3 ch., miss 3, 4 d.c. on 4, 2 d.c. on the last, 3 ch., x. 13th: begin and end as usual. on each division do x 2 d.c. on 1, 8 d.c. on 8, 4 ch., miss 3, 8 d.c. on 8, 2 d.c. on 1, 3 ch., x. 14th: all d.c., increasing so as to have 26 on each side of the octagon, with the usual 3 ch. between the divisions. 15th: begin and end as usual. work on each part x 7 d.c. on 7, x 2 ch., miss 1, 1 d.c., x twice; 2 ch. miss 2, 1 d.c., 2 ch., miss 1, 1 d.c., 2 ch., miss 2, 8 d.c. on 8, 3 ch., x. 16th: begin and end as usual. work on each part x 2 d.c. on 1, 4 d.c. on 4, 2 ch., miss 2, 14 d.c. on 14, 2 ch., miss 2, 5 d.c. on 5, 2 d.c. on 1, 3 ch., x. [illustration: music stool couvrette.] 17th: begin and end as usual. x 2 d.c. on 1, 3 d.c. on 3, 2 ch., miss 2, 6 d.c. on 6, 2 ch., miss 2, 1 d.c., 2 ch., miss 1, 1 d.c., 2 ch., miss 2, 5 d.c. on 5, 2 ch., miss 2, 4 ch. on 4, 2 d.c. on 1, 3 ch. x. 18th: begin and end as usual, x 2 d.c. on 1, 4 d.c. on 4, 2 ch., miss 2, 6 d.c. on 6, 2 ch., miss 2, 13 d.c. on 13, 2 ch., miss 1, 4 d.c. on 4, 2 d.c. on 1, 3 ch. x. 19th: begin and end as usual. x 6 d.c. on 6, 2 ch., miss 2, 6 d.c. on 6, 2 ch., miss 2, 3 d.c. on 3, 2 ch., miss 1, 1 d.c., 2 ch., miss 2, 1 d.c. 2 ch., miss 1, 4 d.c., 2 ch., miss 2, 6 d.c., 3 ch., x. 20th: begin and end as usual. x 2 d.c. on 1, 5 d.c. on 5, 2 ch., miss 2, 6 d.c. on 6, 2 ch., miss 2, 3 d.c., 2 ch., miss 2, 12 d.c., 2 ch., miss 1, 5 d.c., 3 ch., x. 21st: begin and end as usual, x 9 d.c. 3 ch., miss 2, 9 d.c., 2 ch., miss 2, 3 d.c., 2 ch., miss 2, 1 d.c., 2 ch., miss 2, 4 d.c., 2 ch., miss 2, 4 d.c., 2 d.c. in 1, 3 ch., x. 22nd: begin and end as usual. x 10 d.c., 2 ch., miss 2, 9 d.c., 2 ch., miss 2, 3 d.c., 2 ch., miss 2, 7 d.c., 2 ch., miss 2, 5 d.c., 2 d.c. in 1, 3 ch., x. 23rd: begin and end as usual. x 2 d.c. in 1, 11 d.c., 2 ch., miss 2, 12 d.c., 2 ch., miss 2, 7 d.c., 2 ch, miss 2, 6 d.c., 2 d.c. in 1, 3 ch., *. 24th: break off the thread in this and the following round, and begin at the beginning of a division of the octagon, instead of at the last stitch as hitherto. x 14 d.c., beginning on the _second_ in the division, 2 ch., miss 2, 8 d c., 2 ch., miss 2, 9 d.c., 2 ch., miss 2, 7 d.c., 3 ch., d.c. on the centre of the 3 chain of last round, 3 ch., x. [work in the ends of cotton as you go on, and slip on the first stitch at the end of every round.] 25th: x miss the first d.c. of the last row, 1 _diminished_ stitch on the two next, 12 d.c., 2 ch., miss 2, 12 d.c., x 2 ch., miss 2, 4 d.c., * twice; 1 diminished stitch on the next 2, ** 2 ch., miss 1, 1 d.c., ** 4 times, 2 ch., x. 26th: x 1 diminished d.c. stitch on the two first of 12, 11 d.c., 2 ch., miss 2, 9 d.c., 2 ch., miss 2, 5 d.c., 2 ch., miss 2, 3 d.c., 1 diminished d.c., 1 ch, miss 1, 1 d.c., 2 ch., miss 1, 1 d.c., 2 ch., miss 2, 4 d.c., 2 ch., miss 2, 1 d.c., 2 ch., miss 1, 1 d.c., 1 ch., x. 27th: x 1 diminished d.c. on two first of 11, 10 d.c., 2 ch., miss 2, 8 d.c., 2 ch., miss 2, 4 d.c., 2 ch., miss 2, 2 d.c., 1 diminished d.c., 3 ch., miss 2, 1 d.c., 2 ch., miss 2, 10 d.c., 2 ch., miss 1 d.c., 3 ch., miss 2, x. 28th: x 1 diminished d.c. (beginning on the same of last round), 6 d.c., 2 ch., miss 2, 3 d.c., 2 ch., miss 2, 4 d.c., 2 ch., miss 2, 5 d.c., 2 ch., miss 2, 2 d.c., 1 diminished d.c., 2 ch., d.c. on centre of 3 ch. in last round, 2 ch., miss 1, 7 d.c., 2 ch., miss 2, 7 d.c., 2 ch., miss 1, d.c. on centre of 3 ch., 2 ch., x. 29th: x 5 d.c. beginning on the diminished stitch of last round, 2 ch., miss 2, 6 d.c., 2 ch., miss 2, 10 d.c., 2 ch., miss 2, 3 d.c., 3 ch., miss 2, 7 d.c., ** 2 ch., miss 2, 1 d.c., ** twice, 2 ch., miss 2, 7 d.c., 3 ch., miss 2, x. 30th: x (begin on the second of 5 d.c.), 4 d.c., 2 ch., miss 2, 8 d.c., 2 ch., miss 2, 6 d.c., 2 ch., miss 2, 4 d.c., 2 ch., miss 1, ** 1 d.c., 2 ch., miss 2, ** twice, 7 d.c., 2 ch., miss 2, 7 d.c., *** 2 ch., miss 2, 1 d.c., *** twice; 2 ch., miss 1, x. 31st: x (begin on the second of 4 d.c.), 5 d.c., 2 ch., miss 2, 6 d.c., 2 ch., miss 2, 4 d.c., 2 ch., miss 2, 5 d.c., 1 ch., miss 1, 1 d.c., 2 ch., miss 1, ** 1 d.c., 2 ch., miss 2, ** three times, 10 d.c., *** 2 ch., miss 2, 1 d.c., *** 3 times, 2 ch., miss 1, 1 d.c., 1 ch., miss 1, *. 32nd: x (begin on the second of 5), 6 d.c., 2 ch., miss 2, 2 d.c., 2 ch., miss 2, 4 d.c., 2 ch., miss 2, 6 d.c., 3 ch., miss 2, 5 open squares, 1 close, 5 open, 1 d.c., 3 ch., miss 2, x. 33rd: x (begin on second of 6), 7 d.c., ** 2 ch., miss 2, 1 d.c., ** twice; 2 ch., miss 2, 7 d.c., 2 ch., miss 1, 13 open squares, 1 d.c., 2 ch., miss 1, x. 34th: x (begin on the second of 7), 1 diminished stitch, 16 d.c., 1 diminished, 2 ch., miss 1, ** 3 open squares, 1 close, ** 3 times, 3 open squares, 1 d.c., 2 ch., miss 1, x. 35th: x (begin on the first of 16), 1 diminished, 5 d.c., 2 ch., miss 2, 5 d.c., 1 diminished, 2 ch., miss 1, 1 d.c., 2 ch., miss 1, 2 open squares, ** 1 close, 1 open, ** 6 times, 1 d.c., 2 ch., miss 2, *** 1 d.c., 2 ch., miss 1, *** twice, x. 36th: * (begin on the first of 5), 1 diminished, 1 d.c., 2 ch., miss 2, 2 d.c., 2 ch., miss 2, 1 d.c., 1 diminished, ** 2 ch., miss 1, 1 d.c., ** twice, 2 ch., miss 2, 1 d.c., 2 ch., miss 2, *** 1 close square, 3 open, *** 3 times, 1 close, 2 open, **** 1 d.c., 2 ch., miss 1, **** twice, x. 37th: x (begin on the 1 d.c.), 1 diminished, 1 d.c., 2 ch., miss 2, 1 d.c., 1 diminished, ** 2 ch., miss 1, 1 d.c., ** twice, *** 2 ch., miss 2, 1 d.c., *** 3 times, 2 ch., miss 2, **** 1 close, 1 open square, **** 6 times, 3 more open, 1 d.c., 2 ch., miss 1, 1 d.c., 2 ch., miss 1 x. 38th: x (begin on 1 d.c.), 1 d.c., 1 diminished over the 2 ch, 1 d.c., 2 ch., miss 1, 1 d.c., 2 ch., miss 1, 6 open squares, ** 1 close, 3 open, * twice, 1 close, 6 open, *** 1 d.c., 2 ch., miss 1, *** twice x. finish this round, like all the preceding, since the direction, with a slip stitch on the first stitch of the round. then a round of open square crochet, the d.c. stitches coming on those of the last round, and allowing 2 ch. over the one diminished stitch at every point. the 40th round is entirely in d.c. for the band.--make a chain of 624 stitches, and close in a round, on which work a round of d.c. 2nd round: open square crochet. 3rd: x 4 open squares, 2 close, 2 open, x 26 times. 4th:. x 3 open, 2 close, 1 open, 1 close, 1 open, x 26 times. 5th: x 2 open, 1 close, 1 open, 1 close, 1 open, 1 close, 1 open, x 26 times. 6th: x 1 open, 2 close, 1 open 1 close, 3 open, x 26 times. 7th, 8th, and 9th: x 1 open, 2 close, 2 open, 1 close, 2 open, x 26 times. 10th: x 2 open, 3 close, 3 open, * 26 times. 11th: open square crochet. 12th: d.c. edging.--one pattern takes up the space of a pattern of the band, consequently there are 26 in the round. each is finished before proceeding to the next. the band and edging may be done entirely without breaking off the thread, therefore continue for the latter, after closing the former. 12 s.c., 12 ch., close it into a round, under which work 23 s.c.; 9 s.c. on the edge of the band; turn the work on the wrong side,--7 ch., miss 5 of the 23 on the round, s.c. under the 6th, * 5 ch, miss 3, s.c. under 4th, * 3 times; 7 ch., s.c. under 4th of the 12 s.c. (leaving a space of 8 to the loop). turn on the right side and work under each loop of 7, 1 s.c., 2 d.c. 4 t.c., 2 d.c., 2 s.c., and under the other loops, 2 s.c., 4 d.c., 2 s.c.: 2 s.c. more on the band complete one pattern. fasten to the round with a row of s.c., taking a stitch of each. note.--it is to be remembered that each round begins with a d.c. of 3 ch., and 3 ch., after which the pattern between the * * is done 7 times throughout, and the eighth time the last d.c. and 3 ch. are omitted, being worked at the commencement of the round. to write this at the end of every round would make the directions tediously long, and the worker can find no difficulty if observing this note. * * * * * chair cushion. materials.--brooks' great exhibition prize goat's-head knitting cord, no. 40, or 60, with a suitable hook. this is a new and extremely pretty kind of cushion, for the back of a chair, which renders an ordinary seat almost as commodious as a professedly _easy_ chair. a small cushion is made, just the length of the back of the chair, and narrow in the proportion seen in the engraving, which is covered either with berlin-wool work, or (as we have designed) with crochet. it is suspended from the top of the chair by ribbons or cords; and the lower edge is finished with either fringe or tassels. we have given two sizes of cotton as suitable for this purpose, as the dimensions must depend on those of the chair. the pattern requires a foundation chain of 274 stitches, and if no. 40 cord is used, and an ordinary hook suitable for it, the length will be as nearly as possible, half a yard. should the chair not be so wide, the same number of stitches, _with a finer cord_, will decrease the cushion cover; if required larger, for any purpose whatever, by using a coarser material the same design will be proportionably increased. and here we may be allowed to suggest a purpose to which this pattern is peculiarly applicable, and which will be found an article extremely beneficial to "the neat-handed phillis." [illustration: chair cushion.] in these days of homoeopathy, when the love of cold water is on the increase (as indeed it is high time it was), and while the means for thorough ablution are not perhaps as yet so extensively patronised as they deserve to be, we all know the destruction occasioned to that part of the paper which is immediately above the washhand-stand. now we would propose a splash cloth, in crochet, of this or any similar design, to be worked in very coarse cotton, such as brooks' great exhibition prize goat's-head knitting cord, no. 16, lined with glazed calico to match the hangings, and suspended above the washhand-stand. it will be a pretty decoration, perfectly preventing the injury usually occurring to the walls, readily washed, and always new. as fine cotton decreases the dimensions of a piece of work, so thicker cotton, with a hook proportionately large, _increases_ its size. the number of the cotton chosen should depend on the size of the stand. no. 40, it will be remembered, will work it about half a yard long. when used to cover a cushion, the cushion itself should be of a colour to match with the hangings, and the crochet work is to be tacked lightly over it at each edge. * * * * * toilet cover in crochet. [illustration: toilet cover in crochet] materials.--brooks' great exhibition prize goat's-head crochet cotton, no. 24. no. 3 penelope hook. 1st row: make a chain of about 180 stitches, turn back, work 1 l. into 9th loop, this will form 1 sq. in next row; then 1 l., 2 ch., 1 l. into 3rd loop, repeat. there must be 190 sq., or squares, only. 2nd: in beginning this row, make 1 l., in the 3rd ch. of the 8 ch., then 2 ch., 1 l. on l., repeat; make 5 rows of these squares. after the first 5 rows the work must not be turned. 6th: 12 sq., 3 l., 15 sq., 15 l., * 14 sq., 15 l., repeat from * till within 24 sq. of the end, then 13 sq., 3 l., 10 sq. 7th: 10 sq., 12 l., 13 sq., * 6 l., 3 sq., 12 l., 10 sq., repeat from * 6 times more, then 6 l., 3 sq., 12 l., 9 sq., 9 l., 9 sq. 8th: 8 sq., 9 l., 2 sq., 15 l., 9 sq., * 9 l., 5 sq., 9 l., 8 sq., repeat from * 6 times more, then 9 l., 5 sq., 9 l., 5 sq., 9 l., 1 sq., 6 l., 8 sq. 9th: 7 sq., 6 l., 1 sq., 6 l., 2 sq., 3 l., 2 sq., 9 l., 7 sq., * 3 l., 1 sq., 9 l., 5 sq., 6 l., 7 sq., repeat from * 6 times more, then 3 l., 1 sq., 9 l., 5 sq., 21 l., 4 sq., 6 l., 7 sq. 10th: 6 sq., 6 l., 1 sq., 12 l., 1 sq., 6 l., 3 sq., 6 l., 6 sq., * 6 l., 2 sq., 6 l., 5 sq., 6 l., 6 sq., repeat from * 6 times more, then 6 l., 2 sq., 6 l., 13 sq., 6 l., 1 sq., 3 l., 7 sq. 11th: 5 sq., 6 l., 2 sq., 12 l., 2 sq., 3 l., 4 sq., 9 l., 4 sq., * 12 l., 1 sq., 6 l., 2 sq., 6 l., 1 sq., 9 l., 4 sq., repeat from * 6 times more, then 12 l., 1 sq., 6 l., 2 sq., 6 l., 7 sq., 18 l., 6 sq. 12th: 6 sq., 6 l., 2 sq., 6 l., 3 sq., 3 l., 1 sq., 6 l., 3 sq., 12 l., * 5 sq., 9 l., 1 sq., 12 l., 2 sq., 12 l., repeat from * 6 times more, then 9 l., 1 sq., 12 l., 2 sq., 6 l., 2 sq., 12 l., 1 sq., 3 l., 6 sq. 13th: 7 sq., 3 l., 7 sq., 15 l., 5 sq., 21 l., * 1 sq., 3 l., 1 sq., 12 l., 5 sq., 21 l., repeat from * 6 times more, then 1 sq., 3 l., 1 sq., 12 l., 1 sq., 12 l., 2 sq., 6 l., 2 sq., 6 l., 5 sq. 14th: 7 sq., 6 l., 3 sq., 6 l., 2 sq., 12 l., 2 sq., 6 l., 8 sq., * 6 l., 2 sq., 6 l., 3 sq., 6 l., 8 sq., repeat from * 6 times more, then 6 l., 2 sq., 6 l., 2 sq., 12 l., 5 sq., 6 l., 6 sq. 15th: 8 sq., 3 l., 2 sq., 12 l., 1 sq., 9 l., 2 sq., 12 l., 2 sq., 6 l., 2 sq., 12 l., * 5 sq., 12 l., 2 sq., 6 l., 2 sq., 12 l., repeat from * 6 times more, then 6 sq., 6 l., 4 sq., 9 l., 7 sq. 16th: 8 sq., 3 l., 2 sq., 12 l., 1 sq., 3 l., * 4 sq., 12 l., 1 sq., 12 l., 1 sq., 15 l., repeat from * 7 times more, 7 sq., 12 l., 1 sq., 3 l., 8 sq. 17th: 8 sq., 3 l., 3 sq., 6 l., 2 sq., 9 l., * 3 sq., 6 l., 2 sq., 12 l., 2 sq., 6 l., 1 sq., 9 l., repeat from * 6 times more, then 3 sq., 6 l., 2 sq., 12 l., 2 sq., 6 l., 2 sq., 27 l., 4 sq., 3 l., 7 sq. 18th: 8 sq., 3 l., 7 sq., 3 l., 1 sq., 9 l., * 6 sq., 6 l., 4 sq., 3 l., 3 sq., 9 l., repeat from * 6 times more, then 6 sq., 6 l., 4 sq., 3 l., 6 sq., 3 l., 1 sq., 12 l., 2 sq., 6 l., 7 sq. 19: 8 sq., 3 l., 2 sq., 6 l., 3 sq., 3 l., 3 sq., 12 l., * 7 sq., 9 l., 5 sq., 12 l., repeat from * 6 times more, then 7 sq., 9 l., 5 sq., 6 l., 1 sq., 12 l., 2 sq., 3 l., 8 sq. 20th: 7 sq., 6 l., 1 sq., 12 l., 2 sq., 3 l., 6 sq., 27 l., * 10 sq., 27 l., repeat from * 6 times more, then 7 sq., 3 l., 3 sq., 6 l., 2 sq., 6 l., 8 sq. 21st: 7 sq., 3 l., 2 sq., 12 l., 1 sq., 6 l., 154 sq., 6 l., 6 sq., 6 l., 9 sq. 22nd: 6 sq., 6 l., 3 sq., 6 l., 2 sq., 3 l., 155 sq., 3 l., 2 sq., 6 l., 3 sq., 3 l., 10 sq. 23rd: 6 sq., 3 l., 7 sq., 6 l., 155 sq., 3 l., 1 sq., 12 l., 1 sq., 6 l., 10 sq. 24th: ^{a}6 sq., 3 l., 3 sq., 27 l^{a}, 151 sq., ^{b}6 l., 1 sq., 12 l., 1 sq., 3 l., 11 sq^{b}. these letters will be referred to hereafter. 25th: ^{c}5 sq., 6 l., 2 sq., 9 l., 1 sq., 12 l., 1 sq., 3 l^{c}, 151 sq., ^{d}3 l., 3 sq., 6 l., 2 sq., 3 l., 11 sq^{d}. 26th: ^{e}5 sq., 3 l., 2 sq., 6 l., 1 sq., 6 l., 1 sq., 6 l., 2 sq., 6 l^{e}., 150 sq., ^{f}3 l., 6 sq., 6 l., 11 sq^{f}. 27th: ^{g}5 sq., 3 l., 2 sq., 3 l., 1 sq., 3 l., 1 sq., 3 l., 6 sq., 3 l^{g}., 150 sq., ^{h}3 l., 2 sq., 6 l., 2 sq., 3 l., 12 sq^{h}. 28th: ^{i}5 sq., 3 l., 1 sq., 6 l., 1 sq., 3 l., 1 sq., 3 l., 2 sq., 6 l., 2 sq., 3 l^{i}., 150 sq., ^{k}3 l., 1 sq., 12 l., 1 sq., 3 l., 1 sq., 15 l., 6 sq^{k}. 29th: ^{l}5 sq., 9 l., 1 sq., 6 l., 1 sq., 3 l., 1 sq., 12 l., 1 sq., 3 l^{l}., 150 sq., ^{m}3 l., 1 sq., 12 l., 1 sq., 3 l., 1 sq., 6 l., 1 sq., 9 l., 5 sq^{m}. 30th: ^{n}6 sq., 15 l., 1 sq., 3 l., 1 sq., 12 l., 1 sq., 3 l^{n}., 150 sq., ^{o}3 l., 2 sq., 6 l., 2 sq., 3 l., 1 sq., 3 l., 1 sq., 6 l., 1 sq., 3 l., 5 sq^{o}. 31st: ^{p}12 sq., 3 l., 2 sq., 6 l., 2 sq., 3 l^{p}., 150 sq., ^{q}3 l., 6 sq., 3 l., 1 sq., 3 l., 1 sq., 3 l., 2 sq., 3 l., 5 sq^{q}. 32nd: ^{r}11 sq., 6 l., 6 sq., 3 l^{r}., 150 sq., ^{s}6 l., 2 sq., 6 l., 1 sq., 6 l., 1 sq., 6 l., 2 sq., 3 l., 5 sq^{s}. 33rd: ^{t}11 sq., 3 l., 2 sq., 6 l., 3 sq., 3 l^{t}., 151 sq., ^{u}3 l., 1 sq., 12 l., 1 sq., 9 l., 2 sq., 6 l., 5 sq^{u}. 34th: ^{v}11 sq., 3 l., 1 sq., 12 l., 1 sq., 6 l^{v}., 151 sq., ^{w}27 l., 3 sq., 3 l., 6 sq^{w}. 35th: ^{x}10 sq., 6 l., 1 sq., 12 l., 1 sq., 3 l^{x}., 155 sq., ^{y}6 l., 7 sq., 3 l., 6 sq^{y}. 36th: ^{z}10 sq., 3 l., 3 sq., 6 l., 2 sq., 3 l^{z}., 79 sq., 3 l., 74 sq., ^{&}6 l., 2 sq., 6 l., 3 sq., 6 l., 6 sq^{&}. 37th: ^{a} 9 sq., 6 l., 6 sq., 6 l., ^{b}., 58 sq., 3 l., 3 sq., 3 l., 10 sq., 3 l., 4 sq., 12 l., 72 sq., ^{c}3 l., 2 sq., 12 l., 2 sq., 3 l., 7 sq^{d}. 38th: ^{e} 8 sq., 6 l., 1 sq., 6 l., 4 sq., 3 l., ^{f}., 58 sq., 6 l., 2 sq., 15 l., 6 sq., 6 l., 3 sq., 18 l., 70 sq., ^{g}6 l., 2 sq., 12 l., 1 sq., 6 l., 7 sq^{h}. 39th: ^{i}7 sq., 6 l., 1 sq., 12 l., 2 sq., 6 l^{k}., 57 sq., 9 l., 2 sq., 18 l., 4 sq., 9 l., 3 sq., 9 l., 1 sq., 12 l., 68 sq., ^{l} 3 l, 4 sq., 6 l., 1 sq., 6 l., 8 sq^{m}. 40th: ^{n}7 sq., 3 l., 2 sq., 12 l., 2 sq., 3 l^{o}., 57 sq., 12 l., 2 sq., 6 l., 2 sq., 9 l., 2 sq., 12 l., 3 sq., 9 l., 1 sq., 3 l., 1 sq., 9 l., 7 sq., 3 l., 1 sq., 12 l., 53 sq., ^{p}6 l., 6 sq., 6 l., 9 sq^{q}. 41st: ^{r}6 sq., 6 l., 3 sq., 6 l., 2 sq., 6 l^{s}., 46 sq., 15 l., 3 sq., 3 l., 1 sq., 6 l., 3 sq., 9 l., 1 sq., 6 l., 1 sq., 6 l., 1 sq., 6 l., 2 sq., 15 l., 2 sq., 12 l., 5 sq., 24 l., 52 sq., ^{t}3 l., 2 sq., 6 l., 3 sq., 3 l., 10 sq^{u}. 42nd: ^{v}6 sq., 3 l., 7 sq., 6 l^{w}., 49 sq., 21 l., 2 sq., 3 l., 1 sq., 3 l., 5 sq., 9 l., 1 sq., 3 l., 1 sq., 6 l., 1 sq., 6 l., 2 sq., 6 l., 1 sq., 6 l., 1 sq., 6 l., 1 sq., 6 l., 2 sq., 3 l., 1 sq., 12 l., 1 sq., 9 l., 7 sq., 3 l., 45 sq., ^{x}3 l., 1 sq., 12 l., 1 sq., 6 l., 10 sq^{y}. 43rd: repeat from ^{a} to ^{a} in 24th row, then 47 sq., 12 l., 2 sq., 3 l., 1 sq., 6 l., 4 sq., 3 l., 3 sq., 9 l., 1 sq., 3 l., 1 sq., 9 l., 2 sq., 9 l., 1 sq., 6 l., 1 sq., 3 l., 1 sq., 6 l., 1 sq., 18 l., 1 sq., 9 l., 5 sq., 3 l., 1 sq., 6 l., 44 sq., repeat from ^{b} to ^{b} in 24th row. 44th: repeat from ^{c} to ^{c} in 25th row, 36 sq., 3 l., 12 sq., 12 l., 1 sq., 3 l., 4 sq., 15 l., 4 sq., 3 l., 1 sq., 9 l., 4 sq., 9 l., 3 sq., 9 l., 2 sq., 15 l., 1 sq., 15 l., 4 sq., 3 l., 1 sq., 3 l., 2 sq., 3 l., 42 sq., repeat from ^{d} to ^{d} in 25th row. 45th: repeat from ^{e} to ^{e} in 26th row, then 34 sq., 12 l., 1 sq., 6 l., 1 sq., 3 l., 11 sq., 3 l., 2 sq., 9 l., 1 sq., 9 l., 3 sq., 3 l., 9 sq., 15 l., 1 sq., 9 l., 2 sq., 12 l., 2 sq., 12 l., 4 sq., 6 l., 2 sq. 6 l., 42 sq., repeat from ^{f} to ^{f}. 46th: repeat from ^{g} to ^{g}, in 27th row, 34 sq., 30 l., 1 sq., 3 l., 9 sq., 3 l., 1 sq., 6 l., 2 sq., 12 l., 1 sq., 3 l., 9 sq., 9 l., 1 sq., 6 l., 2 sq., 6 l., 1 sq., 6 l., 1 sq., 3 l., 1 sq., 15 l., 4 sq., 6 l., 1 sq., 3 l., 1 sq., 3 l., 43 sq., repeat from ^{h} to ^{h}. 47th: repeat from ^{i} to ^{i} in 28th row, 34 sq., 39 l., 2 sq., 15 l., 2 sq., 6 l., 2 sq., 3 l., 1 sq., 9 l., 3 sq., 18 l., 2 sq., 12 l., 3 sq., 6 l., 2 sq., 6 l., 2 sq., 15 l., 4 sq., 6 l., 1 sq., 9 l., 11 sq., 3 l., 32 sq., repeat from ^{k} to ^{k}. 48th: repeat from ^{l} to ^{l} in 29th row, 35 sq., 6 l., 1 sq., 9 l., 1 sq., 15 l., 1 sq., 21 l., 1 sq., 3 l., 1 sq., 9 l., 1 sq., 9 l., 1 sq., 30 l., 3 sq., 9 l., 1 sq., 6 l., 2 sq., 9 l., 3 sq., 12 l., 3 sq., 6 l., 1 sq., 9 l., 7 sq., 6 l., 1 sq., 6 l., 32 sq., repeat from ^{m} to ^{m}. 49th: repeat from ^{n} to ^{n}, 34 sq., 12 l., 1 sq., 6 l., 1 sq., 6 l., 1 sq., 6 l., 1 sq., 6 l., 2 sq., 12 l., 1 sq., 15 l., 1 sq., 15 l., 3 sq., 18 l., 1 sq., 9 l., 2 sq., 3 l., 4 sq., 24 l., 5 sq., 15 l., 6 sq., 18 l., 32 sq., repeat from ^{o} to ^{o}. 50th: repeat from ^{p} to ^{p}, 34 sq., 15 l., 1 sq., 3 l., 1 sq., 6 l., 1 sq., 6 l., 1 sq., 9 l., 2 sq., 6 l., 1 sq., 18 l., 3 sq., 3 l., 4 sq., 9 l., 1 sq., 12 l., 1 sq., 12 l., 4 sq., 3 l., 1 sq., 9 l., 1 sq., 6 l., 3 sq., 6 l., 2 sq., 6 l., 5 sq., 3 l., 1 sq., 24 l., 31 sq., repeat from ^{q} to ^{q}. 51st: repeat from ^{r} to ^{r}, 35 sq., 15 l., 1 sq., 9 l., 1 sq., 6 l., 1 sq., 9 l., 5 sq., 9 l., 1 sq., 6 l., 1 sq., 21 l., 3 sq., 12 l., 5 sq., 3 l., 3 sq., 3 l., 12 sq., 6 l., 1 sq., 6 l., 4 sq., 21 l., 1 sq., 9 l., 31 sq., repeat from ^{s} to ^{s}. 52nd: repeat from ^{t} to ^{t}, 22 sq., 12 l., 10 sq., 6 l., 2 sq., 3 l., 1 sq., 3 l., 1 sq., 9 l., 1 sq., 6 l., 1 sq., 21 l., 2 sq., 33 l., 1 sq., 12 l., 3 sq., 3 l., 2 sq., 3 l., 1 sq., 6 l., 15 sq., 6 l., 4 sq., 12 l., 1 sq., 9 l., 1 sq., 9 l., 32 sq. repeat from ^{u} to ^{u}. 53rd: repeat from ^{v} to ^{v}, 21 sq., 18 l., 8 sq., 21 l, 1 sq., 3 l., 5 sq., 3 l., 1 sq., 18 l., 5 sq., 9 l., 2 sq., 9 l., 2 sq., 9 l., 3 sq., 6 l., 2 sq., 6 l., 13 sq., 12 l., 5 sq., 15 l., 1 sq., 6 l., 1 sq., 9 l., 33 sq., repeat from ^{w} to ^{w}. 54th: repeat from ^{x} to ^{x}, 22 sq., 9 l., 1 sq., 6 l., 1 sq., 3 l., 6 sq., 24 l., 1 sq., 15 l., 2 sq., 6 l., 1 sq., 3 l., 2 sq., 15 l., 4 sq., 12 l., 1 sq., 6 l., 5 sq., 3 l., 1 sq., 9 l., 5 sq., 15 l., 2 sq., 27 l., 2 sq., 18 l., 2 sq., 9 l., 8 sq., 3 l., 28 sq., repeat from ^{y} to ^{y}. 55th: repeat from ^{z} to ^{z}, 22 sq., 6 l., 1 sq., 3 l., 1 sq., 3 l., 1 sq., 6 l., 6 sq., 12 l., 3 sq., 21 l., 1 sq., 9 l., 1 sq., 9 l., 3 sq., 6 l., 2 sq., 12 l., 1 sq., 15 l., 2 sq., 9 l., 3 sq., 6 l., 2 sq., 18 l., 1 sq., 33 l., 1 sq., 18 l., 1 sq., 15 l., 6 sq., 6 l., 1 sq., 6 l., 24 sq., repeat from ^{&} to ^{&}. 56th: repeat from ^{a} to ^{b}, in 37th row, 22 sq., 6 l., 1 sq., 9 l., 1 sq., 6 l., 8 sq., 12 l., 1 sq., 15 l., 4 sq., 3 l., 1 sq., 6 l., 4 sq., 12 l., 1 sq., 9 l., 4 sq., 15 l., 2 sq., 9 l., 4 sq., 57 l., 1 sq., 6 l., 1 sq., 6 l., 1 sq., 3 l., 2 sq., 9 l., 3 sq., 12 l., 1 sq., 6 l., 25 sq., repeat from ^{c} to ^{d}. 57th: repeat from ^{e} to ^{f}, 22 sq., 3 l., 1 sq., 3 l., 1 sq., 15 l., 2 sq., 9 l., 5 sq., 9 l., 1 sq., 6 l., 4 sq., 9 l., 1 sq., 6 l., 2 sq., 6 l., 4 sq., 3 l., 3 sq., 9 l., 4 sq., 12 l., 2 sq., 9 l, 2 sq., 24 l., 5 sq., 21 l., 1 sq., 6 l., 6 l., 1 sq., 3 l., 1 sq., 18 l., 3 sq., 6 l., 1 sq., 3 l., 1 sq., 3 l., 26 sq., repeat from ^{g} to ^{h}. 58th: repeat from ^{i} to ^{k}, 22 sq., 9 l., 1 sq., 15 l., 1 sq., 9 l., 5 sq., 12 l., 1 sq., 12 l., 1 sq., 9 l., 2 sq., 3 l., 2 sq., 3 l., 3 sq., 6 l., 2 sq., 3 l., 1 sq., 15 l., 1 sq., 21 l., 5 sq., 21 l., 2 sq., 15 l., 1 sq., 15 l., 2 sq., 6 l., 2 sq., 12 l., 6 sq., 12 l., 1 sq., 9 l., 24 sq., repeat from ^{l} to ^{m}. 59th: repeat from ^{n} to ^{o}, 23 sq., 24 l., 1 sq., 9 l., 7 sq., 9 l., 1 sq., 9 l., 1 sq., 9 l., 2 sq., 6 l., 1 sq., 3 l., 4 sq., 15 l., 1 sq., 18 l., 2 sq., 18 l., 4 sq., 18 l., 1 sq., 24 l., 1 sq., 9 l., 4 sq., 6 l., 3 sq., 9 l., 4 sq., 18 l., 26 sq., repeat from ^{p} to ^{q}. 60th: repeat from ^{r} to ^{s}, 23 sq., 27 l., 15 sq., 6 l., 1 sq., 6 l., 3 sq., 3 l., 2 sq., 3 l., 5 sq., 12 l., 4 sq., 12 l., 4 sq., 6 l., 2 sq., 6 l., 1 sq., 15 l., 1 sq., 27 l., 7 sq., 3 l., 1 sq., 15 l., 5 sq., 27 l., 24 sq., repeat from ^{t} to ^{u}. 61st: repeat from ^{v} to ^{w}, 25 sq., 12 l., 2 sq., 12 l., 6 sq., 9 l., 5 sq., 3 l., 1 sq., 12 l., 1 sq., 3 l., 5 sq., 3 l., 2 sq., 12 l., 2 sq., 15 l., 3 sq., 9 l., 1 sq., 9 l., 1 sq., 15 l., 1 sq., 27 l., 1 sq., 15 l., 1 sq., 3 l., 12 sq., 9 l., 1 sq., 9 l., 26 sq., repeat from ^{x} to ^{y}. 62nd: repeat from ^{a} to ^{a}, in 24th row, 24 sq., 27 l., 6 sq., 15 l., 5 sq., 9 l., 1 sq., 6 l., 4 sq., 9 l., 1 sq., 6 l., 2 sq., 15 l., 2 sq., 12 l., 6 sq., 15 l., 3 sq., 18 l., 1 sq., 21 l., 7 sq., 3 l., 4 sq., 3 l., 32 sq., repeat from ^{b} to ^{b}. 63rd: repeat from ^{c} to ^{c}, 23 sq., 9 l., 1 sq., 3 l., 7 sq., 30 l., 1 sq., 9 l., 2 sq., 12 l., 1 sq., 6 l., 1 sq., 15 l., 2 sq., 12 l., 2 sq., 12 l., 3 sq., 9 l., 2 sq., 12 l., 1 sq., 9 l., 1 sq., 9 l., 3 sq., 27 l., 4 sq., 6 l., 3 sq., 3 l., 8 sq., 6 l., 23 sq., repeat from ^{d} to ^{d}. 64th: repeat from ^{e} to ^{e}, 22 sq., 9 l., 2 sq., 3 l., 5 sq., 24 l., 3 sq., 6 l., 2 sq., 3 l., 1 sq., 6 l., 1 sq., 12 l., 1 sq., 12 l., 2 sq., 9 l., 4 sq., 6 l., 2 sq., 6 l., 4 sq., 15 l., 1 sq., 15 l., 3 sq., 9 l., 1 sq., 24 l., 4 sq., 3 l., 3 sq., 3 l., 3 sq., 12 l., 1 sq., 6 l., 24 sq., repeat from ^{f} to ^{f}. 65th: repeat from ^{g} to ^{g}, 22 sq., 9 l., 3 sq., 12 l., 2 sq., 12 l., 3 sq., 6 l., 1 sq., 3 l., 1 sq., 6 l., 1 sq., 9 l., 2 sq., 21 l., 3 sq., 12 l., 4 sq., 6 l., 2 sq., 9 l., 5 sq., 24 l., 1 sq., 12 l., 1 sq., 3 l., 2 sq., 15 l., 1 sq., 3 l., 2 sq., 3 l., 2 sq., 6 l., 3 sq., 18 l., 2 sq., 12 l., 20 sq., repeat from ^{h} to ^{h}. 66th: repeat from ^{i} to ^{i}, 23 sq., 6 l., 6 sq., 12 l., 3 sq., 12 l., 1 sq., 12 l., 2 sq., 6 l., 2 sq., 3 l., 2 sq., 9 l., 2 sq., 3 l., 3 s., 9 l., 1 sq., 9 l., 1 sq., 6 l., 3 sq., 21 l., 1 sq., 18 l., 1 sq., 12 l., 1 sq., 9 l., 5 sq., 9 l., 1 sq., 9 l., 5 sq., 9 l., 4 sq., 9 l., 22 sq., repeat from ^{k} to ^{k}. 67th: repeat from ^{l} to ^{l}, 23 sq., 3 l., 5 sq., 12 l., 2 sq., 21 l., 1 sq., 9 l., 3 sq., 6 l., 1 sq., 9 l., 5 sq., 9 l., 2 sq., 9 l., 2 sq., 15 l., 6 sq., 12 l., 1 sq., 18 l., 1 sq., 9 l., 1 sq., 9 l., 1 sq., 6 l., 1 sq., 3 l., 1 sq., 15 l., 4 sq., 30 l., 25 sq., repeat from ^{m} to ^{m}. 68th: repeat from ^{n} to ^{n}, 30 sq., 6 l., 1 sq., 18 l., 1 sq., 3 l., 2 sq., 9 l., 1 sq., 3 l., 1 sq., 24 l., 2 sq., 18 l., 1 sq., 6 l., 2 sq., 15 l., 1 sq., 6 l., 5 sq., 6 l., 1 sq., 15 l., 1 sq., 9 l., 1 sq., 6 l., 4 sq., 6 l., 1 sq., 3 l., 1 sq., 6 l., 4 sq., 33 l., 1 sq., 9 l., 22 sq., repeat from ^{o} to ^{o}. 69th: repeat from ^{p} to ^{p}, 28 sq., 24 l., 1 sq., 3 l., 5 sq., 6 l., 1 sq., 6 l., 1 sq., 12 l., 1 sq., 9 l., 2 sq., 6 l., 1 sq., 21 l., 2 sq., 12 l., 3 sq., 6 l., 2 sq., 9 l., 1 sq., 15 l., 4 sq., 9 l., 1 sq., 3 l., 3 sq., 3 l., 1 sq., 1 sq., 3 l., 1 sq., 3 l., 1 sq., 12 l., 3 sq., 6 l., 1 sq., 9 l., 2 sq., 6 l., 24 sq., repeat from ^{q} to ^{q}. 70th: repeat from ^{r} to ^{r}, 27 sq., 15 l., 1 sq., 3 l., 1 sq., 3 l., 7 sq., 18 l., 5 sq., 9 l., 1 sq., 9 l., 2 sq., 12 l., 2 sq., 3 l., 3 sq., 6 l., 5 sq., 15 l., 1 sq., 15 l., 1 sq., 6 l., 1 sq., 9 l., 2 sq., 3 l., 2 sq., 3 l., 1 sq., 3 l., 2 sq., 3 l., 2 sq., 3 l., 7 sq., 18 l., 25 sq., repeat from ^{s} to ^{s}. 71st: repeat from ^{t} to ^{t}, 28 sq., 12 l., 2 sq., 3 l., 8 sq., 15 l., 1 sq., 9 l., 3 sq., 15 l., 7 sq., 24 l., 1 sq., 3 l., 4 sq., 12 l., 1 sq., 15 l., 1 sq., 9 l., 1 sq., 3 l., 3 sq., 3 l., 1 sq., 9 l., 3 sq., 3 l., 3 sq., 6 l., 6 sq., 9 l., 2 sq., 3 l., 25 sq., repeat from ^{u} to ^{u}. 72nd: repeat from ^{v} to ^{v}, 27 sq., 12 l., 2 sq., 3 l., 4 sq., 12 l., 2 sq., 3 l., 4 sq., 9 l., 2 sq., 3 l., 1 sq., 9 l., 1 sq., 3 l., 2 sq., 3 l., 2 sq., 3 l., 1 sq., 21 l., 2 sq., 3 l., 2 sq., 18 l., 1 sq., 9 l., 1 sq., 12 l., 1 sq., 3 l., 2 sq., 3 l., 1 sq., 6 l., 1 sq., 3 l., 3 sq., 3 l., 42 sq., repeat from ^{w} to ^{w}. 73rd: repeat from ^{x} to ^{x}, 27 sq., 9 l., 1 sq., 3 l., 1 sq., 3 l., 2 sq., 9 l., 2 sq., 9 l., 6 sq., 9 l., 1 sq., 6 l., 2 sq., 3 l., 1 sq., 6 l., 2 sq., 6 l., 1 sq., 3 l., 11 sq., 21 l., 5 sq., 3 l., 1 sq., 9 l., 2 sq., 3 l., 6 sq., 3 l., 2 sq., 6 l., 1 sq., 3 l., 1 sq., 6 l., 40 sq., repeat from ^{y} to ^{y}. 74th: repeat from ^{z} to ^{z}, 27 sq., 6 l., 4 sq., 3 l., 1 sq., 18 l., 1 sq., 9 l., 5 sq., 9 l., 1 sq., 6 l., 1 sq., 3 l., 1 sq., 9 l., 1 sq., 15 l., 3 sq., 3 l., 2 sq., 9 l., 3 sq., 18 l., 1 sq., 18 l., 1 sq., 6 l., 1 sq., 9 l., 4 sq., 6 l., 2 sq., 6 l., 1 sq., 15 l., 38 sq., repeat from ^{&} to ^{&}. 75th: repeat from ^{a} to ^{b}, 27 sq., 3 l., 4 sq., 3 l., 2 sq., 9 l., 4 sq., 9 l., 6 sq., 6 l., 1 sq., 12 l., 1 sq., 9 l., 1 sq., 12 l., 4 sq., 3 l., 1 sq., 15 l., 2 sq., 18 l., 1 sq., 18 l., 1 sq., 6 l., 1 sq., 9 l., 2 sq., 9 l., 2 sq., 6 l., 1 sq., 24 l., 36 sq., repeat from ^{c} to ^{d}. 76th: repeat from ^{e} to ^{f}, 33 sq., 3 l., 2 sq., 6 l., 1 sq., 12 l., 1 sq., 6 l., 1 sq., 6 l., 3 sq., 18 l., 2 sq., 24 l., 5 sq., 6 l., 2 sq., 9 l., 1 sq., 21 l., 1 sq., 18 l., 1 sq., 3 l., 2 sq., 9 l., 4 sq., 9 l., 1 sq., 3 l., 1 sq., 3 l., 2 sq., 15 l., 34 sq., repeat from ^{g} to ^{h}. 77th: repeat from ^{i} to ^{k}, 33 sq., 3 l., 2 sq., 9 l., 1 sq., 33 l., 2 sq., 9 l., 2 sq., 3 l., 2 sq., 18 l., 2 sq., 9 l., 1 sq., 3 l., 1 sq., 9 l., 4 sq., 18 l., 1 sq., 18 l., 2 sq., 6 l., 1 sq., 6 l., 7 sq., 9 l., 1 sq., 18 l., 35 sq., repeat from ^{l} to ^{m}. 78th: repeat from ^{n} to ^{o}, 34 sq., 3 l., 7 sq., 12 l., 1 sq., 12 l., 4 sq., 3 l., 1 sq., 9 l., 1 sq., 3 l., 1 sq., 12 l., 2 sq., 15 l., 1 sq., 3 l., 7 sq., 15 l., 1 sq., 3 l., 1 sq., 15 l., 1 sq., 12 l., 1 sq., 18 l., 1 sq., 9 l., 1 sq., 3 l., 1 sq., 6 l., 1 sq., 12 l., 32 sq., repeat from ^{p} to ^{q}. 79th: repeat from ^{r} to ^{s}, 34 sq., 3 l., 3 sq., 27 l., 6 sq., 6 l., 1 sq., 9 l., 1 sq., 9 l., 2 sq., 3 l., 2 sq., 9 l., 1 sq., 6 l., 1 sq., 3 l., 8 sq., 9 l., 2 sq., 6 l., 1 sq., 9 l., 1 sq., 18 l., 3 sq., 3 l., 3 sq., 9 l., 1 sq., 6 l., 2 sq., 18 l., 31 sq., repeat from ^{t} to ^{u}. 80th: repeat from ^{v} to ^{w}, 36 sq., 3 l., 3 sq., 15 l., 1 sq., 9 l., 4 sq., 15 l., 2 sq., 3 l., 1 sq., 9 l., 4 sq., 6 l., 1 sq., 9 l., 2 sq., 3 l., 1 sq., 12 l., 5 sq., 3 l., 1 sq., 9 l., 3 sq., 3 l., 2 sq., 21 l., 4 sq., 18 l., 1 sq., 3 l., 2 sq., 12 l., 31 sq., repeat from ^{x} to ^{y}. 81st: repeat from ^{a} to ^{a}, 33 sq., 3 l., 6 sq., 6 l., 1 sq., 12 l., 3 sq., 18 l., 1 sq., 6 l., 1 sq., 6 l., 4 sq., 15 l., 3 sq., 24 l., 3 sq., 3 l., 1 sq., 27 l., 11 sq., 18 l., 1 sq., 9 l., 1 sq., 6 l., 31 sq., repeat from ^{b} to ^{b}. 82nd: repeat from ^{c} to ^{c}, 34 sq., 3 l., 4 sq., 9 l., 1 sq., 12 l., 4 sq., 6 l., 1 sq., 3 l., 1 sq., 15 l., 5 sq., 12 l., 3 sq., 6 l., 1 sq., 21 l., 3 sq., 3 l., 1 sq., 27 l., 2 sq., 12 l., 4 sq., 42 l., 30 sq., repeat from ^{d} to ^{d}. 83rd: repeat from ^{e} to ^{e} 34 sq., 6 l., 2 sq., 12 l., 1 sq., 9 l., 3 sq., 6 l., 1 sq., 3 l., 1 sq., 3 l., 1 sq., 15 l., 5 sq., 3 l., 4 sq., 6 l., 2 sq., 3 l., 2 sq., 9 l., 4 sq., 3 l., 2 sq., 24 l., 1 sq., 3 l., 1 sq., 12 l., 4 sq., 3 l., 1 sq., 27 l., 32 sq., repeat from ^{f} to ^{f}. 84th: repeat from ^{g} to ^{g}, 35 sq., 18 l., 3 sq., 6 l., 3 sq., 12 l., 1 sq., 3 l., 1 sq., 15 l., 10 sq., 3 l., 1 sq., 6 l., 1 sq., 21 l., 1 sq., 3 l, 1 sq., 3 l., 3 sq., 18 l., 1 sq., 3 l., 3 sq., 9 l., 6 sq., 6 l., 1 sq., 6 l., 35 sq., repeat from ^{h} to ^{h}. 85th: repeat from ^{i} to ^{i} 39 sq., 3 l., 5 sq., 3 l., 3 sq., 9 l., 1 sq., 21 l., 11 sq., 3 l, 1 sq., 6 l., 1 sq., 21 l., 1 sq., 6 l, 1 sq., 3 l., 3 sq., 12 l., 1 sq., 9 l., 1 sq., 12 l., 46 sq., repeat from ^{k} to ^{k}. 86th: repeat from ^{l} to ^{l},50 sq., 6 l., 1 sq., 12 l., 1 sq., 3 l., 12 sq., 9 l., 1 sq., 3 l., 3 sq., 9 l., 3 sq., 3 l., 1 sq., 6 l., 7 sq., 12 l., 1 sq., 6 l., 47 sq., repeat from ^{m} to ^{m}. 87th: repeat from ^{n} to ^{n},50 sq., 21 l., 2 sq., 3 l., 11 sq., 6 l., 1 sq., 6 l., 1 sq., 18 l., 2 sq., 3 l., 1 sq., 9 l., 6 sq., 15 l., 1 sq., 6 l., 46 sq., repeat from ^{o} to ^{o}. 88th: repeat from ^{p} to ^{p}, 51 sq., 9 l., 1 sq., 3 l., 3 sq., 9 l., 1 sq., 6 l., 1 sq., 3 l., 4 sq., 12 l., 1 sq., 3 l., 1 sq., 15 l., 5 sq., 12 l., 5 sq., 3 l., 1 sq., 15 l., 46 sq., repeat from ^{q} to ^{q}. 89th: repeat from ^{r} to ^{r}, 52 sq., 6 l., 6 sq., 18 l., 6 sq., 9 l., 1 sq., 6 l., 1 sq., 9 l., 5 sq., 18 l., 7 sq., 9 l., 47 sq., repeat from s to ^{s}. 90th: repeat from ^{t} to ^{t}, 52 sq., 3 l., 7 sq., 15 l., 1 sq., 6 l., 6 sq., 15 l., 1 sq., 9 l., 4 sq., 12 l., 1 sq., 3 l., 9 sq., 3 l., 48 sq., repeat from ^{u} to ^{u}. 91st: repeat from ^{v} to ^{v}, 61 sq., 12 l., 2 sq., 9 l., 4 sq., 27 l., 4 sq., 6 l., 1 sq., 3 l., 1 sq., 3 l., 58 sq., repeat from ^{w} to ^{w}. 92nd: repeat from ^{x} to ^{x}, 62 sq., 6 l., 2 sq., 6 l., 8 sq., 3 l., 1 sq., 15 l., 6 sq., 3 l., 1 sq., 3 l., 63 sq., repeat from ^{y} to ^{y}. 93rd: repeat from ^{z} to ^{z}, 63 sq., 6 l., 1 sq., 3 l., 1 sq., 6 l., 9 sq., 3 l., 1 sq., 6 l., 6 sq., 3 l., 1 sq., 6 l., 62 sq., repeat from & to &. 94th: repeat from ^{a} to ^{b}, 65 sq., 3 l., 1 sq., 3 l., 1 sq., 6 l., 11 sq., 3 l., 9 sq., 3 l., 62 sq., repeat from ^{c} to ^{d}. 95th: repeat from ^{e} to ^{f}, 67 sq., 3 l., 3 sq., 3 l., 21 sq., 3 l., 61 sq., repeat from ^{g} to ^{h}. 96th: repeat from ^{i} to ^{k} 154 sq., repeat from ^{l} to ^{m}. 97th: repeat from ^{n} to ^{o}, 154 sq., repeat from ^{p} to ^{q}. 98th: repeat from ^{r} to ^{s}, 154 sq., repeat from ^{t} to ^{u}. 99th: repeat from ^{v} to ^{w}, 155 sq., repeat from ^{x} to ^{y}. 100th: repeat from ^{a} to ^{a}, 151 sq., repeat from ^{b} to ^{b}. 101st: repeat from ^{c} to ^{c}, 151 sq., repeat from ^{d} to ^{d}. 102nd: repeat from ^{e} to ^{e}, 150 sq., repeat from ^{f} to ^{f}. 103rd: repeat from ^{g} to ^{g}, 150 sq., repeat from ^{h} to ^{h}. 104th: repeat from ^{i} to ^{i} 150 sq., repeat from ^{k} to ^{k}. 105th: repeat from ^{l} to ^{l},150 sq., repeat from ^{m} to ^{m}. 106th: repeat from ^{n} to ^{n},150 sq., repeat from ^{o} to ^{o}. 107th: repeat from ^{p} to ^{p},150 sq., repeat from ^{q} to ^{q}. 108th: repeat from ^{r} to ^{r}, 150 sq., repeat from ^{s} to ^{s}. 109th: repeat from ^{t} to ^{t}, 151 sq., repeat from ^{u} to ^{u}. 110th: repeat from ^{v} to ^{v}, 161 sq., repeat from ^{w} to ^{w}. 111th: 8 sq., 6 l., 2 sq., 6 l., 3 sq., 3 l., 7 sq., 27 l., * 10 sq., 27 l, repeat from * till within 23 sq. of the end, then 6 sq., 3 l., 2 sq., 3 l., 2 sq., 3 l., 1 sq., 6 l., 7 sq. 112th: 8 sq., 3 l., 2 sq., 12 l., 1 sq., 6 l., * 5 sq., 9 l., 7 sq., 12 l., repeat from * till within 20 sq., then 3 sq., 3 l., 3 sq., 6 l, 2 sq., 3 l., 8 sq. 113th: 7 sq., 6 l, 2 sq., 12 l., 1 sq., 3 l., 6 sq., 3 l., 4 sq., 6 l., 6 sq., 9 l., * 3 sq., 3 l., 4 sq., 6 l., 6 sq., 9 l., repeat from * till 18 sq., then 1 sq., 3 l., 7 sq., 3 l., 8 sq. 114th: 7 sq., 3 l., 4 sq., 27 l., 2 sq., 6 l., 2 sq., 12 l., 2 sq., 6 l., 3 sq., 9 l., * 1 sq., 6 l., 2 sq., 12 l., 2 sq., 6 l., 3 sq., 9 l., repeat from * till 16 sq., then 2 sq., 6 l., 3 sq., 3 l., 8 sq. 115th: 7 sq., 3 l., 1 sq., 12 l., 7 sq., 18 l., 1 sq., 12 l., 1 sq., 12 l., * 4 sq., 15 l., 1 sq., 12 l., 1 sq., 12 l., repeat from * till 21 sq., then 4 sq., 3 l., 1 sq., 3 l., 1 sq., 12 l., 2 sq., 3 l., 8 sq. 116th: 7 sq., 9 l., 4 sq., 6 l., 6 sq., 12 l., 2 sq., 6 l., 2 sq., 12 l., * 5 sq., 12 l., 2 sq., 6 l., 2 sq., 12 l., repeat from * till within 20 sq., then 2 sq., 9 l., 1 sq., 12 l., 2 sq., 3 l., 8 sq. 117th: 6 sq., 6 l., 5 sq., 12 l., 2 sq., 6 l., 2 sq., 6 l., * 8 sq., 6 l., 3 sq., 6 l., 2 sq., 6 l., repeat from * till 32 sq., then 8 sq., 6 l., 2 sq., 12 l., 2 sq., 6 l., 3 sq., 6 l., 7 sq. 118th: 5 sq., 6 l., 2 sq., 6 l., 2 sq., 12 l., 1 sq., 12 l., 1 sq., 3 l., 1 sq., 21 l., * 5 sq., 12 l., 1 sq., 3 l., 1 sq., 21 l., repeat from * till 25 sq., then 5 sq., 15 l., 7 sq., 3 l., 7 sq. 119th: 6 sq., 3 l., 1 sq., 12 l., 2 sq., 6 l., 2 sq., 12 l., 1 sq., 9 l., 5 sq., 12 l., * 2 sq., 12 l., 1 sq., 9 l., 5 sq., 12 l., repeat from * till 22 sq., then 3 sq., 6 l., 1 sq., 3 l., 3 sq., 6 l., 2 sq., 6 l., 6 sq. 120th: 6 sq., 18 l., 7 sq., 6 l., 2 sq., 6 l., 1 sq., 12 l., 4 sq., 9 l., * 1 sq., 6 l., 2 sq., 6 l., 1 sq., 12 l., 4 sq., 9 l., repeat from * till 20 sq., then 4 sq., 3 l., 2 sq., 12 l., 2 sq., 6 l., 5 sq. 121st: 7 sq., 3 l., 1 sq., 6 l., 13 sq., 6 l., 2 sq., 6 l., * 6 sq., 6 l., 5 sq., 6 l., 2 sq., 6 l., repeat from * till 27 sq., then 6 sq., 6 l., 3 sq., 6 l., 1 sq., 12 l., 1 sq., 6 l., 6 sq. 122nd: 7 sq., 6 l., 4 sq., 21 l., 5 sq., 9 l., 1 sq., 3 l., * 7 sq., 6 l., 5 sq., 9 l., 1 sq., 3 l., repeat from * till 27 sq., then 7 sq., 9 l., 2 sq., 3 l., 2 sq., 6 l., 1 sq., 6 l., 7 sq. 123rd: 8 sq., 6 l., 1 sq., 9 l., 5 sq., 9 l., 5 sq., 9 l., * 8 sq., 9 l, 5 sq., 9 l., repeat from, * till 27 sq., then 9 sq., 15 l., 2 sq., 9 l., 8 sq. 124th: 9 sq., 9 l., 9 sq., 12 l., 3 sq., 6 l., * 10 sq., 12 l., 3 sq., 6 l., repeat from * till 27 sq., then 13 sq., 12 l., 10 sq. 125th: 10 sq., 3 l., 13 sq., 15 l., * 14 sq., 15 l., repeat from * till 28 sq., then 15 sq., 3 l., 12 sq. now 5 rows of squares. 3 d.c. stitches under every 2 chains, and long stitches all round, making 7 d.c., at each corner. border.--begin on the long side, 3 l. into corner loop, 7 ch., 3 d.c., the 1st into 4th loop, * 7 ch., 3 l., the 1st into 7th loop, 7 ch., 3 d.c., the 1st into 7th loop, repeat from * till the end, where make 7 ch., work at corner as before, then 7 ch., 3 d.c., the 1st into 4th loop, now work down the short side; but as the will be 4 more loops on this side than can be made available for the pattern, at 4 different intervals, widely apart, take 2 loops together in making the l. stitches; that is, insert the hook through 2 loops of the foundation at the same time instead of one. 2nd: begin at corner, 2 l. into every loop of the l. stitches at corner in last row, 7 ch., * 5 d.c., the 1st into 6th loop, 5 ch., 5 l., the 1st into 6th loop, 5 ch., repeat from *. 3rd: work at corner as before, that is, working 2 l. into every loop, 8 ch., * 3 d.c., the 1st on 2nd d.c., 6 ch., 7 l., the 1st into 6th loop, 6 ch., repeat from *. begin each row with the long stitch at a corner, but not at same the corner every time; this is to prevent the joinings being seen. 4th: 6 l. on the first 6 l. at corner, 3 ch., 6 l. on the remaining 6 l., 4 ch., * 1 l. into 3rd loop, 7 ch., 1 l. into 3rd loop from the last of the 3 d.c. in last row, 2 ch., 9 l. the 1st into 3rd loop, 2 ch., repeat from *. 5th: 7 l., beginning as before, 5 ch., miss 1 loop, 7 l., * 7 ch., d.c. into centre loop of 7 ch., 3 ch., 9 l. the 1st into 2nd loop from l. stitch in last row, repeat from *. 6th: 9 l., 5 ch., miss 1 loop, 9 l., * 5 ch., d.c. into 4th loop, 7 ch., 9 l., the 1st into 3rd loop from d.c. stitch in last row, repeat from *. 7th: 12 l., 5 ch., miss 1 loop, 12 l., * 5 ch., 1 l. into centre loop of 5 ch., 9 ch., 1 l. into 3rd loop of the 7 ch., from d.c. stitch in last row, 5 ch., 3 d.c. on the centre 3 l. of the 9 l., repeat from *. 8th: 14 l., 5 ch., miss 1 loop, 14 l., * 5 d.c. under the 5 ch., 5 l. into the 1st 5 loops of the 9 ch., 5 ch., 1 more l. into same loop, 4 more l. into the remaining loops, 5 d.c. under the 5 ch., 5 ch., repeat from *. * * * * * [illustration: star-pattern d'oyley.] materials.--brooks' great exhibition prize goat's-head crochet cotton, nos. 10, 20, 22, 24, 26, 28, 30, and penelope crochet hook, nos. 3, 3-1/2, 4. with cotton no. 26, and hook no. 3. for centre star or _a_ work 10 chain, make it round, and in the loop you have formed work 24 d.c.; 1 s.c. in 1st d.c. ** 5 chain, miss 2, 1 s.c. in 3rd, repeat from ** 7 times more; in 1st 5 chain, * 2 long, 7 chain, 2 long in same 5 chain, 5 chain repeat from * in each 5 chain all round, fasten off. fasten cotton no. 24, and hook no. 3-1/2. ** in 7 chain 4 long, 4 chain turn and on the 4 chain, miss 1, 1 d.c., 2 long; 4 long in same 7 chain; 2 chain, 1 s.c. in centre of 5 chain; 2 chain repeat ** all round. * 2 long, 1 chain, miss 1, 2 long, 1 chain, miss 1, 2 long, 7 chain, 1 long in same as last long, 1 long in next chain, 1 chain, miss 1, 2 long, 1 chain, miss 1, 2 long, miss 4. repeat all round, * fasten off. _b_. with cotton no. 24, and hook 3-1/2, 10 chain join round; work in round loop; 16 d.c. 3rd row: 1 long, 5 chain, 1 long, 3 chain, repeat all round. 4th: 3 long in the centre of 5 chain; 4 chain, 1 s.c. in the centre of 3 chains; 4 chain; repeat all round, fasten off. with no. 22 cotton, and the same hook. * 1 long in 2nd long of 3 long in last row; "3 chain," 1 long in same as last; 2 chain, miss 1, 2 long, 1 d.c. in last long; miss 3, 1 d.c., 2 long, 2 chain, repeat * 7 times more only in the last point in "3 chain." join to _a_ in the following manner: 2 chain draw through the 4th stitch of 7 chain of _a_, then repeat the same as before, fasten off. 2nd _b_. make the same as first _b_ till the last row, where join in precisely the same way; the 1st point to centre _a_ and two more points to 1st _b_; finish the row same as 1st _a_, and fasten off. make 6 more _b_, joining in the same manner. you will see what points are joined in the engraving. _c_. with cotton no. 30, and hook 4. 8 chain, 1 s c. in 1st: then in round loop; * 1 d.c. 5 chain repeat * 5 times more. in 1st 5 chain ** 1 d.c., 2 long, 3 chain, join to a, turn, and on 3 chain 1 d.c., 2 long: in same 5 chain, 2 long, 1 d.c. ** repeat 5 times more, joining each petal as in the engraving, fasten off. make 7 more _c_s, joining between _a_ and _b_s in the same manner. _d_. with cotton no. 22, and hook 3-1/2. 8 chain, make it round, and in loop work 12 d.c.; * 1 d.c. on 1st d.c., 5 chain, miss 1, repeat 5 times more, * then in each 5 chain; ** 2 d.c., 4 long, 2 d.c., ** fasten off. with cotton no. 20, and hook 3-1/2. * 1 s.c. in 2nd d.c., 6 chain turn, miss 1, 1 d.c.; 4 chain repeat * 5 times more; miss 1, ** 5 long, 7 chain 1 long in same as last long; 4 long, miss 2, repeat ** 5 times more, except in the last two points, where in 4th chain stitch of 7 chain join to point of _b_, fasten off. make 7 more _d_s, joining as in the engraving. _e_. with cotton no. 20, and hook 3-1/2. 10 chain make round; * 2 d.c. in loop; 7 chain repeat * 3 times more. ** 5 long in 7 chain, 3 chain, 5 long repeat ** 3 times more, joining, as seen in the engraving, to _b_ and _d_, fasten off. make 7 more _e_s, joining each between two _d_s. _f_. with cotton no. 30, and hook 4. make 7 chain, make into a loop, and in loop * 1 d.c., 4 chain join to b, turn, miss 1, 1 d.c., 2 long repeat * 5 times more; join in the same manner, and placed as in the engraving, fasten off. make 7 more, joining them as you make them. _g_. with cotton no. 28, and hook 4. * 1 d.c. on 1st d.c. of _e_ 5 chain, miss 2, * repeat all round. make the tassels with no. 10 cotton, over a card 2 inches wide; wind it round the card 10 times, tie it round about half an inch down, draw the cotton tight and bring the ends to the top again, fasten to the d'oyley, as in the engraving. make a sufficient number to go round. * * * * * crochet d'oyley. materials.--brooks' great exhibition prize goat's-head crochet thread, no. 36: and penelope crochet hook, no. 5. make a round loop the size of this o, and then commence. 1st round: ch. 3, and work 1 treble for 8 times in the round loop of last round, plain 1, and fasten off. 2nd: 3 treble at the top of the one treble of last round, ch. 3, and repeat round, plain 1, and fasten off. 3rd: 5 treble at the top of the three treble of last round, ch. 3, and repeat round, plain 1, and fasten off. 4th: 7 treble at the top of the five treble of last round, ch. 3, and repeat round, plain 1, and fasten off. [illustration: crochet d'oyley.] 5th: 3 treble at the top of the seven treble of last round, ch. 4, work 1 treble in the centre of the three chain of last round, ch. 4, and repeat round, plain 1, and fasten off. 6th: 3 treble at the top of the five treble of last round, ch. 5, work 1 treble at the top of the one treble of last round, ch. 2, work 1 treble in the same loop as before, chain 5, and repeat round, plain 1, and fasten off. 7th: 2 treble at the top of the three treble of last round, ch. 6, work 7 treble in the two chain of last round, ch. 6, and repeat round, plain 1, and fasten off. 8th: 1 treble at the top of the two treble of last round, ch. 8, work 7 treble at the top of the seven treble of last round, ch. 8, and repeat round, plain 1, and fasten off. 9th: 3 treble at the top of the one treble of last round, ch. 9, work 5 treble at the top of the seven treble of last round, ch. 9, and repeat round, plain 1, and fasten off. 10th: 3 treble at the top of the three treble of last round, ch. 11, work 3 treble at the top of the five treble of last round, ch. 11, and repeat round, plain 1, and fasten off. 11th: 2 treble at the top of the three treble of last round, ch. 13, and repeat round, plain 1, and fasten off. 12th: 1 treble at the top of the two treble of last round, ch. 15, and repeat round, plain 1, and fasten off. 13th: 1 treble at the top of the one treble of last round, ch. 2, work 1 treble in the same loop as before, ch. 13, and repeat round, plain 1, and fasten off. 14th: 9 treble in the centre of the two chain of last round, ch. 12, and repeat round, plain 1, and fasten off. 15th: 9 treble at the top of the nine treble of last round, ch. 6, work 1 double in the centre of the twelve chain of last round, ch. 6, and repeat round, plain 1, and fasten off. 16th: 7 treble at the top of the nine treble of last round, ch. 8, work 1 treble at the top of the one double of last round, ch. 2, work 1 treble in the same loop as before, ch. 8, and repeat round; plain 1, and fasten off. 17th: 5 treble at the top of seven treble of last round, ch. 6, work 1 treble in the centre of the two chain of last round, then ch. 3, and work one treble three times more in the same loop as before, ch. 6, and repeat round, plain 1, and fasten off. 18th: 3 treble at the top of the five treble of last round, ch. 4, work 2 treble in the first three chain of last round, ch. 3, work 2 treble in the same loop as before, ch. 1, and work the same in the next two three chains of last round, ch. 4, and repeat round, plain 1, and fasten off. 19th: 2 treble at the top of the three treble of last round, ch. 2, then work as follows in each of the three chains of last round, 3 treble, ch. 3, work 3 treble all in the first three chain of last round, ch. 2, and work the same in the next two three chains of last round, ch. 2, and repeat round, plain 1, and fasten off. 20th: 1 treble at the top of the two treble of last round, then work as follows in each of the three chains of last round, 3 treble, ch. 3, work 3 treble in the same loop as before, ch. 3, and repeat the same in the next two three chains of last round, repeat round, plain 1, and fasten off, which completes the d'oyley. * * * * * rose d'oyley. materials.--brooks' great exhibition prize goat's-head crochet cotton, nos. 14, 16, 18, 20, 28. walker's penelope hook, nos. 3, 3-1/2, 4. _a_. with cotton no. 20 and hook 3-1/2, work 13 chains: make it round and in loop 24 d.c., 1 d.c. on d.c., 7 chain, miss 2, repeat 7 times more; in 4th chain stitch of 7 chain, 1 s.c., 12 chain, 1 s.c. in 6th chain from hook; 7 chain, 1 s.c. in same at last s.c.; 5 chain, 1 s.c., in same as last s.c., 5 chain, 1 s.c. in next chain stitch to 1st of 12 chain; 5 chain, repeat 7 times more, fasten off. _b_. with cotton no. 18 and hook 3-1/4, work 10 chain, make it round, and in loop 24 d.c. * in 1st d.c. work 3 chain, 3 long, 3 chain, 1 d.c., miss 1, and repeat * 7 times more. those only in the last, 2 long, join to 4th chain stitch of 7 chain of _a_, 1 long, 3 chain, 1 d.c., fasten off. make 7 more _b_, joining to the 7 chains of _a_. [illustration: rose d'oyley.] _c_. with cotton no. 16 and hook 3, ** 1 s.c. in the centre of the two 5 chains of _a_, nearest the foundation: 7 chain, 1 s.c. in the centre of 5 chain; 5 chain, 1 s.c. on 2nd long of 1st division of _b_; * 3 chain, 1 d.c. on next division, repeat * 5 times more, 5 chain; 1 d.c. in next 5 chain, 7 chain, repeat ** 7 times more, fasten off. d.c. all round the chain and fasten off. _d_. with cotton no. 28 and hook 4, * 7 chain, 1 s.c. in 1st chain, and in round loop 1 d.c., 4 long, 3 chain; join to d.c. stitches where the two 5 chains are found together, turn, and on the 3 chain 1 d.c., 3 long; then in round loop, 4 long, 1 d.c.; then join to the d.c. on the opposite side, and fasten off. repeat * 7 times more. _e_. with cotton no. 18 and hook 3. where you left off in _d_, join on no. 18 cotton; 9 chain, 1 s.c. in 5th chain; then in round loop ** 1 d.c., 5 chain, join to 5th d.c. from where you joined no. 18 cotton on; 5 chain, turn, and on 10 chain, 1 d.c., 9 long; 1 d.c. in round loop, 7 chain join to the top d.c., 3 chain. 1 s.c. in the 7th chain, 3 chain, 1 d.c. in the 7th chain; * 2 * 5 long, 1 d.c. in same as 1st d.c., 1 d.c. in round loop, repeat ** from ** without joining the 10 chain twice. the second time only work to * 2 *, work 3 long, join to 5th d.c. from where you joined no. 18 cotton on; 2 more long on 7 chain, 1 d.c.; then 3 s.c. down the stem. make 7 more joining in the same way: fasten off. _f_. with cotton no. 16 and hook 3. in 14th d.c. of _c_ from where you joined no. 18 cotton on, * 1 d.c., 4 chain, join to 1st 3 chain of _e_ of 1st section, 4 chain, join to 2nd 3 chain of _e_ of 1st section; 8 chain join to 1st 3 chain of _e_ of 2nd section, 3 chain, join to 2nd 3 chain of _e_ of 2nd section; 8 chain, join to 1st 3 chain of _e_ of 3rd section; 3 chain, join to 2nd 3 chain of _e_ of 3rd section; 4 chain, repeat all round; d.c. all round. _g_. with cotton no. 16 and hook 3, 10 chain, make it round and in loop; 8 d.c. join to the same place, where you began the long chain of _f_ 5 d.c., * 5 chain join to 8th d.c. of _f_ from where you joined the d.c.: 6 chain, turn, 1 d.c., 7 long, 1 d.c., miss 1, 1 s.c. in next d.c., repeat * 4 times more. join in the same place only to last petal. in the last petal work down the chain as follows: 1 d.c.; 4 long, join to 8th d.c. from where you joined the 1st d.c.; 3 long, 1 d.c., fasten off. make 7 more. joining each as you make them. _h_. with cotton no. 16 and hook 3, 15 chain, 1 s.c. in 1st stitch: then in loop; 24 d.c., * 1 d.c. on d.c., 7 chain, miss 2, repeat * 7 times more, then in each 7 chain, 9 d.c., except the last, which work as follows: 5 d.c. join to 3rd point of _g_, 4 d.c. in same 7 chain. the next _h_, join in the same manner to point of _f_ make sufficient to go round, joining alternately to _g_'s and _f_s. _i_. with cotton no. 14 and hook 3, ** 1 s.c. on 5th d.c. of 1st division of _h_, * 5 chain, 1 s.c. in next division, repeat * 5 times more, 9 chain join to next point of _g_ "9 chain," 1 s.c. in next point of _g_, 9 chain, repeat ** from all round; d.c. all round, and when you have come to the end of "9 chain" 4th d.c. join to the 9th d.c.; * 7 chain, miss 2, 1 d.c. in next, * repeat 9 times the 10 and 11, join to the other side and fasten off. * * * * * toilet cover in square crochet. materials.--brooks' great exhibition prize goat's-head crochet cotton, no. 36, with a fine hook. the pattern for this toilet cover being so elaborate, it must be worked in cotton not coarser than that we have indicated, if intended for an ordinary toilet cover. worked in a coarser material, no. 8 or 12, of brooks' great exhibition prize goat's-head crochet cotton, it would make a beautiful quilt for a small bed; and in some of the coarser sizes of the knitting cord, a large counterpane might be worked, and from the clear appearance this material presents, would look very rich and handsome. like all square crochet, this design must be worked from the engraving. the number of foundation chain for working it is 529, reckoning the length, or 346 for the width, if that mode of working be preferred as less cumbersome. it will not, however, answer so well for a toilet cover, as the stitches would go the wrong way. for a counterpane, on the contrary, it would be preferable. [illustration: toilet cover.] for the border of a toilet cover, we should recommend one of the patterns in bead work, found in other parts of this volume. for the edge of a counterpane, nothing can be handsomer than the border and fringe of the bassinet quilt. it should be worked with the same cotton as the centre, and the fringe a degree coarser. crochet counterpanes should be laid over one of the american patent quilted coverlets, which have recently been sold in london, and for invalids, especially, are so extremely comfortable. * * * * * tidy in square crochet. materials.--brooks' great exhibition prize goat's-head crochet cotton, no. 14: walker's penelope crochet-hook, no. 21/2. [illustration: tidy in square crochet. ] make a chain of 289 stitches, which will form ninety-nine squares; with this cotton and hook it will measure twenty-five inches; the pattern must be worked from the engraving, and may be increased in size by using a coarser cotton and thicker hook. * * * * * arabesque toilet-cover in square crochet. [illustration: arabesque toilet-cover in square crochet.] this pattern should be worked in brooks' great exhibition prize goat's-head crochet cotton, exactly to the size of the top of the table, in rather thick cotton, to make it look massive, and to retain its form; the edging must be worked in blue beads in crochet to the pattern, and a number of beads given exactly to go round the table and to hang down, and finished with a tassel at each corner. * * * * * cover for a hadrot lamp. materials.--half-a-dozen skeins of each of seven shades of green wool, and four of scarlet ditto. a fine netting-needle, four knitting-needles, no. 14, and the same of no. 16. with the darkest green wool cast on 96 stitches on each of three of the coarsest knitting-needles (that is, 288 altogether), and close into a round. 1st round: plain knitting. [illustration: cover for a hadrot lamp.] 2nd: * knit 1, make 1, knit 6, knit 3 together, knit 6, make 1, * 18 times. 3rd: plain knitting. 4th: change to the darkest scarlet, and repeat the second round. 5th: knit 7, * knit 3 together, knit 13, * 17 times; knit 3 together, knit 6. 6th: * knit 1, make 1, knit 5, knit 3 together, knit 5, make 1, * 18 times. 7th: plain knitting. 8th: change to the next shade of green, and repeat the 6th round. 9th: knit 6, * knit 3 together, knit 11, * 17 times; knit 3 together, knit 5. 10th: * knit 1, make 1, knit 4, knit 3 together, knit 4, make 1, * 18 times. 11th: plain knitting. 12th: change to the next shade of scarlet, and repeat the 10th round. 13th: knit 5, * knit 3 together, knit 9, * 17 times; knit 3 together, knit 4. 14th: * knit 1, make 1, knit 3, knit 3 together, knit 3, make 1, * 18 times. 15th: plain knitting. 16th: change to the next shade of green, and repeat the 14th round. 17th: knit 4, * knit 3 together, knit 7, * 17 times; knit 3 together, knit 3. 18th: * knit 1, make 1, knit 2, knit 3 together, knit 2, make 1, * 18 times. 19th: knit 3, * knit 3 together, knit 5, * 17 times; knit 3 together, knit 2. 20th and 21st: plain knitting, using the finer needles, and decreasing until there are only 96 stitches in the round. 22nd: * knit 1, make 1, knit 2 together, make 1, knit 2 together, knit 1, make 1, knit 2 together, knit 1, slip 1, knit 1, pass the slip stitch over, make 1, knit 1, * times. 23rd: * knit 1, make 1, knit 2 together, twice, knit 7, * 8 times. 24th: like 22nd. 25th: * slip 1, knit 1, pass the slip stitch over, make 1, slip 1, knit 1, pass the slip stitch over, make 1, knit 8, * 8 times. 26th: * slip 1, knit 4, pass the slip stitch over, make 1, slip 1, knit 1, pass the slip stitch over, make 1, knit 3, make 1, slip two together, knit 1, pass the 2 slip over, make 1, knit 2, * 8 times. 27th: like the 25th. 28th: * knit 1, make 1, knit 2 together, make 1, knit 2 together, knit 1, slip 1, knit 1, pass the slip stitch over, make 1, knit 1, make 1, knit 2 together, knit 1, * 8 times. 29th: * knit 1, make 1, knit 2 together, make 1, knit 2 together, knit 7, * 8 times. 30th: like 28th. 31st: * ** slip 1, knit 1, pass the slip stitch over, make 1, ** twice, knit 8, * 8 times. 32nd: * ** slip 1, knit 1, pass the slip stitch over, make 1, ** twice, knit 1, slip 1, knit 1, pass the slip stitch over, make 1, knit 3, make 1, knit 2 together, * 8 times. 33rd: like 31st. repeat these 12 rows (that is, from the 22nd to the 33rd, inclusive of both), six times more, doing two patterns (that is, 24 rounds) of one shade, and then changing to the next lightest. after the 7th pattern, continue as follows, in order to decrease and form the neck for the lamp. 1st decreasing round: * knit 1, make 1, knit 2 together, make 1, knit 3 together, make 1, knit 2 together, knit 1, slip 1, knit 1, pass the slip stitch over, make 1, knit 1, * 8 times. 2nd: * knit 1, make 1, knit 2 together, make 1, knit 2 together, knit 6, * 8 times. 3rd: * knit 1, make 1, knit 2 together, make 1, knit 2 together, make 1, knit 2 together, knit 1, slip 1, knit 1, pass the slip stitch over, make 1, knit 1, * 8 times. 4th: * ** slip 1, knit 1, pass the slip stitch over, make 1, ** twice, knit 7, * 8 times. 5th: * * slip 1, knit 1, pass the slip stitch over, make 1, ** 3 times, knit 3 together, knit 2, * 8 times. 6th: * slip 1, knit 1, pass the slip stitch over, make 1, slip 1, knit 1, pass the slip stitch over, make 1, knit 4, knit 2 together, * 8 times. after this, do two inches of ribbed knitting in the same shade. it is done by alternately knitting and purling two stitches. cast off. the edges of the vandykes are trimmed with tatting, of which five graduated ones surround each. fill the netting-needle with the darkest shade of wool, and make for every point at the base of the corner the following seven loops:-1st: 9 double stitches; draw it up to a half-circle. 2nd: 11 double; the same. 3rd: 13 double; the same. 4th: 15 double; draw it up tightly. 5th: like 3rd. 6th: like 2nd. 7th: like 1st. this cover is intended to protect the lamp from the dust, which greatly injures the bronzing of the hadrot lamp. * * * * * lamp mat, in crochet. materials.--6 skeins of white netting silk, and 3 skeins each of four shades of cerise ditto, the darkest being almost brown, and the lightest a rich and brilliant cerise. a hank of rather large steel beads, a string of short square steel bugles, and 1 oz. of fluted ditto, 1/2 inch long. a skein of rather fine white cotton cord, and 54 rings. tapered, indented crochet-hook, no. 22. begin with the darkest cerise, and do not change until the directions require it. 1st round: with this silk work 8 s.c. on the end of the cord, and form into a round, after which 6 s.c. to secure it. 2nd (cerise and white): x 1 cerise in the same stitch as the last, 1 white, 2 cerise in 1, x 6 times. 3rd: x 1 cerise worked in the same stitch as the last two, 3 white, 2 cerise in one, x 6 times. 4th: like 3rd, with 5 white instead of 3. 5th: x 1 cerise in the same stitch as the last two, 7 white, 4 cerise in 1, x 6 times. 6th: x 1 cerise in the same as the last four, 11 white (the last 2 being over 2 cerise), 4 cerise in one, x 6 times. 7th: x 1 cerise on the next stitch, 13 white, 1 cerise on 1, 3 on the centre one of 5, x 6 times. 8th: like 7th, with 15 white. change to the next shade of cerise. 9th: x 1 cerise on next, 8 white, 1 cerise, 8 white, 1 cerise, 3 cerise on centre of 5, x 6 times. 10th: x 1 cerise on next, 8 white, 3 cerise (the second over 1 cerise), 8 white, 1 cerise, 3 in 1, x 6 times. 11th: x 1 cerise on next, 6 white, 3 cerise, 1 white, 1 cerise, 1 white, 3 cerise, 6 white, 1 cerise, 3 in 1, x 6 times. 12th: x 1 cerise in next, 6 white, 11 cerise, 6 white, 1 cerise. 3 in 1, x 6 times. next shade of cerise. 13th: x 1 cerise in next, 5 white, 5 cerise, 2 white, 1 cerise, 2 white, 5 cerise, 5 white, 1 cerise, 3 in 1, x 6 times. 14th: x 1 cerise in next, 7 white, 3 cerise, * 1 white, 2 cerise, * twice, 1 white, 3 cerise, 7 white, 1 cerise, 3 in 1, x 6 times. 15th: x 1 cerise in next, 11 white, 3 cerise, 1 white, 3 cerise, 11 white, 1 cerise, 3 in 1, x 6 times. 16th (lightest cerise): x 1 cerise in the same stitch as the last 3, 13 white, 2 cerise, 1 white, 1 cerise, 1 white, 2 cerise, 13 white, 4 cerise in 1, x 6 times. 17th: x 1 cerise in the next, 16 white, 3 cerise (over 1 w., 1 c., 1 w.), 16 white, 1 cerise, 3 in 1, x 6 times. [illustration: lamp mat.] 18th: x 1 cerise on next, 18 white, 1 cerise, 18 white, 1 cerise, 3 cerise in 1, x 6 times. 19th: x 1 cerise in next, 39 white, 1 cerise, 3 cerise in 1, x 6 times. 20th: x 1 cerise in 1, 2 white, * 2 cerise, 3 white, * 7 times, 2 cerise, 2 white, 1 cerise, 3 cerise in 1, x 6 times. 21st: x 1 cerise in next, * 3 white, 2 cerise, * 8 times (the white over white, the cerise over cerise), 3 white, 1 cerise, 3 cerise in 1, x 6 times. 22nd: x 1 cerise in next, 3 white, * 1 cerise, 2 white over 2 cerise, 1 cerise, 1 white, * 8 times, 2 more white, 1 cerise, 3 cerise in 1, x 6 times. 23rd: x 1 cerise in next, 3 white, * 1 cerise, 4 white, * 8 times, 1 cerise, 3 white, 1 cerise, 3 cerise in 1, x 6 times. 24th: entirely cerise, working 3 in 1 at all the 6 points. 25th: white and cerise alternately, a single stitch of each, with 3 in 1 at the points. 26th: all cerise, increasing, as before, at the corners. this completes the centre of the mat. now cover six of the rings with the darkest cerise, 12 with the lightest, 12 with the second lightest, and 24 with white. they are to be done in s.c. the darkest are sewed in the centre of each side of hexagon, with a white at each side, and two more (joined together) above it. the lightest cerise are placed at the points the two being joined together, and one to the mat. these form the extreme points, and the other twelve are placed to connect the lightest rings with the white. the short square bugles are threaded, with some of the beads, to form a cross in the centre of each of the white rings; the other rings have a cross of beads only. all the rings are sewed together, and to the mat. the elegant fringe round the edge is formed of the long steel bugles, connected with each other at the outer edge by a chain of 4 steel beads. the needle is slipped down them to connect them with the rings, and a single bead is threaded at the base of each. the side rings have 6 bugles each, placed at equal distances; the corners have 8; and 1 is placed where every two rings are joined. this mat would be very beautiful if worked in white and shades of green, with gold beads and bugles. * * * * * candle lamp mat. materials.--half-ounce each of stone-colour and shaded violet, 8-thread; half-ounce of shaded amber, 4-thread berlin wool; 4 yards of ordinary sized blind or skirt cord; 77 small curtain rings, the size measuring across five-eighths of an inch; nos. 1 and 2 penelope hook: 2 bunches no. 6 steel beads. with no. 1 hook, and drab wool, work 11 stitches d.c., over the end of the cord; double in as small a circle as possible, unite, and work 2 stitches into every loop for three more rounds. 5th: 1 stitch into every loop. 6th: increase 1 stitch in every 2nd loop. there must be 72 stitches in this round. 7th: place a pin in every 9th loop, and in this same 9th loop work with 8-thread violet, 1 stitch; then 9 stitches drab in the next 8 loops, that is, increasing 1 stitch in about the 4th loop; repeat this all round. 8th: work 3 stitches violet into the 1 violet stitch; then 9 stitches drab, working only 8 stitches in the last compartment, to commence next row. 9th: in the last drab stitch that was not worked into, work 1 violet stitch; then 4 more violet; then 7 drab, increasing 1 in 4th stitch; in the last compartment make only 2 drab after the increased stitch, in order to make 8 violet in next round. 10th: 8 violet, the 1st to come before the 5th violet of last row, and the last to come after the 5th violet, but increasing 1 violet on the 5th stitch; then 7 drab, increasing 1 in the 4th drab stitch. 11th: all violet, increasing 1 in every 5th stitch. 12th. all violet, but without increasing, unless required. the diameter of the mat should now measure 6 inches across, but should it be required larger, another row of cord, or even two, will give the increased size. now d.c. under all the rings, about 30 to 32 stitches for each ring is necessary; unite and tie the knot very neatly, and sew six of these rings round a 7th, sewing them with cotton the colour, and sewing them at the parts where each ring is joined, about 6 stitches in length; be careful that no stitches are seen on the right side; then sew steel beads round the centre ring, taking up 5 to 6 beads at a time on the needle; then place the needle between the joinings of the rings, take upon it about 35 beads, and draw the cotton across to the opposite point; repeat this twice more, the beads will then form as given in engraving; sew the circles of rings on to the mat by two of the rings, and sew the circles together by one ring. any other colour beside amber will do for the rings. if the table cover is scarlet, green wool should be used; if blue, amber; or if green, scarlet or pink. [illustration: candle-lamp mat.] * * * * * hand screen, in crochet. materials.--5 skeins of rich dark blue purse silk, 6 skeins of fine and pure gold thread; penelope hook, no. 18; 2 yards of dark blue silk fringe, 2 inches deep; 2 yards of fine wire, and 3/4 yard of white gros-de-naples. a pair of screen handles. of course silk of any other colour may be used, if blue will not correspond with the furniture. green looks very handsome with gold, and scarlet with silver. the metal thread used must be of the very best description only. begin by making six gold flowers, thus:--26 ch., close in 19th for a round, x 7 ch., s.c. under loop, x twice, 7 ch., slip on the closing of the round--thus there are three loops in the centre one; work under the chain of the first, 1 s.c., 1 d.c., 6 t.c., 1 d.c., 1 s.c. under the centre one 1 s.c., 1 d.c., 9 t.c., 1 d.c., 1 s.c.; and the third loop like the first. slip on the base of the flower, and work down the 19 ch. in s.c. [illustration: hand screen.] six of these flowers are to be made, and afterwards sewed on the silk, radiating from the centre, and each occupying the middle of one side of the hexagon. for the screen (beginning in the centre).--with the blue silk, make a chain of six, and close into a round. 1st: x 1 d.c., 5 ch., miss none, x 6 times. 2nd: x 5 t.c. on 5 ch., 5 ch., miss 1 d.c., x 6 times. 3rd: x 7 t.c. (beginning on the last of 5 ch.), 5 ch., x 6 times. continue in this manner, increasing the t.c. stitches by 2 at each section of the hexagon, in every round, until there are 33 t.c. in each division, always making 5 chain between. then s.c. all round, adding the silk flowers where they occur--that is, over the 8th, 17th, and 26th of the 33 t.c. in each section. the flowers are made in the following mariner:--12 ch., close into a loop at the 7th, 6 ch., s.c. under loop. 8 ch., s.c. under loop, 6 ch., slip at the stem, x 5 ch., s.c. under first loop of 6, x 5 times, * 5 ch., s.c. under the loop of 8, * 7 times, ** 5 ch., s.c. under loop of 6, ** 5 times; s.c. down the chain, and continue the round. the gold flowers are to be worked in the same way, and attached over the centre of each 5 chain which form the corners of the hexagon. work a chain all round, catching up the points of the flowers at regular intervals, and then work two rounds of s.c., with three stitches in one at the points. do all the crochet work of these screens rather tightly. sew on the large gold flowers, passing the ends through the centre loop of the screens, and form a little rosette of x 6 chains, s.c. in the round, x repeated to close the middle. to make up the screens.--cut out a hexagon, the exact size of the crochet, in paper, and bend the wire into the same form. be very particular that the wire frame shall be true and even. cover it on both sides with white silk, over one side of which sew the crochet. it will only require to be fastened round the edges. the fringe must then be laid on, the handles attached, and the screen is completed. if preferred, the back of the screen may be covered with silk of the colour of the crochet, as more durable than white. * * * * * crochet counterpane for a bassinet. materials.--brooks' great exhibition prize goat's-head knitting cords, nos. 12 and 16; 8 oz. of blue beads, large enough to thread on the finest cotton, they should be turquoise blue; crochet hooks, nos. 19 and 20. the centre of the counterpane is made in diamonds, with small pieces at the edges, merely to fill in the parts where the diamonds leave spaces, and form the whole into a solid square. it is done in ribbed crochet. ribbed crochet is so called from the work having the appearance of ridges. it is worked backwards and forwards thus: the top of a row of crochet, whether s.c., d.c., or t.c., presents an appearance of chain stitch; in working ribbed crochet, take up always that side of the chain which is furthest from you. the middle of the counterpane is done in knitting cord, no. 12; crochet hook, no 19. for the diamonds.--(a) make 2 ch., miss 1, 3 s.c. in the next ch. 2nd: turn the work; 1 ch., 1 s.c. in one, 3 s.c. in next, 1 s.c. in third. 3rd: turn, 1 ch., 2 s.c. in second, 3 s.c. in next, 2 s.c. in two last. thus you proceed, turning the work at the end of every row, working 1 s.c. in every one but the middle stitch, in which you work 3, until you have made 15 ribs, and the row has 61 stitches, a chain stitch being made at the beginning of every row. now make 3 ch., on turning, and work 3 d.c. in the first stitch, x miss 2, 3 d.c. in third, x 9 times, miss 1, 3 d.c. in second, 1 ch., miss 1 (which should be at the point), 3 d.c. in second, miss 1, 3 d.c. in second, * miss 2, 3 d.c. in third, * 9 times. this completes the row, the last 3 d.c. coming on the last stitch. [illustration: crochet counterpane for a bassinet.] turn, x 5 ch., d.c. between the sets of 3 d.c. of the last row, x to the end; s.c. only at the last. turn, x 3 ch, s.c. under loop, x to the end but with 5 ch. at the point; another s.c. in the last loop. turn, 2 ch., d.c. in every stitch of last row. turn, 1 ch., s.c. in every stitch of last row; fasten off. this completes one diamond, which for a bassinet quilt will be large enough. for a large counterpane they may be considerably increased. a glance at the engraving will show how they are joined together. for the half diamonds at the side _(b)_ make 2 ch.; work 2 s.c. in the first of these, turn, 1 ch., 1 s.c. in the first of the two of last row, 2 s.c. in the second; turn, 1 ch., 2 s.c. in the first, and 1 in each of the other 2 s.c. of last row. continue working thus, making two in one at the end of one row and the beginning of the next, until there are 31 stitches and 15 ribs. then, for the open part, 2 ch., turn, work 3 d.c. in the first stitch, x miss 2, 3 d.c. in next, x 10 times. 2nd row of open work: turn, x 5 ch., d.c. under the chain between the first and second set of 3 d.c. x repeat to the end of the row; 5 ch., s.c. at the end. 3rd: turn, x 3 ch., s.c. under loop, x repeat to the end. 4th: 2 ch., turn d.c. in every stitch to the end. 5th: 1 ch., turn, s.c. to the end. for the side pieces _(c)_ work in exactly the same manner, only beginning by working thus: 2 ch., turn, 2 s.c. in the first of these, 1 ch., turn, _2 s.c. in the first of the two and 1 in the second_. this is just the reverse of the other, the increase continuing to be made at that edge where the first increases. of course the last row will end at the point of one piece, and the short side of the other. _(d)_ 2 ch., work 3 s.c. in the first of these, 1 ch., turn, 2 s.c. in the first, 3 in the next, 2 in the last. turn, 1 ch.; work this and all the following rows until you have 61 stitches in this manner. 2 s.c. in the first and last stitches, 3 in one in the centre, and 1 in one in every other (increasing 4 stitches in every row). the five open work rows to be done as in _a_. _(e)_ work these pieces like _a_, until 10 ribs are done; then turn and s.c. up to the three centre stitches, _slip_ on the first of the three, x turn, miss the slip stitch, slip on the next, and s.c. to the end; turn, 1 ch., s.c. on all the s.c. but the last, which slip; x repeat between the marks until one stitch only remains, through which the thread is drawn. the other side of the point must then be worked to correspond with the first, the centre stitch not being worked at all. _(f)_ these two morsels are begun like _b_ and _c_, and finished in the same way that _e_ is. they will then exactly fit those corners. the other corners _(g)_ are worked by beginning, as usual, with 2 ch., in the first of which work 3 s.c. x ch., turn, 2 s c. in first and last stitches, and one in each intermediate; x repeating backwards and forwards until 3 stitches are in the row, when complete by open work as in _b_ and _c_. the numbers required of each piece are--_a_, 28; _b_ and _c_, five of each; _d, e, f_, and _g_, two each. (a glance at the engraving will show the manner in which these are joined into an oblong square.) eyelet-hole border.--when all are sewed together, a line of d.c. must be worked all round, with 3 stitches in one at the corners, and two in one on each side of the three. this will make the corners perfectly square. 2nd round: x 1 d.c., 1 ch., miss 1 x; repeat all round, but not missing any at the corners. 3rd: (eyelet-holes). these are to be worked quite separately from the last, at first. x 9 ch., close for a round in the second, and work 8 s.c. under the half, x repeat until a length is done sufficient to surround the square, every little round being half-covered by the s.c. in covering the other half of each circle, you will attach it to the work thus:--4 more s.c. make a ch., slip the needle off the loop, insert it at the corner of second round, and draw the loop through, then 4 s.c. under the remainder of the circle, 1 s.c. on ch. between; x 4 s.c. under next eyelet-hole, miss 2 on the second round, insert the hook in the third, draw the loop through, and work 4 more under the ch.; x repeat, allowing 3 between, except at the corners. 4th: s.c. (putting the hook under both sides of the chain) at the top of an eyelet-hole, x 5 ch., s.c. in the same way under the centre of the next, x all round, with 6 ch. at the corners. 5th: x 1 d.c., 1 ch., miss 1, x all round, not missing any at the corners. 6th: s.c. all round, with two stitches in one at the corners. motto borders.--for these use brooks' great exhibition prize goat's-head cotton, no. 12, on which the beads must be strung before beginning to work. the borders are done entirely in s.c., the beads being dropped on, according to the pattern, _on the wrong side_, this _wrong_ side being the _right_ when beads are used in crochet. the ends have 241 chain each: the sides, 397. the pattern occupies 55 rows, and the squares at the corners have 55 chain, and the same number of rows. the motto borders and corners are all worked separately, and afterwards sewed together. when completed, the eyelet-hole border is again added all round, and the counterpane then only requires a deep open border. this quilt would be very handsome, if worked in coarser cotton, for a full-sized bed. the small diamonds in the centre would thus be increased in size, and a sufficient number should be done to form a middle just three times the dimensions of that now given. the borders should be worked in open square crochet instead of s.c.; the pattern and letters in close squares on an open ground. it would for this purpose, be requisite to make the chains of three times the number of stitches, and one over: 724 for the ends, 1,192 for the sides, and 166 for the corners. in other respects the counterpane might be worked exactly from the instructions. the family coat-of-arms and crest, correctly drawn, would make a very handsome centre for a counterpane in crochet. where a quilt is done in square crochet, it should be laid over one of the new patent wadded counterpanes of a colour appropriate to the furniture of the room, as this displays the work to great advantage. * * * * * deep border for bassinet quilt. materials.--brooks' knitting cord, nos. 4 and 6; crochet-hook, no. 18. this lace is to be worked round the last eyelet-hole border with no. 6 brooks' cotton. 1st round: s.c. round the edge of the last border, with two stitches in every one for two inches on each side of the corners. 2nd: x 1 d.c., 1 ch., miss 1, x all round, but not missing any at the corners. 3rd: like first, but with 2 in 1 for 3 inches round the corners, at the extreme points of which there will be 3 in 1 three times. 4th: begin at a corner. x 2 d.c., 1 ch., miss 1, 1 d.c., 1 ch., miss 1, 2 d.c., 9 ch., miss 2, x 4 times. then continue along the side, missing 6 instead of 2, until you come to within 41 stitches of the next corner, when you will miss 2 only again, and at the point of the corner miss none. all the sides are to be worked alike. 5th: (begin over the 2nd of the first 2 d.c.) x 2 d.c., 1 ch. (which comes over the 1 d.c.), 2 d.c., 5 ch., 1 d.c. on 5th of 9 ch., 5 ch., x all round. 6th: x 3 d.c. (the second coming over the 1 ch.), 5 ch., 3 d.c. (the second coming over 1 d.c.), 5 ch., x all round. 7th: x 1 d.c. (on the second of the 3 d.c. you began with in last round), 5 ch., miss 4 ch., 2 d.c., 1 ch., miss 1 d.c., 2 d.c., 9 ch., x all round. 8th: (begin on the last chain before the 2 d.c.) x 2 d.c., 1 ch., miss 1, 1 d.c. over 1 ch., 1 ch., miss 1, 2 d.c., 9 ch., x all round. repeat from the 5th to the 8th round, inclusive of both, thrice; then the 5th and 6th again. this will make 18 rounds. 19th: x 1 s.c. on centre of the three d.c. you began the last round with, 6 ch., 2 d.c., 1 ch. (over the middle of 3 d.c.), 2 d.c., 6 ch., x all round. 20th: x 1 s.c. over 1 s.c. 6 ch., 2 d.c., 1 ch., 1 d.c. (over 1 ch. of last round), 1 ch., 2 d.c., 6 ch., x all round. 21st: x 1 slip on s.c., 1 s.c. on first of 6 ch., 7 ch., 2 d.c. (the first over second d.c. of last round), 1 ch. over 1 d.c., 2 d.c., 7 ch., s.c. on last of 6 ch., x all round. 22nd: x s.c. on s.c., 4 ch., d.c. on fourth of 7 ch., 5 ch., 3 d.c. (the second over 1 ch. of last round), 5 ch., 1 d.c. on fourth of 7 ch., 4 ch., s.c. on s.c., x all around. 23rd: x s.c. on s.c., 5 ch., 2 d.c. (the first over 1 d.c. of last round), 5 ch., 1 d.c. over centre of 3 d.c., 5 ch., 2 d.c. (the second over 1 d.c.), 5 ch., s.c. on s.c., x all round. 24th: x s.c. on s.c., 4 ch., 3 d.c. over 2 d.c., 3 ch., miss 2, 3 t.c. on 2 ch., 4 ch., miss 3 (that is, 1 d.c., and 1 ch. on each side of it), 3 t.c. on 2 ch., 3 ch., miss 2, 3 d.c. on 2 d.c., 4 ch., s.c. on s.c., and x all round. 25th: s.c. on 4 ch., * 4 ch., miss none, 4 d.c., * 6 times, 4 ch, miss none, 4 s.c. on 4 chains, x all round. [illustration: deep border for bassinet quilt.] this is the last round. the fringe is then put on thus: wind your cotton (no. 4) twelve times round a card about 2-1/4 inches wide; slip it off, catch up the threads with a crochet-hook, and draw through one of the loops of 4 chain in the last round. when half-way through, pass the other ends through the loop; draw it up tightly, and cut the ends. repeat this for every loop of 4 ch., and the fringe is complete. * * * * * crochet stripe for a bed quilt. [illustration: crochet stripe for a bed quilt] materials.--brooks' great exhibition prize goat's-head crochet cotton. penelope hook. make 2 stripes of this pattern. all the stripes are worked the short way, and forwards and back. this stripe is about 27-1/2 inches in width; it may be worked to any length, but great care must be taken that it is worked as evenly and tightly as the cotton and hook will permit, each l. stitch must measure in length over two-eighths of an inch, and nearly three-eighths. observe that the cotton must never be cut off, but that every row is worked forwards and back. 1st row: make a chain of about 330 stitches in length, turn back, and work 108 squares. 2nd: turn on reverse side, and observe this at the commencement of every row, work 4 l., 1 sq., 15 l., 2 sq., 15 l., 9 sq., 15 l., 1 sq., 9 l., 2 sq., 3 l., 10 sq., 3 l., 3 sq., 6 l., 6 sq., 6 l., 5 sq., 6 l., 4 sq., 3 l., 2 sq., 6 l., 19 sq., 15 l., 2 sq., 15 l., 1 sq., 3 l. 3rd: 4 l., 1 sq., 9 l., 4 sq., 15 l., 21 sq., 9 l., 1 sq., 3 l., 1 sq., 12 l., 2 sq., 6 l., 1 sq., 3 l., 2 sq., 3 l., 2 sq., 9 l, 4 sq., 6 l., 4 sq., 3 l., 7 sq., 9 l., 2 sq., 6 l., 10 sq., 15 l., 4 sq., 9 l., 1 sq., 3 l. 4th: 4 l., 2 sq., 9 l., 2 sq., 3 l., 1 sq., 9 l., 1 sq., 9 l., 9 sq., 15 l., 5 sq., 3 l., 2 sq., 15 l., 4 sq., 21 l., 3 sq., 12 l., 1 sq., 12 l., 1 sq., 6 l., 3 sq., 3 l., 17 sq., 9 l., 1 sq., 9 l., 1 sq., 3 l., 2 sq., 9 l., 2 sq., 3 l. 5th: 4 l., 2 sq., 18 l., 1 sq., 3 l., 2 sq., 15 l., 22 sq., 15 l., 1 sq., 12 l., 4 sq., 6 l., 1 sq., 15 l., 4 sq., 3 l., 2 sq., 6 l., 7 sq., 9 l., 9 sq., 15 l., 2 sq., 3 l., 1 sq., 18 l., 2 sq., 3 l. 6th: 4 l., 2 sq., 15 l., 2 sq., 3 l., 2 sq., 15 l., 17 sq., 6 l., 3 sq., 3 l., 3 sq., 24 l., 5 sq., 27 l., 2 sq., 6 l., 20 sq., 15 l., 2 sq., 3 l., 2 sq., 15 l., 2 sq., 3 l. 7th: 4 l., 3 sq., 6 l., 3 sq., 3 l., 3 sq., 15 l., 10 sq., 3 l., 8 sq., 18 l., 2 sq., 18 l., 4 sq., 9 l., 1 sq., 18 l., 2 sq., 3 l., 5 sq., 6 l., 15 sq., 15 l., 3 sq., 3 l., 3 sq., 6 l., 3 sq., 3 l. 8th: 4 l., 1 sq., 3 l., 1 sq., 15 l., 3 sq., 15 l., 15 sq., 3 l., 1 sq., 3 l., 3 sq., 9 l., 2 sq., 18 l., 1 sq., 3 l., 1 sq., 9 l., 3 sq., 12 l., 1 sq., 3 l., 2 sq., 15 l., 3 sq., 9 l., 1 sq., 3 l., 12 sq., 15 l., 3 sq., 15 l., 1 sq., 3 l., 1 sq., 3 l. 9th: 4 l., 1 sq., 3 l., 2 sq., 9 l., 2 sq., 6 l., 5 sq., 9 l., 10 sq., 3 l., 1 sq., 9 l., 2 sq., 12 l., 3 sq., 3 l., 1 sq., 3 l., 3 sq., 12 l., 3 sq., 6 l., 1 sq., 18 l., 2 sq., 9 l., 2 sq., 3 l., 14 sq., 9 l., 5 sq., 6 l., 2 sq., 9 l., 2 sq., 3 l., 1 sq., 3 l. 10th: 4 l., 1 sq., 6 l., 3 sq., 9 l., 2 sq., 9 l., 1 sq., 15 l., 12 sq., 3 l., 2 sq., 6 l., 1 sq., 3 l., 2 sq., 12 l., 3 sq., 9 l., 6 sq., 12 l., 1 sq., 6 l., 2 sq., 9 l., 1 sq., 21 l., 4 sq., 3 l., 4 sq., 15 l., 1 sq., 9 l., 2 sq., 9 l., 3 sq., 6 l., 1 sq., 3 l. 11th: 4 l., 1 sq., 9 l., 4 sq., 36 l., 1 sq., 3 l., 3 sq., 9 l., 2 sq., 6 l., 1 sq., 3 l., 5 sq., 3 l, 1 sq., 6 l., 1 sq., 18 l., 5 sq., 3 l., 1 sq., 6 l., 5 sq., 3 l., 2 sq., 3 l., 6 sq., 6 l., 10 sq., 36 l., 4 sq., 9 l., 1 sq., 3 l. 12th: 4 l., 1 sq., 6 l., 3 sq., 9 l., 2 sq., 9 l., 1 sq., 15 l., 9 sq., 3 l., 7 sq., 6 l., 9 sq., 3 l., 1 sq., 6 l., 4 sq., 9 l., 6 sq., 12 l., 2 sq., 9 l., 2 sq., 6 l., 3 sq., 9 l., 2 sq., 15 l., 1 sq., 9 l., 2 sq., 6 l., 3 sq., 6 l., 1 sq., 3 l. 13th: 4 l., 1 sq., 3 l., 2 sq., 9 l., 2 sq., 6 l., 5 sq., 9 l., 9 sq., 6 l., 1 sq., 12 l., 1 sq., 18 l, 1 sq., 9 l., 2 sq., 3 l., 4 sq., 9 l., 1 sq., 6 l., 3 sq., 3 l., 3 sq., 3 l., 1 sq., 3 l., 18 sq., 9 l., 5 sq., 6 l., 2 sq., 9 l., 2 sq., 3 l., 1 sq., 3 l. 14th: 4 l., 1 sq., 3 l., 1 sq., 15 l., 3 sq., 15 l., 20 sq., 6 l., 5 sq., 15 l., 2 sq., 3 l., 2 sq., 12 l., 2 sq., 15 l., 1 sq., 15 l., 1 sq., 6 l., 1 sq., 3 l., 3 sq., 6 l., 10 sq., 15 l., 4 sq., 15 l., 1 sq., 3 l., 1 sq., 3 l. 15th: 4 l., 3 sq., 3 l., 3 sq., 18 l., 8 sq., 3 l., 6 sq., 6 l., 2 sq., 15 l., 1 sq., 15 l., 1 sq., 18 l., 1 sq., 3 l., 2 sq., 12 l., 2 sq., 9 l., 1 sq., 3 l., 1 sq., 9 l., 16 sq., 15 l., 3 sq., 3 l., 3 sq., 6 l., 3 sq., 3 l. 16th: 4 l., 2 sq., 15 l., 2 sq., 3 l., 2 sq., 15 l., 15 sq., 15 l., 1 sq., 15 l., 3 sq., 6 l., 2 sq., 3 l., 1 sq., 18 l., 1 sq., 15 l., 2 sq., 9 l., 5 sq., 3 l., 14 sq., 15 l., 2 sq., 3 l., 2 sq., 15 l., 2 sq., 3 l. 17th: 4 l., 2 sq., 18 l., 1 sq., 3 l., 2 sq., 15 l., 14 sq., 3 l., 11 sq., 33 l., 1 sq., 3 l., 2 sq., 12 l., 1 sq., 15 l., 1 sq., 15 l., 4 sq., 3 l., 10 sq., 15 l., 2 sq., 3 l., 1 sq., 18 l., 2 sq., 3 l. 18th: 4 l., 2 sq., 9 l., 2 sq., 3 l., 1 sq., 9 l., 1 sq., 9 l., 12 sq., 3 l., 3 sq., 33 l., 2 sq., 6 l., 2 sq., 3 l., 2 sq., 15 l., 3 sq., 6 l., 1 sq., 9 l., 9 sq., 3 l., 14 sq., 9 l., 1 sq., 9 l., 1 sq., 3 l., 2 sq., 9 l., 2 sq., 3 l. 19th: 4 l., 1 sq., 9 l., 4 sq., 15 l., 26 sq., 18 l., 1 sq., 9 l., 1 sq., 6 l., 7 sq., 9 l., 2 sq., 9 l., 3 sq., 6 l., 2 sq., 9 l., 3 sq., 9 l., 10 sq., 15 l., 4 sq., 9 l., 1 sq., 3 l. 20th: 4 l., 1 sq., 15 l., 2 sq., 15 l., 9 sq., 15 l, 1 sq., 9 l., 1 sq., 9 l., 2 sq., 3 l., 2 sq., 3 l., 2 sq., 6 l., 1 sq., 3 l., 3 sq., 15 l., 1 sq., 6 l., 3 sq., 18 l., 26 sq., 15 l., 2 sq., 15 l., 1 sq., 3 l. 21st: 4 l., 1 sq., 9 l., 2 sq., 3 l., 1 sq., 15 l., 26 sq., 18 l., 4 sq., 3 l., 1 sq., 18 l., 2 sq., 6 l., 2 sq., 9 l., 1 sq., 3 l., 1 sq., 3 l., 1 sq., 12 l., 1 sq., 6 l., 1 sq., 15 l., 9 sq., 15 l., 1 sq., 3 l., 2 sq., 9 l., 1 sq., 3 l. 22nd: 4 l., 1 sq., 6 l., 6 sq., 9 l., 10 sq., 24 l., 1 sq., 12 l., 2 sq., 3 l., 2 sq., 12 l., 1 sq., 9 l.,1 sq., 18 l., 1 sq., 3 l., 3 sq., 6 l., 1 sq., 9 l.,1 sq., 9 l., 24 sq., 9 l., 6 sq., 6 l., 1 sq., 3 l. 23rd: 4 l., 1 sq., 6 l., 2 sq., 3 l., 33 sq., 3 l., 3 sq., 12 l., 3 sq., 24 l., 1 sq., 9 l., 1 sq., 15 l., 3 sq., 15 l, 1 sq., 3 l., 3 sq., 9 1., 17 sq., 3 l., 2 sq., 6 l., 1 sq., 3 l. 24th: 4 l., 1 sq., 6 l., 1 sq., 9 l., 17 sq., 3 l., 2 sq., 3 l., 2 sq., 3 l., 1 sq., 6 l., 1 sq., 27 l., 1 sq., 9 l., 2 sq., 9 l., 1 sq., 30 l., 1 sq., 12 l., 30 sq., 9 l., 1 sq., 6 l., 1 sq., 3 l. 25th: 4 l., 1 sq., 6 l., 2 sq., 3 l., 27 sq., 12 l., 3 sq., 3 l., 1 sq., 15 l., 1 sq., 15 l., 1 sq., 3 l., 3 sq., 9 l., 2 sq., 9 l., 1 sq., 15 1., 3 sq., 3 l., 1 sq., 3 l., 1 sq., 3 l., 1 sq., 9 l., 16 sq., 3 l., 2 sq., 6 l., 1 sq., 3 l. 26th: 4 l., 1 sq., 6 l., 6 sq., 9 l., 9 sq., 12 l., 2 sq., 3 l., 2 sq., 9 l., 1 sq., 15 l., 5 sq., 3 l., 1 sq., 6 l., 3 sq., 3 l., 1 sq., 15 1., 1 sq., 15 l., 1 sq., 12 l., 25 sq., 9 l., 6 sq., 6 l., 1 sq., 3 l. 27th: 4 l., 1 sq., 9 l., 2 sq., 3 l., 1 sq., 15 l., 22 sq., 21 l., 1 sq., 9 l., 2 sq., 15 l., 1 sq., 3 l., 3 sq., 12 l., 1 sq., 3 l., 2 sq., 3 l., 1 sq., 9 l., 1 sq., 15 l., 3 sq., 15 l., 8 sq., 15 l., 1 sq., 3 l., 2 sq., 9 l., 1 sq., 3 l. 28th: 4 l., 1 sq., 15 l.,2 sq., 15 l.,8 sq., 27 l., 1 sq., 6 l., 5 sq., 6 l., 2 sq., 3 l., 1 sq., 12 l., 3 sq., 3 l., 2 sq., 9 l., 2 sq., 3 l., 4 sq., 12 l., 3 sq., 12 l., 18 sq., 15 l., 2 sq., 15 l., 1 sq., 3 l. 29th: 4 l., 1 sq., 9 l, 4 sq., 15 l., 22 sq., 12 l., 1 sq., 3 l., 1 sq., 3 l., 3 sq., 3 l., 5 sq., 3 l., 2 sq., 3 l., 2 sq., 12 l., 1 sq., 6 l., 1 sq., 15 l., 4 sq., 15 l., 1 sq., 9 l., 9 sq., 15 l., 4 sq., 9 l., 1 sq., 3 l. 30th: 4 l., 2 sq., 9 l., 2 sq., 3 l., 1 sq., 9 l., 1 sq., 9 l., 10 sq., 15 l., 2 sq., 3 l., 2 sq., 9 l., 2 sq., 6 l., 1 sq., 9 l., 3 sq., 3 l., 2 sq., 9 l., 4 sq., 3 l., 2 sq., 3 l., 1 sq., 3 l., 1 sq., 18 l., 17 sq., 9 l., 1 sq., 9 l., 1 sq., 3 l., 2 sq., 9 l., 2 sq., 3 l. 31st: 4 l., 2 sq., 18 l., 1 sq., 3 l., 2 sq., 15 l., 11 sq., 12 l., 3 sq., 12 l., 3 sq., 3 l., 8 sq., 3 l., 3 sq., 3 l., 3 sq., 18 l., 4 sq., 3 l., 1 sq., 3 l., 1 sq., 3 l., 2 sq., 9 l., 10 sq., 15 l., 2 sq., 3 l., 1 sq., 18 l., 2 sq., 3 l. 32nd: 4 l., 2 sq., 15 l., 2 sq., 3 l., 2 sq., 15 l., 8 sq., 6 l., 3 sq., 3 l., 2 sq., 3 l., 2 sq., 9 l., 2 sq., 18 l., 2 sq., 3 l., 4 sq., 6 l., 7 sq., 3 l., 2 sq., 3 l., 1 sq., 3 l., 1 sq., 12 l., 15 sq., 15 l., 2 sq., 3 l., 2 sq., 15 l., 2 sq., 3 l. 33rd: 4 l., 3 sq., 6 l., 3 sq., 3 l., 3 sq., 15 l., 14 sq., 15 l., 1 sq., 15 l., 1 sq., 3 l., 6 sq., 18 l., 1 sq., 3 l., 3 sq., 6 l., 1 sq., 15 l., 1 sq., 15 l., 3 sq., 15 l., 2 sq., 3 l., 7 sq., 15 l., 3 sq., 3 1., 3 sq., 6 l., 3 sq., 3 l. 34th: 4 l., 1 sq., 3 l., 1 sq., 15 l., 3 sq., 15 l., 12 sq., 6 l., 1 sq., 27 l., 1 sq., 15 l., 5 sq., 6 l., 2 sq., 3 l., 1 sq., 15 l., 4 sq., 3 l., 2 sq., 3 l., 1 sq., 3 l., 1 sq., 3 l., 1 sq., 15 l., 10 sq., 15 1., 3 sq., 15 l., 1 sq., 3 l., 1 sq., 3 l. 35th: 4 l., 1 sq., 3 l., 2 sq., 9 l., 2 sq., 6 l., 5 sq., 9 l., 12 sq., 3 l., 1 sq., 3 l., 2 sq., 3 l., 2 sq., 3 l., 9 sq., 6 l., 1 sq., 9 l., 6 sq., 12 l., 1 sq., 12 l., 1 sq., 15 l., 11 sq., 9 l., 5 sq., 6 l., 2 sq., 9 l., 2 sq., 3 l., 1 sq., 3 l. 36th: 4 l., 1 sq., 6 l., 3 sq., 9 l., 2 sq., 9 l., 1 sq., 15 l., 10 sq., 15 l., 1 sq., 9 l., 3 sq., 6 l., 4 sq., 6 l., 1 sq., 9 l., 1 sq., 3 l., 1 sq., 3 l., 11 sq., 3 l., 2 sq., 3 l., 2 sq., 6 l., 9 sq., 15 l., 1 sq., 9 l., 2 sq., 9 l., 3 sq. 6 l., 1 sq., 3 l. 37th: 4 l., 1 sq., 9 l., 4 sq., 36 l., 7 sq., 6 l., 3 sq., 3 l., 3 sq., 3 l., 7 sq., 12 l., 2 sq., 3 l., 1 sq., 18 l., 4 sq., 6 l., 6 sq., 3 l., 1 sq., 9 l., 11 sq., 36 l., 4 sq., 9 l., 1 sq., 3 l. 38th: 4 l., 1 sq., 6 l., 3 sq., 9 l., 2 sq., 9 l., 1 sq., 15 l., 14 sq., 6 1., 4 sq., 6 l., 1 sq., 6 l., 4 sq., 15 l., 1 sq., 3 l., 1 sq., 12 l., 8 sq., 3 l., 3 sq., 3 l, 5 sq., 12 l, 3 sq., 15 l., 1 sq., 9 l., 2 sq., 9 1., 3 sq., 6 l., 1 sq., 31. 39th: 4 l., 1 sq., 3 l., 2 sq., 9 l., 2 sq., 6 l., 5 sq., 9 l., 12 sq., 3 l., 14 sq., 9 l., 1 sq., 3 l., 1 sq., 9 l., 2 sq., 9 l., 5 sq., 12 l., 1 sq., 12 l., 4 sq., 3 l., 8 sq., 9 l., 5 sq., 6 l., 2 sq., 9 l., 2 sq., 3 l., 1 sq., 3 l. 40th: 4 l., 1 sq., 3 l., 1 sq., 15 l., 3 sq., 15 l., 12 sq., 21 l., 4 sq., 6 l., 6 sq., 12 l., 2 sq., 33 l., 11 sq., 3 l., 14 sq., 15 l., 3 sq., 15 l., 1 sq., 3 l., 1 sq., 3 l. 41st: 4 l., 3 sq., 6 l., 3 sq., 3 l., 3 sq., 15 l., 19 sq., 3 l., 2 sq., 3 l., 4 sq., 18 l., 2 sq., 36 l., 1 sq., 3 l., 1 sq., 12 l., 1 sq., 12 1., 13 sq., 15 l., 3 sq., 31, 3 sq., 6 l., 3 sq., 3 l. 42nd: 4 l., 2 sq., 15 l., 2 sq., 3 l., 2 sq., 15 l., 11 sq., 15 l., 1 sq., 9 l., 1 sq., 6 l., 3 sq., 27 l., 1 sq., 3 l., 1 sq., 6 l., 5 sq., 24 l., 19 sq., 15 l., 2 sq., 3 l., 2 sq., 15 l., 2 sq., 3 l. 43rd: 4 l., 2 sq., 18 l., 1 sq., 3 l., 2 sq., 15 l., 16 sq., 3 l., 3 sq., 15 l., 4 sq., 24 l., 2 sq., 12 l., 6 sq., 9 l., 3 sq., 3 l., 1 sq., 18 l., 9 sq., 15 l., 2 sq., 3 l., 1 sq., 18 l., 2 sq., 3 l. 44th: 4 l., 2 sq., 9 l., 2 sq., 3 l., 1 sq., 9 l., 1 sq., 9 l., 8 sq., 18 l., 4 sq., 12 l., 1 sq., 15 l., 1 sq., 18 l., 3 sq., 6 l., 3 sq., 6 l., 18 sq., 9 l., 1 sq., 9 l., 1 sq., 3 l., 2 sq., 9 l., 2 sq., 3 l. 45th: 4 l., 1 sq., 9 l., 4 sq., 15 l., 8 sq., 15 l., 7 sq., 9 l., 1 sq., 3 l., 1 sq., 6 l., 3 sq., 9 l., 2 sq., 18 l., 1 sq., 21 l., 2 sq., 3 l., 1 sq., 9 l., 23 sq., 15 l., 4 sq., 9 l., 1 sq., 3 l. 46th: 4 l., 1 sq., 15 l., 2 sq., 15 l., 19 sq., 18 l., 2 sq., 3 l., 1 sq., 24 l., 1 sq., 21 l., 6 sq., 3 l., 2 sq., 9 l., 3 sq., 6 l., 18 sq., 15 l., 2 sq., 15 l., 1 sq., 3 l. 47th: 4 l., 1 sq., 9 l., 2 sq., 3 l., 1 sq., 15 l., 16 sq., 6 l., 2 sq., 12 l., 1 sq., 6 l., 2 sq., 3 l., 5 sq., 3 l., 1 sq., 15 l., 1 sq., 18 l., 6 sq., 3 l., 1 sq., 6 l., 2 sq., 3 l., 18 sq., 15 l., 1 sq., 3 l., 2 sq., 9 l., 1 sq., 3 l. 48th: 4 l., 1 sq., 6 l., 6 sq., 9 l., 21 sq., 9 l., 1 sq., 3 l., 5 sq., 9 l., 1 sq., 9 l., 1 sq., 15 l., 2 sq., 3 l., 7 sq., 6 l., 1 sq., 3 l., 1 sq., 9 l., 20 sq., 9 l., 6 sq., 6 l., 1 sq., 3 l. 49th: 4 l., 1 sq., 6 l., 2 sq., 3 l., 24 sq., 6 l., 3 sq., 9 l., 2 sq., 3 l., 4 sq., 6 l., 2 sq., 18 l., 2 sq., 6 l., 2 sq., 9 l., 3 sq., 3 l., 2 sq., 3 l., 1 sq., 6 l., 26 sq., 3 l., 2 sq., 6 l., 1 sq., 3 l. 50th: 4 l., 1 sq., 6 l., 1 sq., 9 l., 25 sq., 3 l., 9 sq., 3 l., 2 sq., 3 l., 1 sq., 3 l., 3 sq., 6 l., 1 sq., 9 l., 2 sq., 3 l., 1 sq., 3 l., 3 sq., 3 l., 1 sq., 6 l., 1 sq., 12 l., 2 sq., 6 l., 21 sq., 9 l., 1 sq., 6 l., 1 sq., 3 l. 51st: 4 l., 1 sq., 6 l., 2 sq., 3 l., 25 sq., 9 l., 1 sq., 3 l., 1 sq., 6 l., 2 sq., 3 l., 4 sq., 3 l., 2 sq., 9 l., 1 sq., 3 l., 6 sq., 6 l., 12 sq., 3 l., 25 sq., 3 l., 2 sq., 6 l., 1 sq., 3 l. 52nd: 4 l., 1 sq., 6 l., 6 sq., 9 l., 32 sq., 6 l., 1 sq., 3 l., 7 sq., 3 l., 4 sq., 3 l., 2 sq., 3 l., 2 sq., 3 l., 2 sq., 9 l., 3 sq., 3 l., 18 sq., 9 l., 6 sq., 6 l., 1 sq., 3 l. 53rd: 4 l., 1 sq., 9 l., 2 sq., 3 l., 1 sq., 15 l., 15 sq., 6 l., 2 sq., 18 l., 1 sq., 3 l., 5 sq., 3 l., 12 sq., 3 l., 1 sq., 3 l., 1 sq., 3 l., 1 sq., 6 l., 27 sq., 15 l., 1 sq., 3 l., 2 sq., 9 l., 1 sq., 3 l. 54th: 4 l., 1 sq., 15 l., 2 sq., 15 l., 23 sq., 6 l., 3 sq., 6 l., 2 sq., 3 l., 1 sq., 6 l., 4 sq., 18 l., 1 sq., 3 l., 4 sq., 3 l., 2 sq., 6 l., 1 sq., 3 l., 1 sq., 6 l., 3 sq., 6 l., 13 sq., 15 l., 2 sq., 15 l., 1 sq., 3 l. 55th: 4 l., 1 sq., 9 l., 4 sq., 15 l., 16 sq., 6 l., 2 sq., 9 l., 2 sq., 3 l., 2 sq., 3 l., 2 sq., 3 l., 2 sq., 21 l., 2 sq., 3 l., 1 sq., 3 l., 1 sq., 3 l., 2 sq., 6 l., 2 sq., 9 l., 23 sq., 15 l., 4 sq., 9 l., 1 sq., 3 l. 56th: 4 l., 2 sq., 9 l., 2 sq., 3 l., 1 sq., 9 l., 1 sq., 9 l., 17 sq., 6 l., 3 sq., 3 l., 1 sq., 3 l., 1 sq., 3 l., 1 sq., 6 l., 1 sq., 3 l., 3 sq., 24 l., 7 sq., 3 l., 2 sq., 18 l., 2 sq., 3 l., 12 sq., 9 l., 1 sq., 9 l., 1 sq., 3 l., 2 sq., 9 l., 1 sq., 3 l. 57th: 4 l., 2 sq., 18 l., 1 sq., 3 l., 2 sq., 15 l., 10 sq., 3 l., 2 sq., 6 l., 1 sq., 3 l., 1 sq., 6 l., 2 sq., 3 l., 8 sq., 9 l., 2 sq., 6 l., 2 sq., 6 l., 1 sq., 6 l., 4 sq., 6 l., 2 sq., 9 l., 16 sq., 15 l., 2 sq., 3 l., 1 sq., 18 l., 2 sq., 3 l. 58th: 4 l., 2 sq., 15 l., 2 sq., 3 l., 2 sq., 15 l., 13 sq., 6 l., 3 sq., 12 l., 4 sq., 9 l., 2 sq., 3 l., 2 sq., 3 l., 2 sq., 12 l., 7 sq., 3 l., 2 sq., 3 l., 2 sq., 6 l., 3 sq., 3 l., 2 sq., 6 l., 8 sq., 15 l., 2 sq., 3 l., 2 sq., 15 l., 2 sq., 3 l. 59th: 4 l., 3 sq., 6 l., 3 sq., 3 l., 3 sq., 15 l., 11 sq., 3 l., 2 sq., 18 l., 1 sq., 3 l., 2 sq., 3 l., 7 sq., 12 l., 1 sq., 3 l., 1 sq., 6 l., 2 sq., 6 l., 1 sq., 3 l., 2 sq., 6 l., 1 sq., 9 l., 1 sq., 9 l., 2 sq., 6 l., 9 sq., 15 l., 3 sq., 3 l., 3 sq., 6 l., 3 sq., 3 l. 60th: 4 l., 1 sq., 3 l., 1 sq., 15 l., 3 sq., 15 l., 11 sq., 6 l., 3 sq., 9 l., 1 sq., 3 l., 1 sq., 6 l., 3 sq., 3 l., 1 sq., 6 l., 2 sq., 15 l., 3 sq., 15 l., 4 sq., 3 l., 2 sq., 6 l., 1 sq., 3 l., 1 sq., 6 l., 2 sq., 3 l., 11 sq., 15 l., 3 sq., 15 l., 1 sq., 3 l., 1 sq., 3 l. 61st: 4 l., 1 sq., 3 l., 2 sq., 9 l., 2 sq., 6 l., 5 sq., 9 l., 7 sq., 3 l., 2 sq., 3 l., 3 sq., 6 l., 2 sq., 3 l., 2 sq., 3 l., 1 sq., 30 l., 2 sq., 6 l., 3 sq., 6 l., 1 sq., 3 l., 4 sq., 3 l., 1 sq., 6 l., 2 sq., 15 l., 9 sq., 9 l., 5 sq., 6 l., 2 sq., 9 l., 2 sq., 3 l., 1 sq., 3 l. 62nd: 4 l., 1 sq., 6 l., 3 sq., 9 l., 2 sq., 9 l., 1 sq., 15 l., 3 sq., 21 l., 2 sq., 3 l., 2 sq., 6 l., 5 sq., 6 l., 2 sq., 3 l., 2 sq., 6 l., 1 sq., 6 l., 1 sq., 6 l, 3 sq., 15 l., 3 sq., 3 l., 1 sq., 15 l., 2 sq., 3 l., 2 sq., 3 l., 5 sq., 15 l., 1 sq., 9 l., 2 sq., 9 l., 3 sq., 6 l., 1 sq., 3 l. 63rd: 4 l., 1 sq., 9 l., 4 sq., 36 l., 7 sq., 3 l., 2 sq., 9 l., 1 sq., 6 l., 2 sq., 3 l., 2 sq., 9 l., 3 sq., 9 l., 1 sq., 9 l., 1 sq., 6 l., 1 sq., 6 l., 3 sq., 12 l., 3 sq., 6 l., 1 sq., 6 l., 1 sq., 6 l., 2 sq., 15 l., 1 sq., 36 l., 4 sq., 9 l., 1 sq., 3 l. 64th: 4 l., 1 sq., 6 l., 3 sq., 9 l., 2 sq., 9 l., 1 sq., 15 l., 7 sq., 9 l., 1 sq., 6 l., 8 sq., 3 l., 1 sq., 9 l., 1 sq., 3 l., 1 sq., 6 l., 2 sq., 6 l., 1 sq., 30 l., 1 sq., 3 l., 1 sq., 3 l., 2 sq., 6 l., 2 sq., 3 l., 1 sq., 3 l., 7 sq., 15 l., 1 sq., 9 l., 2 sq., 9 l., 3 sq., 6 l., 1 sq., 3 l. 65th: 4 l., 1 sq., 3 l., 2 sq., 9 l., 2 sq., 6 l., 5 sq., 9 l., 7 sq., 3 l., 2 sq., 3 l., 1 sq., 3 l., 1 sq., 3 l., 2 sq., 3 l., 2 sq., 3 l., 1 sq., 24 l., 1 sq., 9 l., 1 sq., 9 l., 2 sq., 15 l., 1 sq., 9 l., 6 sq., 6 l., 1 sq., 9 l., 7 sq., 9 l., 5 sq., 6 l., 2 sq., 9 l., 2 sq., 3 l., 1 sq., 3 l. 66th: 4 l., 1 sq., 3 l., 1 sq., 15 l., 3 sq., 15 l., 21 sq., 12 l., 1 sq., 15 l., 2 sq., 21 l., 3 sq., 12 l., 6 sq., 3 l., 1 sq., 3 l., 2 sq., 3 l., 2 sq., 3 l., 2 sq., 3 l., 9 sq., 15 l., 3 sq., 15 l., 1 sq., 3 l., 1 sq., 3 l. 67th: 4 l., 3 sq., 6 l., 3 sq., 3 l., 3 sq., 15 l., 7 sq., 3 l., 3 sq., 3 l., 1 sq., 3 l., 1 sq., 3 l., 1 sq., 3 l., 2 sq., 3 l., 12 sq., 18 l., 1 sq., 6 l., 1 sq., 27 l., 20 sq., 15 l., 3 sq., 3 l., 3 sq., 6 l., 3 sq., 3 l. 68th: 4 l., 2 sq., 15 l., 2 sq., 3 l., 2 sq., 15 l., 17 sq., 6 l., 1 sq., 15 l., 3 sq., 15 l., 1 sq., 12 l., 13 sq., 3 l., 2 sq., 3 l., 1 sq., 3 l., 1 sq., 3 l., 2 sq., 3 l., 10 sq., 15 l., 2 sq., 3 l., 2 sq., 15 l., 2 sq., 3 l. 69th: 4 l., 2 sq., 18 l., 1 sq., 3 l., 2 sq., 15 l., 9 sq., 3 l., 2 sq., 3 l., 2 sq., 3 l., 1 sq., 3 l., 2 sq., 3 l., 12 sq., 3 l., 1 sq., 3 l., 3 sq., 12 l., 2 sq., 3 l., 2 sq., 9 l., 1 sq., 6 l., 1 sq., 6 l., 15 sq., 15 l., 2 sq., 3 l., 2 sq., 15 l., 2 sq., 3 l. 70th: 4 l., 2 sq., 9 l., 2 sq., 3 l., 1 sq., 9 l., 1 sq., 9 l., 12 sq., 3 l., 2 sq., 3 l., 1 sq., 6 l., 1 sq., 3 l., 3 sq., 3 l., 1 sq., 3 l., 1 sq., 3 l., 1 sq., 12 l., 5 sq., 3 l., 3 sq., 12 l., 4 sq., 3 l., 2 sq., 3 l., 2 sq., 3 l., 2 sq., 3 l., 3 sq., 3 l., 9 sq., 9 l., 1 sq., 9 l., 1 sq., 3 l., 2 sq., 9 l., 2 sq., 3 l. 71st: 4 l., 1 sq., 9 l., 4 sq., 15 l., 11 sq., 3 l., 3 sq., 3 l., 3 sq., 3 l., 2 sq., 3 l., 7 sq., 15 l., 1 sq., 3 l., 5 sq., 3 l., 1 sq., 9 l., 2 sq., 3 l., 2 sq., 9 l., 3 sq., 3 l., 1 sq., 12 l., 16 sq., 15 l., 4 sq., 9 l., 1 sq., 3 l. 72nd: 4 l., 1 sq., 15 l., 2 sq., 15 l., 17 sq., 3 l., 1 sq., 3 l, 4 sq., 15 l., 3 sq., 6 l., 2 sq., 6 l., 1 sq., 9 l., 1 sq., 3 l., 1 sq., 3 l., 1 sq., 9 l., 7 sq., 3 l., 2 sq., 3 l., 3 sq., 3 l., 4 sq., 3 l., 10 sq., 15 l., 2 sq., 15 l., 1 sq., 3 l. 73rd: 4 l., 1 sq., 9 l., 2 sq., 3 l., 1 sq., 15 l., 14 sq., 3 l., 3 sq., 3 l., 4 sq., 3 l., 7 sq., 15 l., 1 sq., 21 l., 1 sq., 33 l., 24 sq., 15 l., 1 sq., 3 l., 2 sq., 9 l., 1 sq., 3 l. 74th: 4 l., 1 sq., 6 l., 6 sq., 9 l., 22 sq., 6 l., 1 sq., 15 l., 1 sq., 15 l., 3 sq., 15 l., 2 sq., 3 l., 3 sq., 12 l., 8 sq., 3 l., 3 sq., 3 l., 15 sq., 9 l., 6 sq., 6 l., 1 sq., 3 l. 75th: 4 l., 1 sq., 6 l., 2 sq., 3 l., 20 sq., 3 l., 4 sq., 3 l., 6 sq., 12 l., 1 sq., 6 l., 1 sq., 9 l., 1 sq., 12 l., 2 sq., 3 l., 1 sq., 15 l., 2 sq., 9 l., 1 sq., 12 l., 27 sq., 3 l., 2 sq., 6 l., 1 sq., 3 l. 76th: 4 l., 1 sq., 6 l., 1 sq., 9 l., 26 sq., 15 l., 3 sq., 6 l., 1 sq., 9 l., 1 sq., 3 l., 1 sq., 3 l., 1 sq., 9 l., 2 sq., 3 l., 1 sq., 6 l., 1 sq., 21 l., 5 sq., 3 l., 5 sq., 3 l., 18 sq., 9 l., 1 sq., 6 l., 1 sq., 3 l. 77th: 4 l., 1 sq., 6 l., 2 sq., 3 l., 18 sq., 3 l., 6 sq., 3 l, 4 sq., 21 l., 2 sq., 12 l., 4 sq., 3 l., 2 sq., 3 l., 5 sq., 33 l., 27 sq., 3 l., 2 sq., 6 l., 1 sq., 3 l. 78th: 4 l., 1 sq., 6 l., 6 sq., 9 l., 23 sq., 6 l., 3 sq., 12 l., 1 sq., 9 l., 3 sq., 9 l., 3 sq., 12 l., 3 sq., 12 l., 14 sq., 6 l., 10 sq., 9 l., 6 sq., 6 l., 1 sq., 3 l. 79th: 4 l., 1 sq., 9 l., 2 sq., 3 l., 1 sq., 15 l., 8 sq., 3 l., 23 sq., 12 l., 2 sq., 33 l., 1 sq., 6 l., 2 sq., 3 l., 2 sq., 9 l., 20 sq., 15 l., 1 sq., 3 l., 2 sq., 9 l., 1 sq., 3 l. 80th: 4 l., 1 sq., 15 l., 2 sq., 15 l., 19 sq., 12 l., 1 sq., 3 l., 1 sq., 3 l., 1 sq., 6 l., 1 sq., 15 l., 1 sq., 15 l., 3 sq., 9 l., 32 sq., 15 l., 2 sq., 15 l., 1 sq., 3 l. 81st: 4 l., 1 sq., 9 l., 4 sq., 15 l., 21 sq., 15 l., 7 sq., 3 l., 4 sq., 15 l., 1 sq., 15 l., 1 sq., 6 l., 2 sq., 3 l., 2 sq., 12 l., 19 sq., 15 l., 4 sq., 9 l., 1 sq., 3 l. 82nd: 4 l., 2 sq., 9 l., 2 sq., 3 l., 1 sq., 9 l., 1 sq., 9 l., 16 sq., 15 l., 3 sq., 12 l., 1 sq., 9 l., 1 sq., 3 l., 1 sq., 9 l., 12 sq., 21 l., 7 sq., 3 l., 9 sq., 9 l., 1 sq., 9 l., 1 sq., 3 l., 2 sq., 9 l., 2 sq., 3 l. 83rd: 4 l., 2 sq., 18 l., 1 sq., 3 l., 2 sq., 15 l., 9 sq., 6 l., 1 sq., 3 l., 3 sq., 24 l., 3 sq., 15 l., 6 sq., 6 l., 4 sq., 27 l., 1 sq., 6 l., 2 sq., 3 l., 13 sq., 15 l., 2 sq., 3 l., 1 sq., 18 l., 2 sq., 3 l. 84th: 4 l., 2 sq., 15 l, 2 sq., 3 l., 2 sq., 15 l., 9 sq., 6 l., 3 sq., 6 l., 2 sq., 15 l., 1 sq., 9 l., 5 sq., 12 l., 3 sq., 21 l., 2 sq., 24 l., 3 sq., 6 l., 11 sq., 15 l., 2 sq., 3 l., 2 sq., 15 l, 2 sq., 3 l. 85th: 4 l., 3 sq., 6 l., 3 sq., 3 l., 3 sq., 15 l., 13 sq., 3 l., 2 sq., 27 l., 1 sq., 24 l., 1 sq., 6 l, 1 sq., 6 l., 9 sq., 15 l., 3 sq., 18 l., 9 sq., 15 l., 3 sq., 3 l., 3 sq., 6 l., 3 sq., 3 l. 86th: 4 l., 1 sq., 3 l., 1 sq., 15 l., 3 sq., 15 l., 11 sq., 12 l., 5 sq., 9 l., 3 sq., 6 l., 5 sq., 3 l., 1 sq., 3 l., 3 sq., 27 l., 1 sq., 9 l., 1 sq., 15 l., 1 sq., 3 l., 15 sq., 15 l., 3 sq., 15 l., 1 sq., 3 l.,1 sq., 3 l. 87th: 4 l., 2 sq., 9 l., 2 sq., 6 l., 5 sq., 9 l., 8 sq., 3 l., 3 sq., 3 l., 2 sq., 12 l., 2 sq., 6 l., 1 sq., 6 l., 1 sq., 18 l. 3 sq., 3 l., 7 sq., 3 l., 1 sq., 6 l., 8 sq., 6 l., 2 sq., 12 l., 4 sq., 9 l., 5 sq., 6 l., 2 sq., 9 l., 2 sq., 3 l. 88th: 4 l., 3 sq., 9 l., 2 sq., 3 l., 1 sq., 15 l., 2 sq., 12 l., 2 sq., 9 l., 7 sq., 24 l., 4 sq., 6 l., 1 sq., 12 l.; 2 sq., 3 l., 1 sq., 15 l., 1 sq., 3 l., 2 sq., 6 l., 8 sq., 15 l., 1 sq., 9 l., 2 sq., 9 l., 3 sq., 3 l. 89th: 4 l., 1 sq., 9 l., 4 sq., 36 l., 10 sq., 9 l., 2 sq., 18 l., 4 sq., 3 l., 1 sq., 18 l., 1 sq., 6 l., 3 sq., 9 l., 1 sq., 9 l., 9 sq., 6 l., 1 sq., 18 l., 2 sq., 36 l., 4 sq., 9 l., 1 sq., 3 l. 90th: 4 l., 1 sq., 6 l., 3 sq., 9 l., 2 sq., 9 l., 1 sq., 15 l., 2 sq., 18 l., 1 sq., 3 l., 4 sq., 9 l., 3 sq., 3 l., 1 sq., 3 l., 1 sq., 12 l., 2 sq., 6 l., 1 sq., 21 l., 2 sq., 9 l., 1 sq., 3 l., 4 sq., 6 l., 3 sq., 3 l., 9 sq., 15 l., 1 sq., 9 l., 2 sq., 9 l., 3 sq., 6 l., 1 sq., 3 l. 91st: 4 l., 1 sq., 3 l., 2 sq., 9 l., 2 sq., 6 l., 5 sq., 9 l., 13 sq., 24 l., 3 sq., 6 l., 1 sq., 3 l., 2 sq., 12 l., 1 sq., 3 l., 1 sq., 3 l., 3 sq., 12 l., 1 sq., 18 l., 8 sq., 12 l., 4 sq., 9 l., 5 sq., 6 l., 2 sq., 9 l., 2 sq., 3 l., 1 sq., 3 l. 92nd: 4 l., 1 sq., 3 l., 1 sq., 15 l., 3 sq., 15 l., 16 sq., 18 l., 1 sq., 3 l., 2 sq., 15 l., 2 sq., 3 l., 1 sq., 3 l., 1 sq., 18 l., 2 sq., 3 l., 4 sq., 27 l., 15 sq., 15 l, 3 sq., 15 l., 1 sq., 3 l., 1 sq., 3 l. 93rd: 4 l., 3 sq., 6 l., 3 sq., 3 l., 3 sq., 15 l., 10 sq., 3 l., 3 sq., 24 l., 5 sq., 6 l., 1 sq., 15 l., 2 sq., 3 l., 2 sq., 3 l., 1 sq., 6 l., 1 sq., 6 l., 2 sq., 3 l., 2 sq., 18 l., 14 sq., 15 l., 3 sq., 3 l., 3 sq., 6 l., 3 sq., 3 l. 94th: 4 l., 2 sq., 15 l., 2 sq., 3 l., 2 sq., 15 l., 16 sq., 9 l., 2 sq., 6 l., 2 sq., 6 l., 2 sq., 3 l., 4 sq., 3 l., 6 sq., 3 l., 1 sq., 3 l., 5 sq., 3 l., 2 sq., 18 l., 2 sq., 3 l., 2 sq., 9 l., 6 sq., 15 l., 2 sq., 3 l., 2 sq., 15 l., 2 sq., 3 l. 95th: 4 l., 2 sq., 18 l., 1 sq., 3 l., 2 sq., 15 l., 5 sq., 3 l., 3 sq., 15 l., 1 sq., 27 l., 4 sq., 3 l., 1 sq., 15 l., 2 sq., 6 l., 6 sq., 3 l., 3 sq., 27 l., 14 sq., 15 l., 2 sq., 3 l., 1 sq., 18 l., 2 sq., 3 l. 96th: 4 l., 2 sq., 9 l., 2 sq., 3 l., 1 sq., 9 l., 1 sq., 9 l., 14 sq., 30 l., 10 sq., 3 l., 1 sq., 21 l., 2 sq., 3 l., 3 sq., 3 l., 1 sq., 3 l., 1 sq., 21 l., 2 sq., 3 l., 3 sq., 3 l., 9 sq., 9 l., 1 sq., 9 l., 1 sq., 3 l., 2 sq., 9 l., 2 sq., 3 l. 97th: 4 l., 1 sq., 9 l., 4 sq., 15 l., 15 sq., 3 l., 4 sq., 12 l., 2 sq., 9 l., 4 sq., 3 l., 2 sq., 15 l., 1 sq., 6 l., 10 sq. 6 l., 1 sq., 6 l., 1 sq., 9 l., 17 sq., 15 l., 4 sq., 9 l., 1 sq., 3 l. 98th: 4 l., 1 sq., 15 l., 2 sq., 15 l., 16 sq., 9 l., 2 sq., 6 l., 1 sq., 6 l., 8 sq., 9 l., 1 sq., 15 l., 2 sq., 18 l., 1 sq., 9 l., 25 sq., 15 l., 2 sq., 15 l., 1 sq., 3 l. 99th: 4 l., 1 sq., 9 l., 2 sq., 3 l., 1 sq., 15 l., 21 sq., 6 l., 1 sq., 12 l., 1 sq., 9 l., 1 sq., 27 l., 1 sq., 3 l., 11 sq., 3 l., 2 sq., 3 l., 21 sq., 15 l., 1 sq., 3 l., 2 sq., 9 l., 1 sq., 3 l. 100th: 4 l., 1 sq., 6 l., 9 sq., 9 l., 36 sq., 6 l., 1 sq., 27 l., 1 sq., 24 l., 3 sq., 3 l., 1 sq., 12 l., 16 sq., 9 l., 6 sq., 6 l., 1 sq., 3 l. 101st: 4 l., 1 sq., 6 l., 2 sq., 3 l, 23 sq., 12 l., 4 sq., 24 l., 2 sq., 21 l., 1 sq., 3 l., 1 sq., 9 l., 40 sq., 3 l., 2 sq., 6 l., 1 sq., 3 l. 102nd: 4 l., 1 sq., 6 l., 1 sq., 9 l., 37 sq., 15 l., 1 sq., 3 l., 1 sq., 24 l., 2 sq., 24 l., 4 sq., 9 l., 1 sq., 12 l., 18 sq., 9 l., 1 sq., 6 l., 1 sq., 3 l. 103rd: 4 l., 1 sq., 6 l., 2 sq., 3 l., 17 sq., 33 l., 3 sq., 24 l., 1 sq., 3 l., 1 sq., 15 l., 2 sq., 3 l., 2 sq., 15 l., 37 sq., 3 l., 2 sq. 6 l., 1 sq., 3 l. 104th: 4 l., 1 sq., 6 l., 6 sq., 9 l., 28 sq., 18 l., 4 sq., 3 l., 5 sq., 3 l., 3 sq., 3 l., 1 sq., 18 l., 4 sq., 6 l., 1 sq., 27 l., 10 sq., 9 l., 6 sq., 6 l., 1 sq., 3 l. 105th: 4 l., 1 sq., 9 l., 2 sq., 3 l., 1 sq., 15 l., 9 sq., 18 l., 1 sq., 6 l., 1 sq., 6 l., 5 sq., 12 l., 2 sq., 3 l., 3 sq., 3 l., 6 sq., 3 l., 13 sq., 3 l., 3 sq., 3 l., 18 sq., 15 l., 1 sq., 3 l., 2 sq., 9 l., 1 sq., 3 l. now repeat from 2nd row until of sufficient length. * * * * * centre stripe for a bed quilt, rose garland pattern. materials.--brooks' great exhibition prize goat's-head crochet cotton. penelope hook. make a chain of about 360 stitches, turn back and work 118 squares. 1st row: ** 4 l., 1 sq., 15 l., 2 sq., 15 l.,* 21 sq., 9 l., 1 sq., 3 l., 1 sq., 15 l., 7 sq., 12 l., 2 sq., 3 l., 3 sq., 6 l., 4 sq., 6 l., 2 sq., 6 l., 2 sq., 12 l., 23 sq. now repeat from * to ** beginning at 15 l., and working these figures backwards, but always ending every row with 3 l. instead of 4 l., this is to make the border both sides alike. 2nd: ** 4 l., 1 sq., 9 l., 4 sq., 15 l., * 15 sq., 18 l., 2 sq., 15 l., 4 sq., 6 l., 4 sq., 9 l., 3 sq., 3 l., 4 sq., 9 l., 5 sq., 12 l., 1 sq., 6 l., 2 sq., 9 l., 21 sq., repeat from * to **. 3rd: ** 4 l., 2 sq., 9 l., 2 sq., 3 l., 1 sq., 9 l., 1 sq., 9 l., * 18 sq., 12 l., 1 sq., 6 l., 1 sq., 15 l., 3 sq., 3 l., 7 sq., 6 l., 2 sq., 6 l., 5 sq., 12 l., 4 sq., 6 l., 1 sq., 30 l., 10 sq., repeat from * to **. 4th: ** 4 l., 2 sq., 18 l., 1 sq., 3 l., 2 sq., 15 l., * 8 sq., 18 l., 3 sq., 9 l., 1 sq., 15 l., 4 sq., 9 l., 2 sq., 3 l., 1 sq., 3 l., 3 sq., 3 l., 10 sq., 6 l., 1 sq., 6 l., 1 sq., 3 l., 4 sq., 6 l., 17 sq., repeat from * to **. 5th: ** 4 l., 2 sq., 15 l., 2 sq., 3 l., 2 sq., 15 l., * 17 sq., 15 l., 1 sq., 3 l., 1 sq., 6 l., 1 sq., 6 l., 10 sq., 3 l., 3 sq., 3 l., 1 sq., 3 l., 3 sq., 15 l., 1 sq., 12 l., 1 sq., 9 l., 3 sq., 9 l., 3 sq., 9 l., 7 sq., repeat from * to **. 6th: ** 4 l., 3 sq., 6 l., 3 sq., 3 l., 3 sq., 15 l., * 7 sq., 15 l., 2 sq., 9 l., 1 sq., 9 l., 4 sq., 9 l., 2 sq., 3 l., 3 sq., 6 l., 1 sq., 6 l., 13 sq., 6 l., 1 sq., 6 l., 2 sq., 18 l., 17 sq., repeat from * to **. 7th: ** 4 l., 1 sq., 3 l., 1 sq., 15 l., 3 sq., 15 l.,* 19 sq., 6 l., 5 sq., 3 l., 2 sq., 6 l., 12 sq., 6 l., 3 sq., 3 l., 3 sq., 6 l., 3 sq., 9 l., 1 sq., 9 l., 1 sq., 9 l., 2 sq., 6 l., 7 sq., repeat from * to **. 8th: ** 4 l., 1 sq., 3 l., 2 sq., 9 l., 2 sq., 6 l., 5 sq., 9 l., * 4 sq., 9 l., 2 sq., 6 l., 1 sq., 3 l., 4 sq., 4 l., 1 sq., 9 l., 5 sq., 3 l., 4 sq., 3 l., 3 sq., 6 l., 3 sq., 15 l., 3 sq., 3 l., 1 sq., 6 l, 2 sq., 21 l., 16 sq., repeat from * to **. 9th: ** 4 l., 1 sq., 6 l., 3 sq., 9 l., 2 sq., 9 l., 1 sq., 15 l., * 16 sq., 21 l., 2 sq., 3 l., 1 sq., 3 l., 2 sq., 21 l., 1 sq., 3 l., 1 sq., 5 l., 3 sq., 3 l., 4 sq., 6 l., 2 sq., 18 l., 1 sq., 12 l., 5 sq., 12 l., 3 sq., repeat from * to **. 10th: ** 4 l., 1 sq., 9 l., 4 sq., 36 l., * 2 sq., 6 l., 4 sq., 6 l., 1 sq., 39 l, 1 sq., 3 l., 5 sq., 3 l., 3 sq., 3 l., 2 sq., 12 l., 2 sq., 6 l., 2 sq., 3 l., 7 sq., 9 l., 17 sq., repeat from * to **. 11th: ** 4 l., 1 sq., 6 l., 3 sq., 9 l., 2 sq., 9 l., 1 sq., 15 l., * 18 sq., 24 l., 1 sq., 3 l., 4 sq., 18 l., 2 sq., 6 l., 2 sq., 3 l., 5 sq., 3 l., 1 sq., 39 l., 1 sq., 6 l., 1 sq., 15 l., 2 sq., repeat from * to **. 12th: ** 4 l., 1 sq., 3 l., 2 sq., 9 l., 2 sq., 6 l., 5 sq., 9 l., * 4 sq., 9 l., 1 sq., 9 l., 1 sq., 21 l., 1 sq., 15 l., 1 sq., 3 l., 5 sq., 3 l., 5 sq., 12 l., 2 sq., 6 l., 3 sq., 24 l., 21 sq., repeat from * to **. 13th: ** 4 l., 1 sq., 3 l., 1 sq., 15 l., 3 sq., 15 l., * 31 sq., 6 l., 2 sq., 3 l., 2 sq., 18 l., 4 sq., 3 l., 1 sq., 12 l., 2 sq., 6 l., 1 sq., 3 l. 1 sq., 6 l., 1 sq., 12 l., 4 sq., 12 l., 8 sq., repeat from * to **. 14th: ** 4 l., 3 sq., 6 l., 3 sq., 3 l., 3 sq., 15 l, * 9 sq., 3 l, 1 sq., 9 l., 2 sq., 6 l., 7 sq., 6 l., 1 sq. 18 l., 5 sq., 6 l, 2 sq., 9 l., 2 sq., 6 l., 1 sq., 6 l., 2 sq., 27 l., 18 sq., repeat from n * to **. 15th: ** 4 l., 2 sq., 15 l., 2 sq., 3 l., 2 sq., 15 l., * 16 sq., 42 l., 1 sq., 6 l., 1 sq., 3 l., 1 sq., 6 l., 2 sq., 12 l., 4 sq., 18 l., 1 sq., 3 l., 2 sq., 18 l., 2 sq., 18 l., 10 sq., repeat from * to **. 16th: ** 4 l., 2 sq., 18 l., 1 sq., 3 l., 2 sq., 15 l., * 10 sq., 15 l., 1 sq., 9 l., 2 sq., 15 l., 2 sq., 24 l., 2 sq., 15 l., 3 sq., 6 l., 1 sq., 6 l., 2 sq., 3 l., 2 sq., 3 l., 6 sq., 12 l., 15 sq., repeat from * to **. [illustration: center stripe for bed quilt.] 17th: ** 4 l., 2 sq., 9 l., 2 sq., 3 l., 1 sq., 9 l., 1 sq., 9 l., * 15 sq., 30 l., 3 sq., 6 l., 2 sq., 6 l., 1 sq., 6 l., 1 sq., 3 l., 4 sq., 6 l., 1 sq., 24 l., 1 sq., 27 l., 1 sq., 9 l., 1 sq., 12 l., 11 sq., repeat from * to **. 18th: ** 4 l., 1 sq., 9 l., 4 sq., 15 l., * 15 sq., 3 l., 2 sq., 12 l., 1 sq., 30 l., 2 sq., 21 l., 1 sq., 9 l., 1 sq., 6 l., 1 sq., 6 l., 1 sq., 6 l., 2 sq., 6 l., 1 sq., 3 l., 4 sq., 21 l., 17 sq., repeat from * to **. 19th: ** 4 l., 1 sq., 15 l., 2 sq., 15 l., * 17 sq., 6 l., 7 sq., 3 l., 1 sq., 6 l., 1 sq., 6 l., 2 sq., 9 l., 1 sq., 6 l., 1 sq., 15 l., 1 sq., 24 l., 1 sq., 30 l., 1 sq., 3 l., 2 sq., 3 l., 1 sq., 12 l., 13 sq., repeat from * to **. 20th: ** 4 l., 1 sq., 9 l., 2 sq., 3 l., 1 sq., 15 l., * 13 sq., 9 l., 1 sq., 3 l., 1 sq., 6 l., 1 sq., 3 l., 1 sq., 30 l., 1 sq., 21 l., 2 sq., 30 l., 3 sq., 6 l., 1 sq., 6 l., 1 sq., 6 l., 2 sq., 21 l., 16 sq., repeat from * to **. 21st: ** 4 l., 1 sq., 6 l., 6 sq., 9 l., * 17 sq., 15 l., 2 sq., 3 l., 1 sq., 6 l., 1 sq., 15 l., 5 sq., 18 l., 5 sq., 15 l., 2 sq., 24 l., 4 sq., 12 l., 1 sq., 12 l., 14 sq., repeat from * to **. 22nd: ** 4 l., 1 sq., 6 l., 2 sq., 3 l., * 20 sq., 12 l., 1 sq., 9 l., 1 sq., 9 l., 1 sq., 24 l., 1 sq., 3 l., 2 sq., 9 l., 8 sq., 3 l., 8 sq., 12 l., 1 sq., 6 l., 1 sq., 6 l., 4 sq., 6 l., 23 sq., repeat from * to **. 23rd: ** 4 l., 1 sq., 6 l., 1 sq., 9 l., * 22 sq., 12 l., 2 sq., 6 l., 1 sq., 6 l., 1 sq., 12 l., 8 sq., 3 l., 7 sq., 21 l., 1 sq., 21 l., 1 sq., 15 l., 2 sq., 3 l., 1 sq., 9 l., 20 sq., repeat from * to **. 24th: ** 4 l., 1 sq., 6 l., 2 sq., 3 l., * 24 sq., 6 l., 5 sq., 9 l., 2 sq., 12 l., 2 sq., 21 l., 3 sq., 9 l., 2 sq., 9 l., 6 sq., 18 l., 1 sq., 6 l., 1 sq., 3 l., 1 sq., 9 l., 23 sq., repeat from * to **. 25th: ** 4 l., 1 sq., 6 l., 6 sq., 9 l., * 17 sq., 6 l., 1 sq., 6 l., 1 sq., 24 l., 6 sq., 30 l., 2 sq., 18 l., 2 sq., 3 l., 5 sq., 12 l., 5 sq., 3 l., 1 sq., 6 l., 16 sq., repeat from * to **. 26th: ** 4 l., 1 sq., 9 l., 2 sq., 3 l., 1 sq., 15 l., * 15 sq., 6 l., 1 sq., 3 l., 6 sq., 6 l., 1 sq., 18 l., 2 sq., 15 l., 2 sq., 36 l., 7 sq., 36 l., 16 sq., repeat from * to **. 27th: ** 4 l., 1 sq., 15 l., 2 sq., 15 l., * 16 sq., 27 l., 10 sq., 36 l., 3 sq., 9 l., 1 sq., 3 l., 1 sq., 18 l., 8 sq., 3 l., 1 sq., 9 l., 1 sq., 9 l., 11 sq., repeat from * to **. 28th: ** 4 l., 1 sq., 9 l., 4 sq., 15 l., * 10 sq., 12 l., 2 sq., 9 l., 2 sq., 3 l., 3 sq., 9 l., 1 sq., 15 l., 1 sq., 6 l., 4 sq., 24 l., 1 sq., 15 l., 2 sq., 12 l., 29 sq., repeat from * to **. 29th: ** 4 l., 2 sq., 9 l., 2 sq., 3 l., 1 sq., 9 l., 1 sq., 9 l., * 25 sq., 21 l., 1 sq., 12 l., 1 sq., 27 l., 3 sq., 9 l., 1 sq., 15 l., 1 sq., 6 l., 2 sq., 3 l., 1 sq., 12 l., 2 sq., 9 l., 1 sq., 6 l., 6 sq., repeat from * to **. 30th: ** 4 l., 2 sq., 18 l., 1 sq., 3 l., 2 sq., 15 l., * 5 sq., 9 l., 1 sq., 3 l., 3 sq., 9 l., 1 sq., 3 l., 2 sq., 9 l., 1 sq., 15 l., 1 sq., 12 l., 2 sq., 24 l., 1 sq., 9 l., 2 sq., 27 l., 23 sq., repeat from * to **. 31st: ** 4 l., 2 sq., 15 l., 2 sq., 3 l., 2 sq., 15 l., * 23 sq., 21 l., 9 sq., 3 l., 1 sq., 15 l., 2 sq., 12 l., 2 sq., 15 l., 3 sq., 6 l., 1 sq., 3 l., 4 sq., 3 l., 5 sq., 6 l., 4 sq., repeat from * to **. 32nd: ** 4 l., 3 sq., 6 l., 3 sq., 3 l., 3 sq., 15 l., * 4 sq., 15 l., 1 sq., 15 l., 1 sq., 6 l., 2 sq., 18 l., 2 sq., 3 l., 1 sq., 12 l., 2 sq., 15 l., 2 sq., 12 l., 1 sq., 12 l., 4 sq., 9 l., 23 sq., repeat from * to **. 33rd: ** 4 l., 1 sq., 3 .., 1 sq., 15 l., 3 sq., 15 l., * 25 sq., 9 l., 1 sq., 15 l., 1 sq., 21 l., 1 sq., 9 l., 3 sq., 18 l., 1 sq., 3 l., 6 sq., 12 l., 3 sq., 12 l., 1 sq., 9 l., 6 sq., repeat from * to **. 34th: ** 4 l., 1 sq., 3 l., 2 sq., 9 l., 2 sq., 6 l., 5 sq., 9 l., * 5 sq., 15 l., 1 sq., 9 l., 1 sq., 6 l., 1 sq., 39 l., 7 sq., 24 l., 1 sq., 18 l., 2 sq., 6 l., 9 sq., 3 l., 11 sq., repeat from * to **. 35th: ** 4 l., 1 sq., 6 l., 3 sq., 9 l., 2 sq., 9 l., 1 sq., 15 l., * 8 sq., 3 l., 2 sq., 3 l., 7 sq., 12 l., 1 sq., 18 l., 1 sq., 24 l., 1 sq., 18 l., 1 sq., 9 l., 1 sq., 12 l., 1 sq., 9 l., 6 sq., 6 l., 9 sq., repeat from * to **. 36th: ** 4 l., 1 sq., 9 l., 4 sq., 36 l., * 9 sq., 18 l., 3 sq., 6 l., 2 sq., 6 l., 5 sq., 18 l., 1 sq., 27 l., 1 sq., 21 l., 1 sq., 9 l., 5 sq., 3 l., 1 sq., 9 l., 9 sq., repeat from * to **. 37th: ** 4 l., 1 sq., 6 l., 3 sq., 9 l., 2 sq., 9 l., 1 sq., 15 l., * 11 sq., 9 l., 6 sq., 6 l., 1 sq., 12 l., 1 sq., 6 l., 2 sq., 24 l., 3 sq., 4 l., 8 sq., 3 l., 3 sq., 3 l., 2 sq., 18 l., 8 sq., repeat from * to **. 38th: ** 4 l., 1 sq., 3 l., 2 sq., 9 l., 2 sq., 6 l., 5 sq., 9 l, * 9 sq., 6 l., 5 sq., 12 l., 1 sq., 3 l., 7 sq., 18 l., 1 sq., 27 l., 1 sq., 3 l., 2 sq., 3 l., 2 sq., 6 l., 1 sq., 3 l., 8 sq., 3 l., 3 sq., 3 l., 9 sq., repeat from * to **. 39th: ** 4 l., 1 sq., 3 l., 1 sq., 15 l., 3 sq., 15 l., * 13 sq., 12 l., 6 sq., 9 l., 1 sq., 3 l., 1 sq., 9 l., 1 sq., 9 l., 1 sq., 24 l., 2 sq., 15 l., 7 sq., 12 l., 4 sq., 91., 1 sq., 3 l., 12 sq., repeat from * to **. 40th: ** 4 l., 3 sq., 6 l., 3 sq., 3 l., 3 sq., 15 l., * 11 sq., 12 l., 1 sq., 9 l., 2 sq., 9 l., 7 sq., 12 l., 1 sq., 3 l., 1 sq., 18 l., 2 sq., 12 l., 1 sq., 9 l., 1 sq., 3 l, 1 sq., 9 l., 2 sq., 9 l., 1 sq., 18 l., 10 sq., repeat from * to **. 41st: ** 4 l., 2 sq., 15 l., 2 sq., 3 l., 2 sq., 15 l., * 7 sq., 3 l., 1 sq., 39 l., 1 sq., 6 l., 1 sq., 3 l., 1 sq., 3 l., 4 sq., 12 l., 1 sq., 12 l, 1 sq., 3 l., 1 sq., 15 l., 1 sq., 3 l., 3 sq., 3 l., 2 sq., 9 l., 1 sq., 9 l., 4 sq., 6 l., 11 sq., repeat from * to **. 42nd: ** 4 l., 2 sq., 18 l., 1 sq., 3 l., 2 sq., 15 l., * 11 sq., 9 l., 1 sq., 3 l., 2 sq., 6 l., 1 sq., 6 l., 3 sq., 15 l, 2 sq., 9 l., 2 sq., 3 l., 1 sq., 9 l., 2 sq., 6 l., 7 sq., 3 l., 1 sq., 3 l., 4 sq., 24 l., 3 sq., 6 l., 2 sq., 6 l., 3 sq., repeat from * to **. 43rd: ** 4 l., 2 sq., 9 l., 2 sq., 3 l., 1 sq., 9 l., 1 sq., 9 l., * 6 sq., 12 l., 1 sq., 6 l., 3 sq., 15 l., 4 sq., 6 l., 1 sq., 3 l., 1 sq., 3 l., 5 sq., 6 l., 1 sq., 3 l., 3 sq., 6 l., 1 sq., 15 l., 2 sq., 9 l., 4 sq., 15 l., 1 sq., 6 l., 1 sq., 9 l., 12 sq., repeat from * to **. 44th: ** 4 l., 1 sq., 9 l., 4 sq., 15 l., * 16 sq., 6 l., 1 sq., 6 l., 1 sq., 12 l., 10 sq., 18 l., 1 sq., 12 l., 1 sq., 3 l., 1 sq., 3 l., 4 sq., 3 l., 1 sq., 3 l., 1 sq., 9 l., 7 sq., 9 l., 4 sq., 3 l., 13 sq., repeat from * to **. 45th: ** 4 l., 1 sq., 15 l., 2 sq., 15 l., * 11 sq., 6 l., 1 sq., 21 l., 5 sq., 6 l., 1 sq., 9 l., 1 sq., 3 l., 6 sq., 9 l., 1 sq., 9 l., 1 sq., 18 l., 11 sq., 18 l., 1 sq., 6 l., 16 sq., repeat from * to **. 46th: ** 4 l., 1 sq., 9 l., 2 sq., 3 l., 1 sq., 15 l., * 17 sq., 18 l., 3 sq., 3 l., 1 sq., 3 l., 7 sq., 15 l., 1 sq., 3 l., 1 sq., 6 l., 1 sq., 9 l., 4 sq., 3 l., 1 sq., 6 l., 5 sq., 9 l., 2 sq., 3 l., 1 sq., 15 l., 15 sq., repeat from * to **. 47th: ** 4 l., 1 sq., 6 l., 6 sq., 9 l., * 15 sq., 3 l., 4 sq., 3 l., 3 sq., 6 l., 1 sq., 3 l., 5 sq., 9 l., 1 sq., 18 l., 1 sq., 6 l., 1 sq., 6 l., 2 sq., 9 l., 9 sq., 3 l., 7 sq., 6 l., 19 sq., repeat from * to **. 48th: ** 4 l., 1 sq., 6 l., 2 sq., 3 l., * 29 sq., 9 l., 2 sq., 3 l., 8 sq., 3 l., 4 sq., 12 l., 2 sq., 3 l., 2 sq., 3 l., 2 sq., 12 l., 5 sq., 3 l., 3 sq., 6 l., 3 sq., 3 l., 25 sq., repeat from * to **. 49th: ** 4 l., 1 sq., 6 l., 1 sq., 9 l., * 26 sq., 12 l., 3 sq., 3 l., 6 sq., 12 l., 1 sq., 9 l., 1 sq., 3 l., 1 sq., 12 l., 4 sq., 6 l., 8 sq., 9 l., 30 sq., repeat from * to **. 50th: ** 4 l., 1 sq., 6 l., 2 sq., 3 l., * 24 sq., 12 l., 4 sq., 9 l., 3 sq., 15 l., 5 sq., 30 l., 1 sq., 9 l., 11 sq., 15 l., 3 sq., 3 l., 22 sq., repeat from * to **. 51st: ** 4 l., 1 sq., 6 l., 6 sq., 9 l., * 13 sq., 3 l., 3 sq., 3 l., 2 sq., 15 l., 10 sq., 3 l., 4 sq., 15 l., 1 sq., 9 l., 6 sq., 18 l., 1 sq., 6 l., 5 sq., 9 l., 2 sq., 3 l., 17 sq., repeat from * to ** . 52nd: ** 4 l., 1 sq., 9 l., 2 sq., 3 l., 1 sq., 15 l., * 22 sq., 15 l., 1 sq., 3 l., 1 sq., 18 l., 1 sq., 3 l., 1 sq., 18 l., 8 sq., 3 l., 1 sq., 12 l., 3 sq., 12 l., 10 sq., 30 l., 13 sq., repeat from * to **. 53rd: ** 4 l., 1 sq., 15 l., 2 sq., 15 l., * 11 sq., 6 l., 2 sq., 21 l., 10 sq., 6 l., 5 sq., 3 l., 5 sq., 3 l., 8 sq., 48 l., 20 sq., repeat from * to **. 54th: ** 4 l., 1 sq., 9 l., 4 sq., 15 l., * 19 sq., 3 l., 3 sq., 39 l., 3 sq., 3 l., 3 sq., 6 l., 2 sq., 3 l, 1 sq., 12 l., 1 sq., 12 l., 7 sq., 15 l., 1 sq., 15 l., 3 sq., 3 l., 10 sq., repeat from * to ** . 55th: ** 4 l., 2 sq., 9 l., 2 sq., 3 l., 1 sq., 9 l., 1 sq., 9 l., * 11 sq., 15 l., 1 sq., 9 l., 2 sq., 3 l., 5 sq., 12 l., 4 sq., 6 l., 1 sq., 3 l., 3 sq., 15 l., 6 sq., 12 l., 1 sq., 15 l., 2 sq., 15 l., 15 sq., repeat from * to **. 56th: ** 4 l., 2 sq., 18 l., 1 sq., 3 l., 2 sq., 15 l., * 12 sq., 3 l., 1 sq., 21 l., 5 sq., 9 l., 7 sq., 6 l., 1 sq., 3 l., 3 sq., 9 l., 2 sq., 6 l., 3 sq., 6 l., 8 sq., 12 l., 1 sq., 15 l., 9 sq., repeat from * to **. 57th: ** 4 l., 2 sq., 15 l., 2 sq., 3 l., 2 sq., 15 l., * 8 sq., 3 l., 1 sq., 6 l., 3 sq., 15 l., 7 sq., 12 l., 1 sq., 9 l., 1 sq., 9 l., 3 sq., 3 l., 9 sq., 21 l., 1 sq., 24 l., 1 sq., 12 l., 8 sq., repeat from * to **. 58th: ** 4 l., 3 sq., 6 l., 3 sq., 3 l., 3 sq., 15 l., * 7 sq., 3 l., 2 sq., 3 l., 2 sq., 21 l., 1 sq., 18 l., 1 sq., 9 l, 3 sq., 3 l., 4 sq., 3 l., 3 sq., 9 l., 1 sq., 6 l., 3 sq., 9 l., 6 sq., 6 l., 1 sq., 9 l., 1 sq., 3 l., 2 sq., 3 l., 10 sq., repeat from * to **. 59th: ** 4 l., 1 sq., 3 l., 1 sq., 15 l., 3 sq., 15 l., * 11 sq., 3 l., 1 sq., 3 l., 2 sq., 9 l., 2 sq., 3 l., 6 sq., 6 l., 2 sq., 3 l., 2 sq., 12 l., 4 sq., 3 l., 5 sq., 18 l., 1 sq., 21 l., 4 sq., 9 l., 2 sq., 3 l., 11 sq., repeat from * to **. 60th: ** 4 l., 1 sq., 3 l., 2 sq., 9 l., 2 sq., 6 l., 5 sq., 9 l., * 11 sq., 6 l., 1 sq., 9 l., 1 sq., 21 l., 1 sq., 3 l., 1 sq., 9 l., 6 sq., 3 l., 4 sq., 12 l., 1 sq., 6 l., 1 sq., 9 l., 6 sq., 3 l., 1 sq., 3 l., 1 sq., 9 l., 3 sq., 9 l., 6 sq., repeat from * to **. 61st: ** 4 l., 1 sq., 6 l., 3 sq., 9 l., 2 sq., 9 l., 1 sq., 15 l., * 4 sq., 3 l., 2 sq., 15 l., 1 sq., 3 l, 4 sq., 31., 6 sq., 6 l., 1 sq., 6 l., 1 sq., 9 l., 5 sq., 3 l., 4 sq., 15 l., 1 sq., 3 l., 1 sq., 24 l., 1 sq., 3 l., 3 sq., 3 l., 10 sq., repeat from * to **. 62nd: ** 4 l., 1 sq., 9 l., 4 sq., 36 l., * 10 sq., 3 l., 3 sq., 3 l., 1 sq., 24 l., 1 sq., 3 l., 2 sq., 3 l., 1 sq., 15 l., 1 sq., 6 l., 5 sq., 24 l., 11 sq., 3 l., 4 sq., 9 l., 6 sq., repeat from * to **. 63rd: ** 4 l., 1 sq., 6 l., 3 sq., 9 l., 2 sq., 9 l., 1 sq., 15 l., * 5 sq., 6 l., 1 sq., 3 l., 3 sq., 3 l., 13 sq., 15 l., 5 sq., 12 l., 3 sq., 3 l., 1 sq., 3 l., 1 sq., 3 l., 2 sq., 6 l., 1 sq., 21 l., 1 sq., 3 l., 3 sq., 3 l., 10 sq., repeat from * to **. 64th: ** 4 l., 1 sq., 3 l., 2 sq., 9 l., 2 sq., 6 l., 5 sq., 9 l., * 5 sq., 3 l., 4 sq., 6 l., 4 sq., 21 l., 2 sq., 6 l., 2 sq., 3 l., 3 sq., 6 l., 2 sq., 6 l., 3 sq., 3 l., 2 sq., 3 l., 21 sq., 3 l., 2 sq., 6 l., 6 sq., repeat from * to *** 65th: ** 4 l., 1 sq., 3 l., 1 sq., 15 l., 3 sq., 15 l., * 9 sq., 3 l., 25 sq., 3 l., 2 sq., 15 l., 3 sq., 3 l., 3 sq., 3 l., 4 sq., 9 l., 2 sq., 48 l., 8 sq., repeat from * to **. 66th: ** 4 l., 3 sq., 6 l., 3 sq., 3 l., 3 sq., 15 l., * 8 sq., 6 l., 2 sq., 3 l., 3 sq., 3 l., 9 sq., 3 l., 1 sq., 3 l., 7 sq., 3 l., 3 sq., 3 l., 1 sq., 6 l., 2 sq., 6 l., 25 sq., 3 l., 8 sq., repeat from * to **. 67th: ** 4 l., 2 sq., 15 l., 2 sq., 3 l., 2 sq., 15 l., * 7 sq., 3 l., 11 sq., 21 l., 8 sq., 6 l., 5 sq., 3 l., 2 sq., 3 l., 8 sq., 3 l., 2 sq., 9 l., 6 sq., 3 l., 3 sq., 9 l., 4 sq., 3 l., 5 sq., repeat from * to **. 68th: ** 4 l., 2 sq., 18 l., 1 sq., 3 l., 2 sq., 15 l., * 6 sq., 18 l., 1 sq., 3 l., 2 sq., 6 l., 4 sq., 3 l., 6 sq., 3 l., 10 sq., 6 l., 3 sq., 9 l., 6 sq., 21 l., 1 sq., 3 l., 19 sq., repeat from * to **. 69th: ** 4 l., 2 sq., 9 l., 2 sq., 3 l., 1 sq., 9 l., 1 sq., 9 l., * 19 sq., 9 l., 1 sq., 3 l., 1 sq., 15 l., 5 sq., 3 l., 1 sq., 6 l., 2 sq., 3 l., 1 sq., 3 l, 21 sq., 3 l., 1 sq., 3 l., 4 sq., 9 l., 9 sq., repeat from * to **. 70th: ** 4 l., 1 sq., 9 l., 4 sq., 15 l., * 11 sq., 12 l., 30 sq., 3 l., 3 sq., 3 l., 1 sq., 3 l., 4 sq., 9 l., 1 sq., 6 l., 1 sq., 3 l., 2 sq., 6 l., 22 sq., repeat from * to **. 71st: ** 4 l., 1 sq., 15 l., 2 sq., 15 l., * 22 sq., 12 l., 2 sq., 6 l., 1 sq., 9 l., 4 sq., 3 l., 2 sq., 3 l., 2 sq., 3 l., 6 sq., 3 l., 23 sq., 3 l., 1 sq., 6 l., 11 sq., repeat from * to **. 72nd: t 4 l., 1 sq., 9 l., 2 sq., 3 l., 1 sq., 15 l., * 10 sq., 6 l, 2 sq., 3 l., 23 sq., 9 l., 5 sq., 6 l., 2 sq., 9 l., 2 sq., 12 l., 1 sq., 9 l., 4 sq., 3 l., 22 sq., repeat from * to **. 73rd: ** 4 l., 1 sq., 6 l., 6 sq., 9 l., * 23 sq., 12 l., 2 sq., 3 l., 2 sq., 12 l., 1 sq., 6 l., 1 sq., 3 l., 3 sq., 24 l., 6 sq., 3 l., 16 sq., 3 l., 4 sq., 3 l., 11 sq., repeat from * to **. 74th: ** 4 l., 1 sq., 6 l., 2 sq. 3 l, * 17 sq., 3 l., 11 sq., 15 1., 6 sq., 36 l., 2 sq., 6 l., 1 sq., 3 l., 4 sq., 6 l., 1 sq., 6 l., 3 sq., 15 l., 29 sq., repeat from * to **. 75th: ** 4 l., 1 sq., 6 l., 1 sq., 9 l., * 28 sq., 6 l., 4 sq., 12 l., 1 sq., 6 l., 4 sq., 3 l., 1 sq., 3 l., 2 sq., 3 l., 1 sq., 30 l., 4 sq., 18 l., 1 sq., 6 l., 10 sq., 3 l., 16 sq., repeat from * to **. 76th: ** 4 l., 1 sq., 6 l., 2 sq., 3 l., * 28 sq., 9 l., 1 sq., 3 l., 1 sq., 15 l., 7 sq., 12 l., 2 sq., 3 l., 2 sq., 6 l., 5 sq., 6 l., 2 sq., 6 l., 2 sq., 12 l., 30 sq., repeat from * to **. 77th: ** 4 l., 1 sq., 6 l, 6 sq., 9 l., * 16 sq., 18 l., 2 sq., 15 l., 4 sq., 6 l., 4 sq., 9 l., 3 sq., 3 l., 4 sq., 9 l., 5 sq., 12 l., 1 sq., 6 l., 2 sq., 9 l., 22 sq., repeat from * to **. 78th: ** 4 l., 1 sq., 9 l., 2 sq., 3 l., 1 sq., 15 l., 21 sq., 12 l., 1 sq., 6 l., 1 sq., 15 l., 3 sq., 3 l., 7 sq., 3 l., 3 sq., 15 l., 2 sq., 12 l., 4 sq., 6 l., 1 sq., 30 l., 13 sq., repeat from * to **. 79th: ** 4 l., 1 sq., 15 l., 2 sq., 15 l., * 12 sq., 18 l., 3 sq., 9 l., 1 sq., 15 l., 4 sq., 9 l., 2 sq., 3 l., 1 sq., 3 l., 3 sq., 3 l., 10 sq., 6 l., 1 sq., 6 l., 1 sq., 3 l., 4 sq., 6 l., 21 sq., repeat from * to **. 80th: ** 4 l., 1 sq., 9 l., 4 sq., 15 l., * 21 sq., 15 l., 1 sq., 3 l., 1 sq., 6 l., 1 sq., 9 l., 9 sq., 3 l., 3 sq. 3 l., 1 sq., 3 l., 3 sq., 15 l., 1 sq., 15 l., 1 sq., 9 l., 2 sq., 9 l., 2 sq., 9 l., 3 sq., 9 l., 11 sq., repeat from * to **. 81st: ** 4 l., 2 sq., 9 l., 2 sq., 3 l., 1 sq., 9 l., 1 sq., 9 l., * 8 sq., 15 l., 2 sq., 9 l., 1 sq., 9 l., 4 sq., 9 l., 2 sq., 3 l., 3 sq., 6 l, 1 sq., 6 l., 3 sq., 3 l., 8 sq., 9 l., 1 sq., 6 l., 2 sq., 18 l., 18 sq., repeat from * to **. 82nd: ** 4 l., 2 sq., 18 l., 1 sq., 3 l., 2 sq., 15 l., * 18 sq., 6 l., 5 sq., 3 l., 2 sq., 9 l., 7 sq., 3 l., 3 sq., 6 l., 3 sq., 3 l., 3 sq., 6 l., 3 sq., 6 l., 3 sq., 9 l., 1 sq., 9 l., 1 sq., 9 l., 2 sq., 6 l., 6 sq., repeat from * to **. 83rd: ** 4 l., 2 sq., 15 l., 2 sq., 3 l., 2 sq., 15 l., * 6 sq., 9 l., 2 sq., 6 l., 1 sq., 3 l., 4 sq., 3 l., 1 sq., 9 l., 5 sq., 3 l., 4 sq., 3 l., 3 sq., 6 l., 4 sq., 15 l., 2 sq., 3 l., 1 sq., 6 l., 2 sq., 21 l., 18 sq., repeat from * to **. 84th: ** 4 l., 3 sq., 6 l., 3 sq., 3 l., 3 sq., 15 l., * 19 sq., 21 l., 2 sq., 3 l., 1 sq., 3 l., 1 sq., 24 l., 1 sq., 3 l., 1 sq., 3 l., 3 sq., 3 l., 4 sq., 6 l. 2 sq., 18 l., 1 sq., 12 l., 5 sq., 12 l., 6 sq., repeat from * to **. 85th: ** 4 l., 1 sq., 3 l., 1 sq., 15 l., 3 sq., 15 l., * 6 sq., 6 l., 4 sq., 6 l., 1 sq., 39 l., 1 sq., 3 l., 5 sq., 3 l., 3 sq., 3 l., 2 sq., 12 l., 3 sq., 6 l., 1 sq., 3 l., 7 sq., 9 l., 21 sq., repeat from * to **. 86th: ** 4 l., 1 sq., 3 l., 2 sq., 9 l., 2 sq., 6 l., 6 sq., 9 l., * 19 sq., 24 l., 1 sq., 3 l., 1 sq., 3 l., 2 sq., 18 l., 3 sq., 3 l., 2 sq., 3 l., 5 sq., 3 l., 1 sq., 39 l., 1 sq., 6 l., 1 sq., 15 l., 3 sq., repeat from * to **. 87th: ** 4 l., 1 sq., 6 l., 3 sq., 9 l, 2 sq., 9 l., 1 sq., 15 l., * 3 sq., 9 l., 1 sq., 9 l., 1 sq., 21 l., 1 sq., 15 l., 1 sq., 3 l., 5 sq., 3 l., 5 sq., 9 l., 3 sq., 6 l., 1 sq., 3 l., 1 sq., 24 l., 20 sq., repeat from * to **. 88th: ** 4 l., 1 sq., 9 l., 4 sq., 36 l., * 27 sq., 6 l., 2 sq., 3 l., 2 sq., 15 l., 5 sq., 3 l., 1 sq., 12 l., 2 sq., 6 l., 1 sq., 3 l., 1 sq., 6 l., 1 sq., 12 l., 4 sq., 12 l., 4 sq., repeat from * to **. 89th: ** 4 l, 1 sq., 6 l., 3 sq., 9 l., 2 sq., 9 l., 1 sq., 15 l., * 6 sq., 3 l., 1 sq., 9 l., 2 sq., 6 l., 7 sq., 6 l., 1 sq., 18 l., 6 sq., 3 l., 2 sq., 9 l., 2 sq., 6 l., 1 sq., 6 l., 2 sq., 27 l., 15 sq., repeat from * to **. 90th: ** 4 l., 1 sq., 3 l., 2 sq., 9 l., 2 sq., 6 l., 5 sq., 9 l., * 14 sq., 42 l., 1 sq., 6 l., 1 sq., 3 l., 1 sq., 6 l., 2 sq., 9 l., 5 sq., 18 l., 1 sq., 3 l., 2 sq., 18 l., 2 sq., 18 l., 8 sq., repeat from * to **. 91st: ** 4 l., 1 sq., 3 l., 1 sq., 15 l., 3 sq., 15 l., * 11 sq., 15 l., 1 sq., 9 l., 2 sq., 15 l, 2 sq., 24 l., 2 sq., 15 l., 3 sq., 6 l., 1 sq., 6 l., 2 sq., 3 l., 2 sq., 3 l., 6 sq., 12 l., 16 sq., repeat from * to **. 92nd: ** 4 l., 3 sq., 6 l., 3 sq., 3 l., 3 sq., 15 l., * 14 sq., 30 l., 3 sq., 6 l., 2 sq., 6 l., 1 sq., 6 l., 1 sq., 3 l., 4 sq., 6 l., 1 sq., 24 l., 1 sq., 27 l., 1 sq., 9 l., 1 sq., 12 l., 10 sq., repeat from * to **. 93rd: ** 4 l., 2 sq., 15 l., 2 sq., 3 l., 2 sq., 15 l., * 11 sq., 3 l., 2 sq., 12 l., 1 sq., 30 l, 2 sq., 21 l., 1 sq., 9 l., 1 sq., 6 l, 1 sq., 6 l., 1 sq., 6 l., 2 sq., 6 l, 1 sq., 3 l, 4 sq., 24 l., 13 sq., repeat from * to **. 94th: ** 4 l., 2 sq., 18 l., 1 sq., 3 l., 2 sq., 15 l., * 13 sq., 6 l., 7 sq., 3 l., 1 sq., 6 l., 1 sq., 6 l., 2 sq., 9 l., 1 sq., 6 l., 1 sq., 15 l., 1 sq., 24 l., 1 sq., 30 l., 1 sq., 3 l., 2 sq., 3 l., 1 sq., 12 l., 9 sq., repeat from * to **. 95th: ** 4 l., 2 sq., 9 l., 2 sq., 3 l, 1 sq., 9 l., 1 sq., 9 l., * 10 sq., 9 l, 1 sq., 3 l., 1 sq., 6 l., 1 sq., 3 l., 1 sq., 30 l., 1 sq., 21 l., 2 sq., 30 l., 3 sq., 6 l., 1 sq., 6 l., 1 sq., 6 l., 2 sq., 21 l., 13 sq., repeat from * to **. 96th: ** 4 l, 1 sq., 9 l., 4 sq., 15 l., * 16 sq., 15 l., 2 sq., 3 l., 1 sq., 6 l., 1 sq., 15 l., 5 sq., 18 l., 5 sq., 15 l., 2 sq., 24 l., 4 sq., 12 l., 1 sq., 12 l., 13 sq. repeat from * to **. 97th: ** 4 l., 1 sq., 15 l., 2 sq., 15 l., * 13 sq., 12 l., 1 sq., 9 l., 1 sq., 9 l., 1 sq., 21 l., 1 sq., 3 l., 2 sq., 9 l., 8 sq., 3 l., 8 sq., 12 l., 1 sq., 6 l., 1 sq., 6 l., 4 sq., 6 l., 16 sq., repeat from * to **. 98th: ** 4 l., 1 sq., 9 l., 2 sq., 3 l., 1 sq., 15 l., * 16 sq., 12 l., 2 sq., 6 l., 1 sq., 6 l., 1 sq., 12 l., 8 sq., 3 l., 7 sq., 21 l., 1 sq., 21 l., 1 sq., 15 l., 2 sq., 3 l., 1 sq., 9 l., 14 sq., repeat from * to **. 99th: ** 4 l., 1 sq., 6 l., 6 sq., 9 l., * 18 sq., 6 l., 5 sq., 9 l., 2 sq., 12 l., 2 sq., 20 l., 3 sq., 9 l., 2 sq., 9 l., 6 sq., 21 l., 1 sq., 6 l., 1 sq., 3 l., 1 sq., 9 l., 17 sq., repeat from * to **. 100th: ** 4 l, 1 sq., 6 l., 2 sq., 3 l., * 23 sq., 6 l., 1 sq., 6 l., 1 sq., 24 l., 6 sq., 30 l., 2 sq., 18 l., 2 sq., 3 l., 5 sq., 12 l., 5 sq., 3 l., 1 sq., 6 l., 22 sq., repeat from * to **. 101st: ** 4 l., 1 sq., 6 l., 1 sq., 9 l., * 21 sq., 6 l., 1 sq., 3 l., 6 sq., 6 l., 1 sq., 18 l., 2 sq., 15 l., 2 sq., 36 l., 7 sq., 36 l., 22 sq., repeat from * to **. 102nd: ** 4 l., 1 sq., 6 l., 2 sq., 3 l., * 23 sq., 27 l., 10 sq., 36 l., 3 sq., 9 l., 1 sq., 3 l., 1 sq., 18 l., 8 sq., 3 l., 1 sq., 9 l., 1 sq., 9 l., 18 sq., repeat from * to **. 103rd: ** 4 l., 1 sq., 6 l., 6 sq., 9 l., * 11 sq., 12 l., 2 sq., 9 l., 2 sq., 3 l, 3 sq., 9 l., 1 sq., 15 l., 1 sq., 6 l., 4 sq., 24 l., 1 sq., 15 l., 2 sq., 12 l., 30 sq., repeat from * to **. 104th: ** 4 l., 1 sq., 9 l., 2 sq., 3 l., 1 sq., 15 l., * 28 sq., 21 l., 1 sq., 12 l., 1 sq., 27 l., 3 sq., 9 l., 1 sq., 15 l., 1 sq., 6 l., 2 sq., 3 l., 1 sq., 12 l., 2 sq., 9 l., 1 sq., 6 l., 9 sq., repeat from * to **. 105th: ** 4 l., 1 sq., 15 l., 2 sq., 15 l., * 9 sq., 9 l., 1 sq., 3 l., 3 sq., 9 l., 1 sq., 3 l., 2 sq., 9 l., 1 sq., 15 l., 1 sq., 12 l., 2 sq., 21 l., 1 sq., 9 l., 2 sq., 27 l., 27 sq., repeat from * to **. 106th: ** 4 l., 1 sq., 9 l., 4 sq. 15 l., * 27 sq., 21 l., 9 sq., 3 l., 1 sq., 15 l., 2 sq., 12 l., 2 sq., 15 l., 3 sq., 6 l., 1 sq., 3 l., 4 sq., 3 l., 5 sq., 6 l., 8 sq., repeat from * to **. 107th: ** 4 l., 2 sq., 9 l., 2 sq., 3 l., 1 sq., 9 l., 1 sq., 9 l., * 5 sq., 15 l., 1 sq., 15 l., 1 sq., 6 l., 2 sq., 18 l., 2 sq., 3 l., 1 sq., 12 l., 2 sq., 15 l., 2 sq., 12 l., 1 sq., 12 l., 4 sq., 9 l., 24 sq., repeat from * to **. 108th: ** 4 l., 2 sq., 18 l., 1 sq., 3 l., 2 sq., 15 l., * 24 sq., 9 l., 1 sq., 15 l., 1 sq., 21 l., 1 sq., 9 l., 3 sq., 18 l., 1 sq., 3 l., 6 sq., 12 l., 3 sq., 12 l., 1 sq., 9 l., 5 sq., repeat from * to **. 109th: ** 4 l., 2 sq., 15 l., 2 sq., 3 l., 2 sq., 15 l., * 7 sq., 15 l., 1 sq., 9 l., 1 sq., 6 l., 1 sq., 39 l., 7 sq., 24 l., 1 sq., 18 l., 2 sq., 6 l., 9 sq., 3 l., 13 sq., repeat from * to **. 110th: ** 4 l., 3 sq., 6 l., 3 sq., 3 l., 3 sq., 15 l., * 11 sq., 3 l., 2 sq., 3 l., 7 sq., 12 l., 1 sq., 18 l., 1 sq., 24 l., 1 sq., 18 l., 1 sq., 9 l., 1 sq., 12 l., 1 sq., 9 l., 6 sq., 6 l., 12 sq., repeat from * to **. 111th: ** 4 l., 1 sq., 3 l., 1 sq., 15 l., 3 sq., 15 l., * 13 sq., 18 l., 3 sq., 6 l., 2 sq., 6 l., 5 sq., 18 l., 1 sq., 27 l., 1 sq., 21 l., 1 sq., 9 l., 5 sq., 3 l., 1 sq., 9 l., 13 sq., repeat from * to **. 112th: ** 4 l., 1 sq., 3 l., 2 sq., 9 l., 2 sq., 6 l., 5 sq., 9 l., * 12 sq., 9 l., 6 sq., 6 l., 1 sq., 12 l., 1 sq., 6 l., 2 sq., 24 l., 3 sq., 12 l., 8 sq., 3 l., 3 sq., 3 l., 2 sq., 18 l., 9 sq., repeat from * to **. 113th: ** 4 l., 1 sq., 6 l., 3 sq., 9 l., 2 sq., 9 l., 1 sq., 15 l., * 8 sq., 6 l., 5 sq., 12 l., 1 sq., 3 l., 7 sq., 18 l., 1 sq., 27 l., 1 sq., 3 l., 2 sq., 3 l., 2 sq., 6 l., 1 sq., 3 l., 8 sq., 3 l., 3 sq., 3 l., 8 sq., repeat from * to **. 114th: ** 4 l., 1 sq., 9 l., 4 sq., 36 l., * 9 sq., 12 l., 6 sq., 9 l., 1 sq., 3 l., 1 sq., 9 l., 1 sq., 9 l., 1 sq., 24 l., 2 sq., 15 l., 7 sq., 12 l., 4 sq., 9 l., 1 sq., 3 l., 8 sq., repeat from * to **. 115th: ** 4 l., 1 sq., 6 l., 3 sq., 9 l., 2 sq., 9 l., 1 sq., 15 l., * 8 sq., 12 l., 1 sq., 9 l., 2 sq., 9 l., 7 sq., 12 l., 1 sq., 3 l., 1 sq., 18 l., 2 sq., 12 l., 1 sq., 9 l., 1 sq., 3 l., 1 sq., 9 l., 2 sq., 9 l., 1 sq., 18 l., 7 sq., repeat from * to **. 116th: ** 4 l., 1 sq., 3 l., 2 sq., 9 l., 2 sq., 6 l., 5 sq., 9 l., * 5 sq., 3 l., 1 sq., 39 l., 1 sq., 6 l., 1 sq., 3 l., 1 sq., 3 l., 4 sq., 12 l., 1 sq., 12 l., 1 sq., 3 l., 1 sq., 15 l., 1 sq., 3 l., 3 sq., 3 l., 2 sq., 9 l., 1 sq., 9 l., 4 sq., 6 l., 9 sq., repeat from* to **. 117th: ** 4 l., 1 sq., 3 l., 1 sq., 15 l., 3 sq., 15 l., * 12 sq., 9 l., 1 sq., 3 l., 2 sq., 6 l., 1 sq., 6 l., 3 sq., 15 l., 2 sq., 9 l., 2 sq., 3 l., 1 sq., 9 l., 2 sq., 6 l., 7 sq., 3 l., 1 sq., 3 l., 4 sq., 24 l., 3 sq., 6 l., 2 sq., 6 l., 5 sq., repeat from * to **. 118th: ** 4 l., 3 sq., 6 l., 3 sq., 3 l., 3 sq., 15 l., * 5 sq., 12 l., 1 sq., 6 l., 3 sq., 15 l., 4 sq., 6 l., 1 sq., 3 l., 1 sq., 3 l., 5 sq., 6 l., 1 sq., 3 l., 3 sq., 6 l., 1 sq., 15 l., 2 sq., 9 l., 4 sq., 13 l., 1 sq., 6 l., 1 sq., 9 l., 11 sq., repeat from * to **. 119th: ** 4 l., 2 sq., 15 l., 2 sq., 3 l., 2 sq., 15 l., * 12 sq., 6 l., 1 sq., 6 l., 1 sq., 12 l., 10 sq., 18 l., 1 sq., 12 l., 1 sq., 3 l., 1 sq., 3 l., 4 sq., 3 l., 1 sq., 3 l., 1 sq., 9 l., 7 sq., 9 l., 4 sq., 3 l., 9 sq., repeat from * to **. 120th: ** 4 l., 2 sq., 18 l., 1 sq., 3 l., 2 sq., 15 l., * 7 sq., 6 l., 1 sq., 21 l., 5 sq., 6 l., 1 sq., 9 l., 1 sq., 3 l., 6 sq., 9 l., 1 sq., 9 l., 1 sq., 18 l., 11 sq., 18 l., 1 sq., 6 l., 12 sq., repeat from * to **. 121st: ** 4 l., 2 sq., 9 l., 2 sq., 3 l., 1 sq., 9 l., 1 sq., 9 l., * 14 sq., 18 l., 3 sq., 3 l., 1 sq., 3 l., 7 sq., 15 l., 1 sq., 3 l., 1 sq., 6 l., 1 sq., 9 l., 4 sq., 3 l., 1 sq., 6 l., 5 sq., 9 l., * 2 sq., 3 l., 1 sq., 15 l., 12 sq., repeat from * to **. 122nd: ** 4 l., 1 sq., 9 l., 4 sq., 15 l., * 14 sq., 3 l., 4 sq., 3 l., 3 sq., 6 l., 1 sq., 3 l., 5 sq., 9 l., 1 sq., 18 l., 1 sq., 6 l., 1 sq., 6 l., 2 sq., 9 l., 9 sq., 3 l., 7 sq., 6 l., 18 sq., repeat from * to **. 123rd: ** 4 l., 1 sq., 15 l., 2 sq., 15 l., * 22 sq., 9 l., 2 sq., 3 l., 8 sq., 3 l., 4 sq., 12 l., 2 sq., 3 l., 3 sq., 3 l., 2 sq., 12 l., 5 sq., 3 l., 2 sq., 6 l., 3 sq., 3 l., 18 sq., repeat from * to **. 124th: ** 4 l., 1 sq., 9 l., 2 sq., 3 l., 1 sq., 15 l., * 20 sq., 12 l., 3 sq., 3 l., 6 sq., 12 l., 1 sq., 9 l., 1 sq., 3 l., 1 sq., 12 l., 4 sq., 6 l., 8 sq., 9 l., 24 sq., repeat from * to **. 125th: ** 4 l., 1 sq., 6 l., 6 sq., 9 l., * 18 sq., 12 l., 4 sq., 9 l., 3 sq., 15 l., 5 sq., 30 l., 1 sq., 9 l., 11 sq., 15 l., 3 sq., 3 l., 16 sq., repeat from * to **. 126th: ** 4 l., 2 sq., 6 l., 2 sq., 3 l., * 19 sq., 3 l., 3 sq., 3 l., 2 sq., 15 l., 10 sq., 3 l., 4 sq., 15 l., 1 sq., 9 l., 6 sq., 18 l., 1 sq., 6 l., 5 sq., 9 l., 2 sq., 3 l., 23 sq., repeat from * to **. 127th: ** 4 l., 1 sq., 6 l., 1 sq., 9 l., * 28 sq., 15 l., 1 sq., 3 l., 1 sq., 18 l., 8 sq., 3 l., 1 sq., 12 l., 3 sq., 12 l., 10 sq., 30 l., 19 sq., repeat from * to **. 128th: ** 4 l., 1 sq., 6 l., 2 sq., 3 l., * 18 sq., 6 l., 2 sq., 21 l., 10 sq., 6 l., 5 sq., 3 l., 5 sq., 3 l., 8 sq., 48 l., 27 sq., repeat from * to **. 129th: ** 4 l., 1 sq., 6 l., 6 sq., 9 l., * 20 sq., 3 l., 3 sq., 39 l., 3 sq., 3 l., 3 sq., 6 l., 2 sq., 3 l., 1 sq., 12 l., 1 sq., 12 l., 7 sq., 15 l., 1 sq., 15 l., 3 sq., 3 l., 11 sq., repeat from * to **. 130th: ** 4 l., 1 sq., 9 l., 2 sq., 3 l., 1 sq., 15 l., * 14 sq., 15 l., 1 sq., 9 l., 2 sq., 3 l., 5 sq., 12 l., 4 sq., 6 l., 1 sq., 3 l., 3 sq., 15 l., 4 sq., 12 l., 1 sq., 15 l., 2 sq., 15 l., 18 sq., repeat from * to **. 131st: ** 4 l., 1 sq., 15 l., 2 sq., 15 l., * 16 sq., 3 l., 1 sq., 21 l., 5 sq., 9 l., 7 sq., 6 l., 1 sq., 3 l., 3 sq., 9 l., 2 sq., 6 l., 3 sq., 6 l., 8 sq., 12 l., 1 sq., 15 l., 13 sq., repeat from * to **. 132nd: ** 4 l., 1 sq., 9 l., 4 sq., 15 l., * 12 sq., 3 l., 1 sq., 6 l., 3 sq., 15 l., 7 sq., 12 l., 1 sq., 9 l., 1 sq., 9 l., 3 sq., 3 l., 9 sq., 24 l., 1 sq., 24 l., 1 sq., 12 l., 12 sq., repeat from * to **. 133rd: ** 4 l., 2 sq., 9 l., 2 sq., 3 l., 1 sq., 9 l., 1 sq., 9 l., * 8 sq., 3 l., 2 sq., 3 l., 2 sq., 21 l., 1 sq., 18 l., 1 sq., 9 l., 3 sq., 3 l., 4 sq., 3 l., 3 sq., 9 l., 1 sq., 6 l., 3 sq., 9 l., 6 sq., 6 l., 1 sq., 9 l., 1 sq., 3 l., 2 sq., 3 l., 11 sq., repeat from * to **. 134th: ** 4 l., 2 sq., 18 l., 1 sq., 3 l., 2 sq., 15 l., * 10 sq., 3 l., 1 sq., 3 l., 2 sq., 9 l., 2 sq., 3 l., 6 sq., 6 l., 2 sq., 3 l., 2 sq., 12 l., 4 sq., 3 l., 5 sq., 18 l., 1 sq., 21 l., 4 sq., 9 l., 2 sq., 3 l., 10 sq., repeat from * to **. 135th: ** 4 l., 2 sq., 15 l., 2 sq., 3 l., 2 sq., 15 l., * 13 sq., 6 l., 1 sq., 9 l., 1 sq., 21 l., 1 sq., 3 l., 1 sq., 9 l., 6 sq., 3 l., 4 sq., 12 l., 1 sq., 6 l., 1 sq., 9 l., 6 sq., 3 l., 1 sq., 3 l., 1 sq., 9 l., 3 sq., 9 l., 8 sq., repeat from * to **. 136th: ** 4 l., 3 sq., 6 l., 3 sq., 3 l., 3 sq., 15 l., * 7 sq., 3 l., 2 sq., 15 l., 1 sq., 3 l., 4 sq., 3 l., 6 sq., 6 l., 1 sq., 6 l., 1 sq., 9 l., 5 sq., 3 l., 4 sq., 15 l., 1 sq., 3 l., 1 sq., 24 l., 1 sq., 3 l., 3 sq., 3 l., 13 sq., repeat from * to **. 137th: ** 4 l., 1 sq., 3 l., 1 sq., 15 l., 3 sq., 15 l., * 14 sq., 3 l., 3 sq., 3 l., 1 sq., 24 l., 1 sq., 3 l., 2 sq., 3 l., 1 sq., 15 l., 1 sq., 6 l., 5 sq., 24 l., 11 sq., 3 l., 4 sq., 9 l., 10 sq., repeat from * to **. 138th: ** 4 l., 1 sq., 3 l., 2 sq., 9 l., 2 sq., 6 l., 5 sq., 9 l., * 6 sq., 6 l., 1 sq., 3 l., 3 sq., 3 l., 13 sq., 15 l., 5 sq., 12 l., 3 sq., 3 l., 1 sq., 3 l., 1 sq., 3 l., 2 sq., 6 l., 1 sq., 21 l., 1 sq., 3 l., 3 sq., 3 l., 11 sq., repeat from * to **. 139th: ** 4 l., 1 sq., 6 l., 3 sq., 9 l., 2 sq., 9 l., 1 sq., 15 l., * 4 sq., 3 l., 4 sq., 6 l., 4 sq., 21 l., 2 sq., 6 l., 2 sq., 3 l., 3 sq., 6 l., 2 sq., 6 l., 3 sq., 3 l., 2 sq., 3 l., 21 sq., 3 l., 2 sq., 6 l., 5 sq., repeat from * to **. 140th: ** 4 l., 1 sq., 9 l., 4 sq., 36 l., * 5 sq., 3 l., 25 sq., 3 l., 2 sq., 15 l., 3 sq., 3 l., 3 sq., 3 l., 4 sq., 9 l., 2 sq., 48 l., 4 sq., repeat from * to **. 141st: ** 4 l., 1 sq., 6 l., 3 sq., 9 l., 2 sq., 9 l., 1 sq., 15 l., * 5 sq., 6 l., 2 sq., 3 l., 3 sq., 3 l., 9 sq., 3 l., 1 sq., 3 l., 7 sq., 3 l., 3 sq., 3 l., 1 sq., 6 l., 2 sq., 6 l., 25 sq., 3 l., 5 sq., repeat from * to **. 142nd: ** 4 l., 1 sq., 3 l., 2 sq., 9 l., 2 sq., 6 l., 5 sq., 9 l., * 5 sq., 3 l., 11 sq., 21 l., 8 sq., 6 l., 5 sq., 3 l., 2 sq., 3 l., 8 sq., 3 l., 2 sq., 9 l., 6 sq., 3 l., 3 sq., 9 l., 4 sq., 3 l., 3 sq., repeat from * to **. 143rd: ** 4 l., 1 sq., 3 l., 1 sq., 15 l., 3 sq., 15 l., * 7 sq., 18 l., 1 sq., 3 l., 2 sq., 6 l., 4 sq., 3 l., 6 sq., 3 l., 10 sq., 6 l., 3 sq., 9 l., 6 sq., 21 l., 1 sq., 3 l., 20 sq., repeat from * to **. 144th: ** 4 l., 3 sq., 6 l., 3 sq., 3 l., 3 sq., 15 l., * 18 sq., 9 l., 1 sq., 3 l., 1 sq., 15 l., 5 sq., 3 l. 1 sq., 6 l., 2 sq., 3 l., 1 sq., 3 l., 21 sq., 3 l., 1 sq., 3 l., 4 sq., 9 l., 8 sq., repeat from * to **. 145th: ** 4 l., 2 sq., 15 l., 2 sq., 3 l., 2 sq., 15 l., * 7 sq., 12 l., 30 sq., 3 l., 3 sq., 3 l., 1 sq., 3 l., 4 sq., 9 l., 1 sq., 6 l., 1 sq., 3 l., 2 sq., 6 l., 18 sq., repeat from * to **. 146th: ** 4 l., 2 sq., 18 l., 1 sq., 3 l., 2 sq., 15 l., * 18 sq., 12 l., 2 sq., 6 l., 1 sq., 9 l., 4 sq., 3 l., 2 sq., 3 l., 2 sq., 3 l., 6 sq., 3 l., 23 sq., 3 l., 1 sq., 6 l., 7 sq., repeat from * to **. 147th: ** 4 l., 1 sq., 15 l., 2 sq., 15 l., * 10 sq., 3 l., 11 sq., 15 l., 6 sq., 36 l., 5 sq., 3 l., 4 sq., 6 l., 1 sq., 6 l., 3 sq., 15 l., 22 sq., repeat from * to **. 148th: ** 4 l., 1 sq., 9 l., 2 sq., 3 l., 1 sq., 15 l., * 22 sq., 6 l., 4 sq., 12 l., 1 sq., 6 l., 4 sq., 3 l., 4 sq., 3 l., 1 sq., 30 l., 4 sq., 18 l., 1 sq., 6 l., 10 sq., 3 l., 10 sq., repeat from * to **. now repeat from first row. * * * * * handkerchief case for hanging to the head of a bed. materials.--use brook's great exhibition prize goat's-head crochet cotton. no. 4 penelope hook; 1 long strip of whalebone; 1 yard of satin ribbon 1 inch in width. 2 yards ditto, 2 or 3 inches wide. 1st row: make a chain of 261 stitches, turn back, and work 87 squares. 2nd: turn back, and work another row of squares. 3rd: turn back 8 sq., 5 l., 22 sq., 9 l., 5 sq., 3 l., 8 sq., 24 l., 21 sq., 9 l., 6 sq. the cotton must now be cut off at every row. 4th: 7 sq., 12 l., 10 sq., 6 l., 4 sq., 6 l., 2 sq., 6 l., 1 sq., 6 l., 3 sq., 6 l., 2 sq., 21 l., 3 sq., 18 l., 8 sq., 6 l., 4 sq., 6 l., 2 sq., 6 l., 1 sq., 6 l., 5 sq. 5th: 7 sq., 3 l., 2 sq., 3 l., 1 sq., 6 l., 5 sq., 3 l., 1 sq., 6 l., 3 sq., 12 l., 1 sq., 3 l., 3 sq. 3 l., 3 sq., 3 l., 1 sq., 9 l., 4 sq., 15 l., 2 sq., 15 l., 5 sq., 3 l., 1 sq., 6 l., 3 sq., 12 l., 1 sq., 3 l., 3 sq., 3 l., 5 sq. 6th: 3 sq., 9 l., 1 sq., 3 l., 2 sq., 3 l., 1 sq., 9 l., 1 sq., 15 l., 4 sq., 15 l., 5 sq., 3 l., 3 sq., 6 l., 6 sq., 24 l., 1 sq., 12 l., 3 sq., 12 l., 4 sq., 15 l., 5 sq., 3 l., 5 sq. 7th: 2 sq., 6 l., 2 sq., 3 l., 5 sq., 9 l., 6 sq., 6 l., 2 sq., 9 l., 2 sq., 9 l., 1 sq., 3 l., 3 sq., 3 l., 2 sq., 9 l., 3 sq., 3 l., 1 sq., 21 l., 5 sq., 6 l., 4 sq., 6 l., 2 sq., 9 l., 2 sq., 9 l., 1 sq., 3 l., 6 sq. 8th: 2 sq., 3 l., 5 sq., 9 l., 1 sq., 12 l., 7 sq., 3 l., 1 sq., 6 l., 1 sq., 15 l., 2 sq., 9 l., 4 sq., 9 l., 2 sq., 3 l., 1 sq., 24 l., 1 sq., 9 l., 2 sq., 3 l., 5 sq., 3 l., 1 sq., 6 l., 1 sq., 15 l., 2 sq., 9 l., 3 sq. 9th: 2 sq., 6 l., 2 sq., 18 l., 1 sq., 9 l., 8 sq., 6 l., 1 sq., 21 l., 3 sq., 6 l., 5 sq., 3 l., 2 sq., 6 l., 1 sq., 21 l., 3 sq., 6 l., 8 sq., 6 l., 1 sq., 21 l., 3 sq., 6 l., 2 sq. 10th: 3 sq., 6 l., 1 sq., 21 l., 1 sq., 6 l., 5 sq., 3 l., 2 sq., 6 l., 1 sq., 21 l., 3 sq., 6 l., 8 sq., 6 l., 1 sq., 21 l., 3 sq., 6 l., 5 sq., 3 l., 2 sq., 6 l., 1 sq., 21 l., 3 sq., 6 l., 2 sq. 11th: 6 sq., 21 l., 1 sq., 6 l., 3 sq., 9 l., 2 sq., 3 l., 1 sq., 24 l., 1 sq., 9 l., 2 sq., 3 l., 5 sq., 3 l., 1 sq., 6 l., 1 sq., 18 l., 1 sq., 9 l., 4 sq. 9 l., 2 sq., 3 l., 1 sq., 24 l., 1 sq., 9 l., 3 sq. 12th: 4 sq., 6 l., 1 sq., 21 l., 1 sq., 3 l., 2 sq., 9 l., 3 sq., 3 l., 1 sq., 21 l., 5 sq., 6 l., 4 sq., 6 l., 2 sq., 9 l., 2 sq., 9 l., 1 sq., 3 l., 3 sq., 3 l., 2 sq., 9 l., 3 sq., 3 l., 1 sq., 21 l., 8 sq. 13th: 3 sq., 9 l., 1 sq., 21 l., 1 sq., 9 l., 6 sq., 24 l., 1 sq., 12 l., 3 sq., 12 l., 4 sq., 15 l., 5 sq., 3 l., 3 sq., 6 l., 6 sq., 24 l., 1 sq., 12 l., 4 sq. 14th: 3 sq., 12 l., 1 sq., 18 l., 1 sq., 3 l., 1 sq., 15 l., 3 sq., 15 l., 2 sq., 15 l., 5 sq., 3 l., 1 sq., 6 l., 3 sq., 12 l., 1 sq., 3 l., 3 sq., 3 l., 3 sq., 3 l., 1 sq., 9 l., 4 sq., 15 l., 2 sq., 15 l., 4 sq. [illustration: handkerchief case, for hanging to the head of a bed.] 15th: 4 sq., 12 l., 2 sq., 18 l, 2 sq., 3 l., 2 sq., 18 l., 3 sq., 18 l., 8 sq., 6 l., 4 sq., 6 l., 2 sq., 6 l., 1 sq., 6 l., 3 sq., 6 l., 2 sq., 21 l., 3 sq., 18 l., 5 sq. 16th: 5 sq., 15 l., 2 sq., 9 l., 3 sq., 6 l., 6 sq., 24 l., 21 sq., 9 l., 5 sq., 3 l., 8 sq., 24 l., 7 sq. 17th: 8 sq., 15 l., 1 sq., 3 l., 3 sq., 6 l., 54 sq., 3 l., 6 sq., 3 l., 5 sq. 18th: 7 sq., 3 l., 3 sq., 6 l., 48 sq., 3 l., 4 sq., 6 l., 6 sq., 3 l., 5 sq. 19th: 3 sq., 6 l., 1 sq., 3 l., 7 sq., 3 l., 2 sq., 6 l., 49 sq., 18 l., 1 sq., 3 l., 5 sq., 3 l., 5 sq. 20th: 3 sq., 6 l., 1 sq., 3 l., 2 sq., 6 l., 3 sq., 3 l., 54 sq., 9 l., 1 sq., 3 l., 1 sq., 6 l., 4 sq., 6 l., 4 sq. 21st: 5 sq., 3 l., 4 sq., 6 l., 1 sq., 6 l., 58 sq., 3 l., 1 sq., 6 l., 4 sq., 3 l., 5 sq. 22nd: 4 sq., 6 l., 4 sq., 6 l., 1 sq., 3 l., 58 sq., 6 l., 2 sq., 6 l., 2 sq., 3 l., 1 sq., 6 l., 3 sq. 23rd: 5 sq., 3 l., 5 sq., 3 l., 1 sq., 3 l., 58 sq., 3 l., 7 sq., 3 l., 1 sq., 6 l., 3 sq. 24th: 5 sq., 3 l., 1 sq., 3 l., 4 sq., 3 l., 1 sq., 6 l., 15 sq., 3 l., 40 sq., 3 l., 6 sq., 3 l., 7 sq. 25th: 6 sq., 3 l., 5 sq., 9 l., 15 sq., 3 l., 41 sq., 3 l., 1 sq., 15 l., 8 sq. 26th: 6 sq., 3 l., 1 sq., 6 l., 1 sq., 3 l., 17 sq., 3 l., 42 sq., 9 l., 2 sq., 15 l., 5 sq. 27th: 7 sq., 12 l., 4 sq., 6 l., 2 sq. 6 l., 4 sq., 9 l., 1 sq., 3 l., 3 sq., 3 l., 2 sq., 9 l., 2 sq., 6 l.; 1 sq., 6 l., 4 sq., 9 l., 2 sq., 6 l., 3 sq., 6 l., 4 sq., 9 l., 2 sq., 18 l., 2 sq., 12 l., 4 sq. 28th: 4 sq., 6 l., 1 sq., 3 l., 2 sq., 3 l., 5 sq., 3 l., 1 sq., 3 l., 1 sq., 3 l., 3 sq., 3 l., 2 sq., 3 l., 1 sq., 3 l., 3 sq., 3 l., 1 sq., 3 l., 2 sq., 3 l., 1 sq., 3 l., 1 sq., 6 l., 1 sq., 3 l., 3 sq., 3 l., 2 sq., 3 l., 1 sq., 3 l, 1 sq., 6 l., 1 sq., 3 l., 1 sq., 6 l., 2 sq., 3 l., 2 sq., 9 l., 2 sq., 18 l., 1 sq., 12 l., 3 sq. 29th: 3 sq., 9 l., 1 sq., 3 l., 2 sq., 3 l., 5 sq., 3 l., 3 sq., 3 l., 3 sq., 3 l., 2 sq., 3 l., 1 sq., 3 l., 3 sq., 3 l., 4 sq., 3 l., 3 sq., 3 l., 2 sq., 3 l., 3 sq., 3 l., 2 sq., 3 l., 3 sq., 6 l., 3 sq., 6 l., 4 sq., 3 l., 5 sq., 21 l., 1 sq., 9 l., 3 sq. 30th: 3 sq., 9 l., 5 sq., 3 l., 1 sq., 3 l., 1 sq., 6 l., 3 sq., 3 l., 1 sq., 3 l., 1 sq., 3 l., 2 sq., 3 l., 1 sq., 3 l., 2 sq., 6 l., 1 sq., 6 l., 1 sq., 3 l., 3 sq., 3 l., 2 sq., 3 l., 1 sq., 3 l., 1 sq., 3 l., 2 sq., 3 l., 3 sq., 6 l., 3 sq., 6 l., 3 sq., 6 l., 5 sq., 21 l., 1 sq., 6 l., 4 sq. 31st: 2 sq., 12 l., 1 sq., 9 l., 3 sq., 6 l., 1 sq., 6 l., 2 sq., 6 l., 2 sq., 9 l., 3 sq., 6 l., 1 sq., 3 l., 2 sq., 6 l., 4 sq., 6 l., 1 sq., 6 l., 2 sq., 9 l., 4 sq., 6 l., 3 sq., 6 l., 3 sq., 6 l., 3 sq., 6 l., 1 sq., 21 l., 6 sq. 32nd: 2 sq., 9 l., 1 sq., 18 l., 21 sq., 3 l., 22 sq., 6 l., 3 sq., 6 l., 3 sq., 6 l., 1 sq., 3 l., 1 sq., 6 l., 1 sq., 21 l., 1 sq., 6 l., 3 sq. 33rd: 2 sq., 6 l., 1 sq., 21 l., 1 sq., 6 l., 18 sq., 3 l., 22 sq., 6 l., 2 sq., 12 l., 2 sq., 9 l., 2 sq., 9 l., 1 sq., 18 l., 2 sq., 6 l., 2 sq. 34th: 2 sq., 6 l., 1 sq., 21 l., 8 sq., 3 l., 12 sq., 3 l., 22 sq., 6 l., 3 sq., 6 l., 3 sq., 6 l., 3 sq., 12 l., 1 sq., 9 l., 5 sq., 3 l., 2 sq. 35th: 2 sq., 3 l., 1 sq., 21 l., 1 sq., 6 l., 15 sq., 3 l., 2 sq., 3 l., 23 sq., 6 l., 3 sq., 6 l., 3 sq., 6 l., 3 sq., 12 l., 5 sq., 3 l., 2 sq., 6 l., 2 sq. 36th: 2 sq., 3 l., 1 sq., 21 l., 1 sq., 9 l., 15 sq., 6 l., 24 sq., 6 l., 3 sq., 6 l., 3 sq., 6 l., 4 sq., 9 l., 1 sq., 3 l., 2 sq., 3 l., 1 sq., 9 l., 3 sq. 37th: 2 sq., 3 l., 1 sq., 18 l., 1 sq., 12 l., 41 sq., 6 l., 2 sq., 3 l., 1 sq., 6 l., 2 sq., 3 l., 3 sq., 3 l., 2 sq., 6 l., 1 sq., 3 l., 2 sq., 3 l., 7 sq. 38th: 2 sq., 18 l., 2 sq., 12 l., 41 sq., 3 l., 1 sq., 9 l., 3 sq., 9 l., 1 sq., 9 l., 6 sq., 12 l., 7 sq. 39th: 3 sq., 9 l., 2 sq., 15 l., 62 sq., 3 l., 1 sq., 6 l., 1 sq., 3 l., 6 sq. 40th: 3 sq., 3 l., 1 sq., 15 l., 65 sq., 3 l., 5 sq., 9 l., 3 sq. 41st: 7 sq., 3 l., 6 sq., 3 l., 56 sq., 6 l., 1 sq., 3 l., 4 sq., 3 l., 1 sq., 3 l., 5 sq. 42nd: 3 sq., 6 l., 1 sq., 3 l., 7 sq., 3 l., 56 sq., 3 l., 1 sq., 6 l., 4 sq., 6 l., 6 sq. 43rd: 3 sq., 6 l., 1 sq., 3 l., 2 sq., 6 l., 2 sq., 6 l., 58 sq., 3 l., 1 sq., 6 l., 4 sq., 6 l., 4 sq. 44th: 5 sq., 3 l., 4 sq., 6 l., 1 sq., 3 l., 58 sq., 6 l., 1 sq., 6 l., 4 sq., 3 l., 5 sq. 45th: 4 sq., 6 l., 4 sq., 6 l., 1 sq., 3 l., 1 sq., 9 l., 54 sq., 3 l., 3 sq., 6 l., 2 sq., 3 l., 1 sq., 6 l., 3 sq. 46th: 5 sq., 3 l., 5 sq., 3 l., 1 sq., 18 l., 49 sq., 6 l., 2 sq., 3 l., 7 sq., 3 l., 1 sq., 6 l., 3 sq. 47th: 5 sq., 3 l., 6 sq., 6 l., 4 sq., 3 l., 48 sq., 6 l., 3 sq., 3 l., 6 sq., 3 l., 7 sq. 48th: 5 sq., 3 l., 6 sq., 3 l., 54 sq., 6 l., 3 sq., 3 l., 1 sq., 15 l., 8 sq. 49th: 7 sq., 24 l., 8 sq., 3 l., 5 sq., 9 l., 21 sq., 24 l., 6 sq., 6 l., 3 sq., 9 l., 2 sq., 15 l., 5 sq. 50th: 5 sq., 18 l., 3 sq., 21 l., 2 sq., 6 l., 3 sq., 6 l., 1 sq., 6 l., 2 sq., 6 l., 4 sq., 6 l., 8 sq., 18 l., 3 sq., 18 l., 2 sq., 3 l., 2 sq., 18 l., 2 sq., 12 l., 4 sq. 51st: 4 sq., 15 l., 2 sq., 15 l., 4 sq., 9 l., 1 sq., 3 l., 3 sq., 3 l., 3 sq., 3 l., 1 sq., 12 l., 3 sq., 6 l.,1 sq., 3 l., 5 sq., 15 l., 2 sq., 15 l., 3 sq., 15 l., 1 sq., 3 l., 1 sq., 18 l., 1 sq., 12 l., 3 sq. 52nd: 4 sq., 12 l., 1 sq., 24 l., 6 sq., 6 l., 3 sq., 3 l., 5 sq., 15 l., 4 sq., 12 l., 3 sq., 12 l., 1 sq., 24 l., 6 sq., 9 l., 1 sq., 21 l., 1 sq., 9 l., 3 sq. 53rd: 8 sq., 21 l., 1 sq., 3 l., 3 sq., 9 l., 2 sq., 3 l., 3 sq., 3 l., 1 sq., 9 l., 2 sq., 9 l., 2 sq., 6 l., 4 sq., 6 l., 5 sq., 21 l., 1 sq., 3 l., 3 sq., 9 l., 2 sq., 3 l., 1 sq., 21 l., 1 sq., 6 l., 4 sq. 54th: 3 sq., 9 l., 1 sq., 24 l., 1 sq., 3 l., 2 sq., 9 l., 4 sq., 9 l., 2 sq., 15 l., 1 sq., 6 l., 1 sq., 3 l., 8 sq., 9 l., 1 sq., 24 l., 1 sq., 3 l., 2 sq., 9 l., 3 sq., 6 l., 1 sq., 21 l., 6 sq. 55th: 2 sq., 6 l., 3 sq., 21 l., 1 sq., 6 l., 2 sq., 3 l., 5 sq., 6 l., 3 sq., 21 l., 1 sq., 6 l., 8 sq., 6 l., 3 sq., 21 l., 1 sq., 6 l., 2 sq., 3 l., 5 sq., 6 l., 1 sq., 21 l., 1 sq., 6 l., 3 sq. 56th: 2 sq., 6 l., 3 sq., 21 l., 1 sq., 6 l., 8 sq., 6 l., 3 sq., 21 l., 1 sq., 6 l., 2 sq., 3 l., 5 sq., 6 l., 3 sq., 21 l., 1 sq., 6 l., 8 sq., 9 l., 1 sq., 18 l., 2 sq., 6 l., 2 sq. 57th: 3 sq., 9 l., 2 sq., 15 l., 1 sq., 6 l., 1 sq., 3 l., 5 sq., 3 l., 2 sq., 9 l., 1 sq., 21 l., 1 sq., 3 l., 2 sq., 9 l., 4 sq., 9 l., 2 sq., 15 l., 1 sq., 6 l., 1 sq., 3 l., 7 sq., 12 l., 1 sq., 9 l., 5 sq., 3 l, 2 sq. 58th: 6 sq., 3 l., 1 sq., 9 l., 2 sq., 9 l., 2 sq., 6 l., 4 sq., 6 l., 5 sq., 21 l., 1 sq., 3 l., 3 sq., 9 l., 2 sq., 3 l., 3 sq., 3 l., 1 sq., 9 l, 2 sq., 9 l., 2 sq., 6 l., 6 sq., 9 l., 5 sq., 3 l., 2 sq., 6 l., 2 sq. 59th: 5 sq., 3 l., 5 sq., 15 l., 4 sq., 12 l., 3 sq., 12 l., 1 sq., 24 l., 6 sq., 6 l., 3 sq., 3 l., 5 sq., 15 l., 4 sq., 15 l., 1 sq., 9 l., 1 sq., 3 l., 2 sq., 3 l., 1 sq., 9 l., 3 sq. 60th: 5 sq., 3 l., 3 sq., 3 l., 1 sq., 12 l., 3 sq., 6 l., 1 sq., 3 l., 5 sq., 15 l., 2 sq., 15 l., 4 sq., 9 l., 1 sq., 3 l., 3 sq., 3 l., 3 sq., 3 l., 1 sq., 12 l., 3 sq., 6 l., 1 sq., 3 l., 5 sq., 6 l., 1 sq., 3 l., 2 sq., 3 l., 7 sq. 61st: 5 sq., 6 l., 1 sq., 6 l., 2 sq., 6 l., 4 sq., 6 l., 8 sq., 18 l., 3 sq., 21 l., 2 sq., 6 l., 3 sq., 6 l., 1 sq., 6 l., 2 sq., 6 l., 4 sq., 6 l., 10 sq., 12 l., 7 sq. 62nd: 6 sq., 9 l., 21 sq., 24 l., 8 sq., 3 l., 5 sq., 9 l., 22 sq., 6 l., 8 sq. 63rd: 1 row of squares. 64th: turn back, 4 double l., made by first twisting the cotton twice over the hook, then 4 double long to come in the 1st 4 loops, which will exactly fill up the 4 loops over 1st sq., then 5 ch., miss 2 squares, 4 more double long in the 4th loop of next sq., repeat, the row will end with 1 long stitch, turn back. 65th: 5 d.c. under the 5 ch., 4 ch., repeat. this forms the front of the case. for the back: commence on the wrong side of the foundation chain, and work 41 rows of squares, then work as at 42nd row, and continue working till the end of 62nd row. now 2 rows of squares. now a row of double long stitches the same as the row on the other end. turn back. 1 double l. on l., * 5 ch., 4 double l. on the l., repeat from *. now a row of long stitches, not double long. now work 3 d.c. into every space up both sides, then crochet both sides together on the right side, by working 1 d.c. stitch into every loop of both sides, first doubling it at the foundation chain, consequently the back will be a trifle higher than the front. now, up the side and along the top of the back, work thus: 1 l. in 1st loop, * 9 ch., 1 l. into 7th loop, repeat from * and at each corner make 2 l. into 1 loop, with 9 ch. between each l. next row, 9 d c. under every 9 ch. cover 2 strips of narrow whalebone the exact length of the back of the case, with coloured ribbon, and run it into the 2 open rows; for the front, cut a length of whalebone two inches longer than the pieces for the back, and run in the front row, then add ribbon and bow as in engraving. * * * * * watch pocket. materials.--3 shades of scarlet, the lightest to be a very bright military scarlet, 1 skein of the darkest, 2 of each of the lighter shades; 4 skeins of bright maize colour; skein of shaded violet; 1 skein of shaded scarlet; 3 shades of green; 1 skein of each shade, the darkest to be very dark, and the lightest to be very light; 2 shades of sky-blue, 1 skein of each; 1 skein of white; all 4 thread berlin wool; 24 curtain rings, the size of a fourpenny-piece, or a trifle larger; 4 yards of blind cord; 1-1/4 yards of scarlet satin ribbon, half an inch in width, or covered curtain rings will answer the same purpose. no. 2 penelope hook. with darkest scarlet work, 14 d.c. stitches over the cord, then turn the cord round in as small a circle as possible, unite and work 3 rows with this shade, increasing in the two rows after the 1st, 1 stitch in every loop; then 4th, 5th, and 6th rows, of next shade, increasing as may be required; 7th, 8th, and 9th rows of next shade, increasing the same. 10th row.--4 stitches maize, 4 stitches violet. [illustration: watch pocket.] 11th row.--all violet; there should be 150 stitches in this row. cut off the cord, and fasten it nearly, also the wool. the mat should now measure 4-1/4 inches across. count 42 stitches from where the cord was cut of, counting towards the right hand, work on the cord, with shaded scarlet, beginning at the 42nd stitch, 21 d.c. stitches; then turn on reverse side, and turn back every row, working ridged crochet, and, at the end of each row, instead of working an extra stitch, as is usually done in a straight piece of ridged crochet, to prevent its decreasing, omit the stitch, and by so doing, each row will be decreased 1 stitch till it comes to a point; work 3 more of these points, then, with the same wool, sew these up from the bottom to the point, sewing them flat on the finger, not seaming them, and sewing all the points strongly together at the top that they may not give way; this forms the pocket. now take some elastic, such as is worn for sandals for shoes, it would be better to procure it 4 rows of india rubber wide instead of 2; with the point of the scissors, push the end through to the wrong side, between the 2 last rows of cord, and close to the broad end of the point, sew this end firmly on to the cord on the wrong side with black cotton, but very neatly; now draw the long end straight across the front to the opposite side, not drawing it too tight, or allowing it to be too loose push the end through on this side the same as the other, and sew it at the back in the same manner. now, with black thread sew the pocket to the elastic, so that neither this nor the stitches are seen. rings with maize wool.--d.c. under the rings all round, 34 stitches will be about sufficient to cover the ring well, unite, and tie the ends in a knot neatly, then, with maize colour cotton, sew the rings round, attaching them by the part where the wool was joined; now sew the rings together, be careful that not a stitch is seen through on the right side. for the flowers.--with white wool make 9 ch. tightly, unite, and under this circle work 11 l. with 1 ch. between each, cut off the white. tie on with a weaver's knot the lightest blue, work 1 l. under each 1 ch., with 1 ch. between each, only let there be 12 l. instead of 11. next shade blue. work this row rather loosely, d.c. under every 1 ch., then 1 ch., repeat; at the end draw down the end of blue wool, and tie it to the end of white; make 4 flowers this size, which should not be larger than the size of a sixpence. now make 2 of larger size, working them exactly the same, only making 14 l. stitches of the white, and 15 l. stitches of the blue; now, with white wool sew on the two largest flowers on the centre seam of the pocket, then the 2 smaller ones on each side. for the leaves.--with darkest green make 8 ch., turn back, work 7 d.c. down, join on the next green; work 3 d.c. up, 4 l., and 4 l., into the top loop, 1 ch., 4 more l. into same loop, 4 l. down, 3 d.c., join on the lightest shade: work d.c. all round, and 3 d.c. into the 1 ch, but enclosing a wire pulled from white ribbon wire, taking care to bend the end of the wire back after the 1st and last stitch to prevent its slipping; make 6 of these leaves, arrange them as in engraving, and with dark green wool sew them on. to prevent the pocket from curving, cover a narrow piece of whalebone the length with scarlet ribbon, and sew it across the centre on the wrong side. * * * * * toilet sachet. materials.--three-quarters of a pound of brooks' great exhibition prize goat's-head knitting cord no. 16; and tapered indented crochet hook, no. 20. a yard of pink or blue ingrain gingham. this article, made in the form of an envelope, is intended to hold the night-dress and cap, and lies on the pillow during the day, forming an elegant appendage to the drapery. the lining should, of course, be of a tint to suit the rest of the furniture, and may be of silk, if preferred; but, as gingham will wash with the cotton, it is less troublesome. the sachet is worked in crochet, the edging in knitting, for which the receipt will afterwards be given. make a chain of 285 stitches, with three more, which you will twist; miss these three, and work in d.c. along the row. break off at the end. 2nd row: d.c., working on the third of the three chain at the beginning of the row, as if it were a d.c. stitch. observe, that as there are bits of thread left at the ends of each row, they should be worked in at the next, which may easily be done, as there are two close squares at the beginning and end of every row. 3rd: 2 close squares; then open squares till you come to within 7 d.c. of the end. finish with 2 close squares. 4th _(b)_ 2 close, 19 open, 4 close, 20 open, _(a)_ 5 close. 5th: _(b)_ 2 close, 14 open, 2 close, 2 open, 6 close, 17 open, _(a)_ 9 close. 6th: _(b)_ 2 close, 13 open, 4 close, 1 open, 6 close, 15 open, _(a)_ 13 close. [illustration: toilet sachet.] 7th: _(b)_ 2 close, 8 open, 2 close, 2 open, 14 close, 12 open, 5 close, _(a)_ 5 open. 8th: _(b)_ 2 close, 7 open, 4 close, 1 open, 15 close, 10 open, 5 close, _(a)_ 7 open. 9th: _(b)_ 2 close, 3 open, 8 close, 1 open, 16 close, 8 open, 6 close, 2 open, _(a)_ 3 close. 10th: _(b)_ 2 close, 2 open, 2 close, 3 open, 10 close, 6 open, 5 close, 7 open, 7 close, 1 open, _(a)_ 5 close. 11th: _(b)_ 2 close, 1 open, 6 close, 1 open, 8 close, 1 open, 6 close, 1 open, 4 close, 7 open, 7 close, 1 open, 2 close, _(a)_ 1 open. 12th: _(b)_ 2 close, 4 open, 4 close, 1 open, 6 close, 1 open, 8 close, 1 open, 3 close, 6 open, 8 close, 1 open, 2 close, _(a)_ 1 open. 13th: (b) 2 close, 5 open, 4 close, 1 open, 4 close, 1 open, 3 close, 4 open, 5 close, 3 open. 1 close, 2 open, 8 close, 1 open, 2 close, (a) 3 open. 14th: (b) 2 close, 6 open, 4 close, 1 open, 2 close, 1 open, 3 close, 6 open, 3 close, 4 open. 5 close, 1 open, 5 close, 1 open, 2 close, (a) 3 open. 15th: (b) 2 close, 5 open, 5 close, x 1 open, 2 close, x twice, 14 open, * 5 close, 1 open, * twice, 2 close, (a) 3 open. 16th: (b) 2 close, 4 open, 7 close, 1 open, 1 close, 1 open, 2 close, 15 open, 3 close, 2 open, 4 close, 1 open, 2 close, (a) 5 open. 17th: (b) 2 close, 6 open, 5 close, 1 open, 1 close, 1 open, 2 close, 20 open, 4 close, 1 open, 2 close, (a) 5 open. 18th: (b) 2 close, 7 open, 4 close, 1 open, 1 close, 1 open, 2 close, 19 open, 4 close, 1 open, 2 close, (a) 7 open. 19th: (b) 2 close, 8 open, 4 close, 2 open, 2 close, 11 open, 3 close, 5 open, 4 close, 1 open, 2 close, (a) 7 open. 20th: (b) 2 close, 8 open, 4 close, 2 open, 2 close, 9 open, 4 close, 5 open, 4 close, 1 open, 2 close, (a) 9 open. 21st: (6) 2 close, 9 open, 4 close, 1 open, 3 close, 7 open, 4 close, 5 open, 4 close, 1 open, 3 close, (a) 4 open, 3 close, 2 open. 22nd: (b) 2 close, 10 open, 3 close, 1 open, 4 close, 5 open, 6 close, 3 open, 4 close, 1 open, 3 close, (a) 3 open, 3 close, 1 open, 2 close, 2 open. 23rd: (b) 2 close, 11 open, 3 close, 1 open, 4 close, 5 open, 11 close, 1 open, 3 close, 3 open, 1 close, 1 open, 1 close, (a) 1 open. 24th: (b) 2 close, 6 open, 8 close, 2 open, 18 close, 1 open, 4 close, 3 open, 1 close, 1 open, 1 close, (a) 1 open. 25th: (b) 2 close, 5 open, 11 close, 2 open, 14 close, 2 open, 4 close, 3 open, 2 close, 1 open, 1 close, (a) 1 open. 26th: (b) 2 close, 4 open, 13 close, 2 open, 11 close, 3 open, 5 close, 3 open, 4 close, (a) 1 open. 27th: (b) 2 close, 3 open, 4 close, 7 open, 4 close, 3 open, 7 close, 4 open, 5 close, 3 open, (a) x 2 close, 1 open, x 3 times, 2 close. 28th: (b) 2 close, 2 open, 4 close, 22 open, 2 close, 1 open, 5 close, 4 open, 2 close, 1 open, 1 close, (a) 3 open. 29th: (b) 2 close, 1 open, 4 close, 1 open, 15 close, 2 open, 5 close, 3 open, 4 close, 4 open, 2 close, 1 open, 2 close, (a) 3 open. 30th: (b) 2 close, 1 open, 3 close, 1 open, 15 close, 2 open, 4 close, 2 open, 6 close, 5 open, 2 close, 1 open, (a) 3 close, 2 open, 2 close. 31st: (b) 2 close, x 1 open, 3 close, x twice, 5 open, 5 close, 2 open, 5 close, 1 open, 7 close, 5 open, 2 close, 1 open, 2 close, 2 open, (a) 1 close. 32nd: (b) 2 close, x 1 open, 2 close, x twice, 5 open, 5 close, 2 open, 6 close, 1 open, 7 close, 5 open, 3 close, 1 open, 2 close, 2 open, (a) 1 close. 33rd: (b) 2 close, 2 open, 4 close, 4 open, 6 close, 2 open, 5 close, 1 open, 7 close, 5 open, 3 close, 1 open, 2 close, 3 open, (a) 1 close. 34th: (b) 2 close, 2 open, 3 close, 3 open, 6 close, 3 open, 5 close, 1 open, 8 close, 4 open, 3 close, 1 open, 3 close, (a) 4 open, 1 close, 2 open. 35th: (b) 2 close, 3 open, 1 close, 3 open, 5 close, 4 open, x 5 close, 1 open, x twice, 2 close, 4 open, 3 close, 1 open, 3 close, (a) 5 open, 1 close, 3 open. 36th: (b) 2 close, 6 open, 5 close, 1 open, 2 close, 2 open, 4 close, 2 open, 4 close, 3 open, 1 close, 2 open, 4 close, 1 open, 4 close, (a) 5 open, 1 close, 3 open. 37th: (_b_) 2 close, 5 open, 4 close, 2 open, 3 close, x 1 open, 5 close, x twice, 5 open, 4 close, 1 open, 4 close, 3 open, (_a_) 3 close, 1 open, 1 close. 38th: (_b_) 2 close, 4 open, 4 close, 1 open, 4 close, 1 open, 6 close, 1 open, 4 close, 5 open, 3 close, 2 open, 4 close, (_a_) 2 open, 8 close, 3 open. 39th: (_b_) 2 close, 4 open, 3 close, 1 open, 5 close, 1 open, 3 close, x 1 open, 2 close, x twice, 1 open, 1 close, 4 open, 3 close, 1 open, 6 close, (_a_) 1 open, 2 close, 2 open, 2 close, 1 open, 3 close, 2 open. 40th: (_b_) 2 close, 3 open, 4 close, 1 open, 5 close, 1 open, 2 close, 2 open, 5 close, 5 open, 3 close, 1 open, 6 close, (_a_) 1 open, 2 close, 1 open, 7 close, 4 open, 1 close, 1 open, 2 close, 2 open. 41st: (_b_) 2 close, 3 open, 3 close, 1 open, 6 close, 1 open, 2 close, 2 open., 5 close, 5 open, 2 close, 1 open, 6 close, (_a_) 1 open, 2 close, 1 open, 7 close, 1 open, 2 close, 3 open. 42nd: (_b_) 2 close, 2 open, 3 close, 1 open, 6 close, 1 open, 3 close, 3 open, 3 close, 5 open, 2 close, 1 open, 6 close, (_a_) 2 open, 2 close, 1 open, 4 close, 1 open, 2 close, 1 open, 3 close, 3 open. 43rd (_b_) 2 close, 2 open, 2 close, 1 open, 7 close, 1 open, 3 close, 4 open, 3 close, 4 open, 2 close, 1 open, 4 close, 3 open, (_a_) 2 close, 1 open, 5 close, 1 open, 3 close, 1 open, 2 close, 5 open. 44th: (_b_) 2 close, 2 open, 4 close, 1 open, 5 close, 1 open, 3 close, 11 open, 4 close, (_a_) 6 open, 2 close, 1 open, 4 close, 2 open, x 1 close, 1 open, x twice, 2 close, 8 open. 45th: (_b_) 2 close, 2 open, 3 close, 2 open, 4 close, 1 open, 5 close, 10 open, 2 close, 2 open, 2 close, (_a_) 3 open, 2 close, 1 open, 4 close, x 1 open, 1 close, x 3 times, 1 open, 2 close, 6 open. 46th: (_b_) x 2 close, 2 open, x twice, 4 close, 2 open, 6 close, 9 open, 1 close, 2 open, 2 close, (_a_) 4 open, 2 close, 1 open, 3 close, * 1 open, 3 close, * twice, 2 open, 2 close, 7 open. 47th: (_b_) 2 close, 3 open, 1 close, 2 open, 3 close, 1 open, 1 close, 1 open, 7 close, 9 open, 4 close, (_a_) 4 open, 2 close, 1 open, 3 close, x 1 open, 2 close, x twice, 1 open, 3 close, 7 open. 48th: (_b_) 2 close, 5 open, 3 close, 1 open, x 2 close, 1 open, x twice, 3 close, 9 open, 4 close, (_a_) 6 open, 1 close, 1 open, 3 close, 1 open, 2 close, 1 open, 1 close, 2 open, 2 close, 9 open. 49th: (_b_) 2 close, 4 open, x 3 close, 1 open, x twice, 2 close, 13 open, 4 close, (_a_) 7 open, 1 close, 1 open, 6 close, 2 open, 3 close, 9 open. 50th: 2 close, 4 open, 2 close, 1 open, 4 close, 1 open, 2 close, 7 open, 1 close, 5 open, 3 close, (_a_) 8 open, 2 close, 1 open, 3 close, 2 open, 1 close, 1 open, 2 close, 11 open. 51st: (_b_) 2 close, 4 open, 4 close, 1 open, 2 close, 1 open, 3 close, 5 open, 2 close, 6 open, 3 close, (_a_) 8 open, 2 close, 3 open, 3 close, 1 open, 1 close, 11 open. 52nd: (_b_) 2 close, 5 open, x 2 close, 2 open, x twice, 3 close, 3 open, 3 close, (_a_) 19 open, 3 close, 1 open, 1 close, 23 open. 53rd: (_b_) 2 close, 6 open, 3 close, 2 open, 3 close, 2 open, 7 close, (_a_) 49 open. 54th: (_b_) 2 close, 10 open, 3 close, 4 open, 4 close, (_a_) 49 open. 55th: (_b_) 2 close, 11 open, 9 close, (_a_) 51 open. 56th: (_b_) 2 close, 12 open, 7 close (_a_) 53 open. 57th: 2 close, 13 open, 4 close, 57 open, 4 close, 13 open, 2 close. 58th to 78th row inclusive: 2 close squares at each end, and the intermediate all open squares. finish with two rows double crochet. two of these pieces are required. for the pointed piece.--as the narrow edging with which this is trimmed is added at the sides, the piece itself is not so wide as that already given. make a chain of 268 stitches, and work on one row in d.c. the second is also worked in d.c., but diminished two squares at each end, thus: begin on the second d.c. stitch, slip 2, s.c. 2, d.c. till you come to within five of the end, then s.c. 2, slip 2. decrease the next and all succeeding rows one square at each end, by working on the first four d.c. stitches of the row 1 slip, 2 s.c., 1 d.c., after which three more d.c., the other end being made to correspond. the row succeeding the two of d.c. is entirely in open square crochet, except these 7 stitches at the ends. 4th row: (_b_) 1 slip, 2 s.c., 4 d.c., 31 open squares, 3 close, 4 open, (_a_) 3 close. (observe that in this and all the following rows, the first open square comes over the second of the preceding line. the first and last 7 stitches are not mentioned, as they occur in every row). 5th: (_b_) 28 open, 2 close, 3 open, 1 close, 2 open, 1 close, (_a_) 3 open. 6th: (_b_) 24 open, 3 close, 6 open, 1 close, 1 open, 1 close, (_a_) 3 open. 7th: (_b_) 23 open, 1 close, 9 open, 1 close, 1 open, (_a_) 3 close. 8th: 21 open, 1 close, 27 open, 1 close, 21 open. 9th: here the initial begins. i have chosen an m as being a common letter; any other may be substituted; care being taken to place it in the exact centre of the space indicated between the brackets. 19 open, 1 close, [7 open, 1 close, 2 open, 2 close, 3 open, 3 close, 11 open,] 1 close, 19 open. 10th: 12 open, 3 close, 3 open, 1 close, [8 open, 3 close, 1 open, 1 close, 1 open, 2 close, 2 open, 1 close, 10 open,] 1 close, 3 open, 3 close, 12 open. 11th: 10 open, 1 close, 3 open, 1 close, 1 open, 1 close, [10 open, 1 close, x 3 open, 2 close, x twice, 10 open,] 1 close, 1 open, 1 close, 3 open, 1 close, 10 open. 12th: 9 open, x 1 close, 2 open, x twice, 1 close, [10 open, 2 close, 2 open, 2 close, 1 open, 1 close, 1 open, 3 close, 9 open,] 1 close, * 2 open, 1 close, * twice, 9 open. 13th: 9 open, 1 close, 3 open, 1 close, [11 open, 2 close, 2 open, 3 close, 2 open, 2 close, 11 open,] 1 close, 3 open, 1 close, 9 open. 14th: 9 open, 3 close, [12 open, x 2 close, 2 open, x twice, 3 close, 12 open,] 3 close, 9 open. 15th: 8 open, 3 close, [12 open, 2 close, 1 open, 3 close, 2 open, 2 close, 1 open, 1 close, 11 open,] 3 close, 8 open. 16th: 6 open, 1 close, 3 open, 1 close, [11 open, x 2 close, 2 open, x twice, 2 close, 12 open,] 1 close, 3 open, 1 close, 6 open. 17th: 4 open, x 1 close, 2 open, x twice, 1 close, [10 open, 2 close, 2 open, 2 close, 3 open, 1 close, 11 open,] * 1 close, 2 open, * twice, 1 close, 4 open. 18th: x 3 open, 1 close, x twice, 1 open, 1 close, [7 open, 1 close, x 2 open, 2 close, x twice, 1 open, 1 close, 2 open, 1 close, 10 open,] 1 close, 1 open, x 1 close, 1 open, x twice. 19th: 3 open, 3 close, 3 open, 1 close, [7 open, 4 close, 2 open, 2 close, 2 open, 1 close 2 open, 3 close, 6 open,] 1 close, 3 open, 3 close, 3 open. 20th: 8 open, 1 close, [8 open, 2 close, 2 open, 2 close, 4 open, 3 close, 2 open, 1 close, 5 open,] 1 close, 8 open. this is the last row of the letter. 21st: 8 open, 1 close, 27 open, 1 close, 8 open. 22nd: (_b_) 8 open, 1 close, 9 open, 1 close, 1 open (_a_) 3 close. 23rd: (_b_) 7 open, 3 close, 6 open, 1 close, 1 open, 1 close, (_a_) 3 open. 24th: (_b_) 9 open, 2 close, 3 open, 1 close, 2 open, 1 close, (_a_) 3 open. 25th: (_b_) 10 open, 3 close, 4 open, (_a_) 3 close. 26th: open square crochet, except the ends. 27th: all d.c. it will be remembered that when the letters _b a_ occur, the stitches between are to be repeated backwards, those following the _a_ being the centre of the line, whether few or many. the knitted edgings for trimming this sachet are given separately; the narrow one trims the point, which is then sewed to the top of one of the squares; the two squares are then sewed together at the bottom and sides, and the broad lace goes all round. the whole is lined with silk or gingham. * * * * * a lady's nightcap in crochet. materials.--3 reels no. 20 brooks' great exhibition prize goat's-head crochet cotton. no. 4 penelope hook. make 386 chain, turn back, work 1 l., 2 ch., 1 l. into 3rd loop, make 138 squares. 2nd row: insertion.--6 sq., * 9 l., 3 sq., repeat from *, end with 9 sq. [illustration: a lady's nightcap. ] 3rd: decrease a sq. by d.c. on 1st l. stitch, 3 ch., 1 l. on 2nd l., then 6 sq., * 9 l., 3 sq., repeat from *, end with 7 sq., decrease a sq. 4th: decrease a sq., then 6 sq., * 9 l., 3 sq., repeat from *, end with 5 sq., decrease a sq. 5th: decrease a sq., then 2 sq., * 9 l., 3 sq., these 3 sq., should come over the 9 l. of last row, repeat from *, end with 1 sq., decrease a sq. 6th: 1 sq., * 9 l., 3 sq., repeat from *, end with 3 sq. 7th: * 9 l., 3 sq., repeat from *, end with 4 sq. 8th and 9th: 2 rows of squares. 10th: decrease a sq., then 8 sq., 5 ch., 1 l. under every 2 ch. till within 9 squares of the end, then 8 sq., decrease a sq. 11th: decrease a sq., then 7 sq., 5 ch., 1 l. under every 5 ch., then 7 sq., decrease a sq. 12th: 7 sq., 5 ch., 1 l. under every 5 ch., 7 sq. 13th: decrease a sq., then 6 sq., 5 ch., 1 l. under every 5, 6 sq., decrease a sq. 14th: 6 sq., work as before, end with 6 sq. 15th: decrease a sq., 5 sq., work as before, then 5 sq., decrease a sq. 16th: 5 sq., 1 l. under every 5 ch., with 2 ch. between each 5 sq. 17th and 18th: 2 rows of squares. 19th: begin with 6 sq., then work the same as at 1st row of insertion, and end with 9 sq. 20th: begin with 7 sq., work as 2nd row of insertion, end with 10 sq. 21st: begin with 8 sq., work as 3rd row of insertion, end with 5 sq. 22nd: begin with 5 sq., work as 4th row of insertion, end with 5 sq. 23rd: begin with 4 sq., work as 5th row of insertion, end with 6 sq. 24th: begin with 3 sq., work as 6th row of insertion, end with 7 sq. 25th, 26, and 27th: 3 rows of squares. to slope the back of the cap.--begin on the right side of the work, under the 1st 2 ch., work 2 l. with 2 ch. between each, then 2 ch., 1 l. on next l., this must be carefully attended to, otherwise 1 stitch will be lost; after this, work 38 sq., then 2 ch., d.c. on next l., turn on reverse side, 3 ch., d.c. on 1st l., then 2 ch., 1 l. on next l., then 38 sq., 2 ch., 1 l. under the last 2 ch., 2 ch., 1 more l. under same, turn on reverse side, 5 ch., 1 l., under the 1st 2 ch., 2 ch., 1 l. on next l.; after this, work 16 sq., 2 ch., d.c. on next l., turn on reverse side, 3 ch., d.c. on 1st l., 2 ch., d.c. on next l., 2 ch., 1 l. on next l.; after this, work 15 sq., 2 ch., 1 l. into the 5 ch. at the end, turn on reverse side, 5 ch., 1 l. under 1st 2 ch. 2 ch., 1 l. on next l.; after this, work 8 sq., 2 ch., d.c. on next l., turn on reverse side, 3 ch., d.c. on 1st l., 2 ch., 1 l. on next l.; after this, work 8 sq., 2 ch., 1 l. under the 5 ch., turn on reverse side, 5 ch., 1 l., under 2 ch., 2 ch., 1 l. on 1st l.; after this, work 5 sq., 2 ch., d.c. on next l., turn on reverse side, 3 ch., d.c. on 1st l., 2 ch., 1 l. on next l.; after this, work 5 sq., 2 ch., 1 l. under 5 ch., turn on reverse side, 5 ch., 1 l. under 2 ch., 2 ch., 1 l. on next l.; after this, work 3 sq., 2 ch., d.c. on next l., turn on reverse side, 3 ch., d.c. on 1st l., 2 ch., 1 l. on next l.; after this, work 3 sq., 2 ch., 1 l. under the 5 ch., turn on reverse side, 5 ch., 1 l. under the 2 ch., 2 ch., 1 l. on next l.; after this, work 2 sq., 2 ch., d.c. on next l., turn on reverse side, 3 ch., d.c. on 1st l., 2 ch., 1 l. on next l.; after this, work 2 sq., 2 ch., 1 l. under 5 ch., turn on reverse side, 5 ch., 1 l. under 2 ch., 2 ch., 1 l. on next l.; after this, work 1 sq., 2 ch., d.c. on next l. this finishes the slope on one side; now slope the other side the same, only beginning on the wrong side of the work instead of the right. now crochet the two sides together, and under every space, and under the chain stitches which form the slope, all round and where the crown is to be sewed in, work 2 d.c. stitches; and round the front and back, where the border will be worked, crotchet 3 d.c. stitches into every space, making 7 d.c. at the 2 corners. for the crown of the cap.--make 7 ch., unite, 7 ch., d.c. into every loop, thus making 7 chains of seven. the cotton must be cut off at every row. 2nd: d.c. into centre loop of 7, 7 ch., repeat. 3rd: d.c. into centre loop of 7, 7 ch., d.c. on d.c. stitch, 7 ch., repeat. 4th: same as 2nd. 5th: same as 3rd. 6th: same as 2nd. 8th: same as 3rd. now repeat again 2nd, 3rd and 2nd rows. 12th: d.c. into centre loop of 7, 5 ch., repeat. 13th: 1 l., 2 ch., 1 l. into 3rd loop all round, including the d.c. stitches. in this row there are not sufficient stitches for the next row by 5, therefore for 5 times miss 1 loop instead of 2, at different intervals. there must be 114 squares in this row, therefore it is not very material whether 1 loop or 2 be missed occasionally, so that 114 squares are made. 14th: 10 l., 3 sq., * 9 l., 3 sq., repeat from * all round 15th: 10 l. the 1st on 4th l. of the 10 l, * 3 sq., 9 l., repeat from *. 16th: same as last. 17th: 10 l. the 1st on the last of the 9 l., * 3 sq., 9 l., repeat from *. 18th: 10 l. the 1st on the last l. of the 2nd sq., * 3 sq., 9 l., repeat from *. 19th: the same as last row. this pattern is simply the same as the insertion in the front. 20th: 1 l., 2 ch., miss 1 loop, repeat. 21st: 5 ch., d c. on every l. 22nd: 5 ch., d.c. into centre loop of 5 ch., repeat. 23rd, 24th, 25th, 26th, and 27th: the same as 22nd. 28th: 1 l. into the centre loop of the 5 ch., 2 ch., repeat. 29th: begin on a l. stitch, 10 l. in the next 7 loops, including the 1st stitch, 3 sq., 9 l., in the next 7 loops, 3 sq., 9 l., in the next 7 loops, * 3 sq., 9 l. in the next 9 loops, repeat from *; the reason for commencing the row in this manner is, that there were not squares enough in the last row for the pattern. this row is the same as the 14th row. now work as at 15th, 16th, 17th, 18th, and 19th rows. now 1 l., 2 ch., 1 l. into 3rd loop. now 1 l. on l., 2 ch., repeat. 2 d.c. under ever 2 ch., worked tightly. now sew the crown into the front, gathering it in as it may be required. border.--1st row: work all round 1 l. into every loop, with 2 ch. between each. 2nd: 5 ch., 1 l. under every 2 ch., all round. 3rd and 4th: 1 l. under the 5 ch., 5 ch., repeat. 5th: work an extra row the same as the last, along the front, beginning and ending at the ears, just where the chains of 5, in the centre of the 2 rows of insertion, begin. 6th: work all round, * 5 l., with 3 ch. between each, under the 5 ch., 3 ch., d.c. under next 5, 3 ch, d.c. under next 5, 3 ch., d.c. under next 5, 3 ch., repeat from * under next 5. 7th: 3 ch., d.c. under every 3 ch., all round. narrow ribbon, or wide white cotton-braid, may be drawn in round the crown and along the front, but it is not actually necessary excepting for ornament. * * * * * shaving tidy. materials.--no. 16 brooks' great exhibition prize goat's-head crochet cotton. no. 4 penelope hook. 1st row: make 180 chain, turn back, 1 l. into 9th loop, in the next row this forms 1 sq., by working the 1st l. into the 5th loop of the 8 ch., new 2 ch., 1 l. into 3rd loop till there are 58 sq. 2nd: 1 row all squares. 3rd: 6 sq., 3 l., 51 sq. 4th: 5 sq., 3 l., 3 sq., 15 l., 44 sq. 5th: 5 sq., 3 l., 2 sq., 9 l., 3 sq., 3 l., 43 sq. 6th: 6 sq., 12 l., 4 sq., 3 l., 43 sq. 7th and 8th: 14 sq., 3 l., 43 sq. 9th: 13 sq., 3 l., 24 sq., 3 l., 19 sq. 10th: 8 sq., 15 l., 7 sq., 12 l., 3 sq., 3 l., 5 sq., 9 l., 3 sq., 3 l., 3 sq., 18 l., 9 sq. 11th: 6 sq., 6 l., 1 sq., 3 l., 1 sq., 6 l., 5 sq., 6 l., 2 sq., 15 l., 5 sq., 3 l., 2 sq., 6 l., 2 sq., 3 l., 2 sq., 3 l., 5 sq., 6 l., 8 sq. 12th: 5 sq., 6 l., 2 sq.; 3 l., 1 sq., 6 l., 4 sq., 6 l., 4 sq., 3 l., 3 sq., 3 l., 3 sq., 6 l., 1 sq., 3 l., 1 sq., 9 l., 2 sq., 3 l., 3 sq., 3 l., 3 sq., 6 l., 7 sq. 13th: 5 sq., 6 l., 2 sq., 3 l., 1 sq., 6 l., 4 sq., 6 l., 4 sq., 3 l., 2 sq., 3 l., 4 sq., 6 l., 1 sq., 3 l., 10 sq., 6 l., 2 sq., 6 l., 7 sq. 14th: 5 sq., 6 l., 1 sq., 6 l., 1 sq., 6 l., 1 sq., 3 l., 2 sq., 6 l., 3 sq., 6 l., 1 sq., 6 l., 4 sq., 6 l., 1 sq., 3 l., 10 sq., 6 l., 2 sq., 6 l., 7 sq. 15th: 5 sq., 6 l., 2 sq., 3 l., 1 sq., 9 l., 3 sq., 6 l., 4 sq., 3 l., 1 sq., 9 l.; 3 sq., 6 l., 1 sq., 3 l., 1 sq., 3 l., 8 sq., 6 l., 2 sq., 6 l., 7 sq. 16th: 5 sq., 6 l., 1 sq., 6 l., 1 sq., 6 l., 4 sq., 6 l., 3 sq., 6 l., 1 sq., 6 l., 4 sq., 6 l., 1 sq., 6 l., 9 sq., 6 l., 2 sq., 6 l., 7 sq. 17th: 5 sq., 6 l., 2 sq., 3 l., 1 sq., 6 l., 4 sq., 6 l., 4 sq., 3 l., 1 sq., 6 l., 4 sq., 6 l., 1 sq., 3 l., 10 sq., 6 l., 2 sq., 3 l., 8 sq. 18th: 5 sq., 6 l., 2 sq., 3 l., 1 sq., 6 l., 4 sq., 6 l., 4 sq., 3 l., 1 sq., 3 l., 5 sq., 6 l., 1 sq., 3 l., 2 sq., 3 l., 7 sq., 3 l., 2 sq., 3 l., 3 sq., 3 l., 5 sq. [illustration: a shaving tidy.] 19th: 5 sq., 6 l., 2 sq., 3 l., 1 sq., 9 l., 1 sq., 3 l., 1 sq., 9 l., 3 sq., 15 l., 3 sq., 9 l., 4 sq., 3 l., 3 sq., 18 l., 4 sq., 3 l., 5 sq. 20th: 5 sq., 9 l., 1 sq., 6 l., 1 sq., 9 l., 3 sq., 33 l., 2 sq., 3 l., 1 sq., 9 l., 2 sq., 6 l., 1 sq., 3 l., 3 sq., 21 l., 6 sq. 21st: 6 sq., 9 l., 2 sq., 3 l., 1 sq., 3 l., 5 sq., 15 l., 4 sq., 3 l., 1 sq., 3 l., 3 sq., 12 l., 3 sq., 3 l., 5 sq., 12 l., 7 sq. 22nd: 11 sq., 3 l., 4 sq. 23rd and 24th: 58 sq. 25th: 5 sq., 3 l., 3 sq., 3 l., 48 sq. 26th: 4 sq., 3 l., 1 sq., 3 l., 49 sq. 27th: 3 sq., 3 l., 35 sq., 3 l., 18 sq. 28th: 3 sq., 6 l., 33 sq., 3 l., 19 sq. 29th: 4 sq., 12 l., 2 sq., 6 l., 1 sq., 6 l., 4 sq., 6 l., 5 sq., 6 l., 4 sq., 6 l., 1 sq., 6 l., 1 sq., 3 l., 3 sq., 3 l., 3 sq., 12 l., 4 sq., 3 l., 3 sq. 30th: 4 sq., 3 l., 2 sq., 3 l., 1 sq., 3 l., 1 sq., 3 l., 2 sq., 3 l., 3 sq., 3 l., 1 sq., 3 l., 3 sq., 6 l., 1 sq., 3 l., 3 sq., 3 l., 1 sq., 3 l., 2 sq., 3 l., 1 sq., 3 l., 3 sq., 3 l., 2 sq., 6 l., 1 sq., 21 l., 3 sq. 31st: 4 sq., 3 l., 2 sq., 3 l., 3 sq., 3 l., 2 sq., 3 l., 5 sq., 3 l., 3 sq., 3 l., 2 sq., 3 l., 5 sq., 12 l., 1 sq., 3 l., 3 sq., 3 l., 1 sq., 6 l., 3 sq., 15 l., 4 sq. 32nd: 4 sq., 3 l., 2 sq., 3 l., 3 sq., 3 l., 1 sq., 6 l., 1 sq., 3 l., 3 sq., 3 l., 1 sq., 3., 1 sq., 3 l., 1 sq., 6 l., 1 sq., 3 l., 3 sq., 3 l., 1 sq., 3 l., 2 sq., 3 l., 2 sq., 6 l., 1 sq., 6 l., 4 sq., 3 l, 7 sq. 33rd: 5 sq., 6 l., 4 sq., 6 l., 1 sq., 6 l., 4 sq., 6 l., 2 sq., 6 l., 1 sq., 6 l., 4 sq., 6 l., 4 sq., 6 l., 1 sq., 3., 1 sq., 3 l., 1 sq., 21 l., 5 sq. 34th: 42 sq., 3 l., 2 sq., 3 l., 1 sq., 21 l., 1 sq. 35th: 42 sq., 3 l., 2 l., 6 l., 1 sq., 3 l., 4 sq., 6 l., 3 sq. 36th: 20 sq., 3 l., 21 sq., 3 l., 3 sq., 21 l., 1 sq., 3 l., 3 sq. 37th: 28 sq., 3 l., 2 sq., 3 l., 5 sq., 24 l., 3 sq. 38th: 39 sq., 6 l., 4 sq., 3 l., 7 sq., 3 l., 4 sq. 39th: 45 sq., 6 l., 2 sq., 6 l., 2 sq., 3 l., 4 sq. 40th: 45 sq., 12 l., 1 sq., 9 l., 5 sq. 41st and 42nd: two rows of squares. now work 3 d.c. into ever space on three sides, but not on the side above the top of the letters, making 7 d.c. at each corner. border.--1st row: begin at the side where the letter s is, 3 l. the first into 1st loop, 3 ch., 3 l. the 1st into 4th loop, repeat this till within 4 loops of the corner, then in the corner loop make 3 l., 3 ch., 3 more l. into same loop, now 3 ch., miss 3 loops, then 3 l. the 1st into 4th loop, now repeat till the corner loop of next corner, then 3 ch., then 3 l. into the same loop in which the last of the 3 l. was worked, now 3 ch., 3 l. the 1st into 4th loop, and repeat. 2nd: when at the end, turn back, work 3 l. on l., 3 ch., repeat; at the corner, after the last 3 l. and 3 ch., make 3 l. under the 3 ch. at corner, 3 ch., 3 more l. under same, 3 ch. 3 l. on l., repeat. 3rd: turn back and work the same. 4th: turn back, d.c. on the 1st of the l. stitches, * 5 ch., 3 d.c. under the 3 ch, repeat from *. 5th: turn back, 6 ch., 3 d.c. on the d.c., repeat. 6th: turn back, 7 ch, 3 d.c. on d.c., repeat. now, along the top work a row of extra long stitches, made by twisting the cotton twice over the hook instead of once, beginning on the d.c. stitches of the border, and working 5 l. stitches across the width of the border at regular spaces, then 1 l., 2 ch., 1 l. on every l. across the squares, terminating with 5 l. in the width of the border. now 3 d.c. into every space between the l. stitches, then crochet the two pieces together on the right side of the work, or sewing will do as well. if the tidy should require washing, let it now be done, and pressed between a double linen cloth, under a heavy weight; when dry, line it with coloured cambric, omitting the border; double it in half, and run a small tuck at the bottom of the extra l. stitches; in this tuck insert a narrow piece of whalebone, not quite so long as the work, and secure it at both ends; get a yard of satin ribbon, place a pin in the centre, and on one side of this pin sew on to the ribbon some pieces of old linen fringed about 3 inches in width, and 8 inches long, if this is doubled over the ribbon it will make each piece 4 inches long; sew then on the other side of the pin some soft chamois leather the same width and length, now place it in the centre of the tidy, draw the ribbon over, and tie it in a bow at the back. this should be laid on the toilet table, and not hung up; it will have the appearance of a book. * * * * * exhibition oval tidy for easy chair. materials.--12 reels no. 10 or 12 brooks' great exhibition prize goat's-head crochet cotton. no. 3 penelope hook. make 266 chain stitches; this chain must be worked very evenly and well, as it is the centre of the pattern, and will have to be worked into on the other side after the 33rd row; turn back 1 l., into 4th loop from hook, 3 more long into successive loops, now 14 square, formed by working 2 ch., 1 l. into 3rd loop, 3 l., 4 sq., 6 l., 1 sq., 6 l., 6 sq., 15 l., 3 sq., 9 l., 1 sq., 3 l., 2 sq., 12 l., 1 sq., 12 l., 2 sq., 3 l., 1 sq., 3 l., 1 sq., 3 l., 1 sq., 3 l., 1 sq., 15 l., 2 sq., 9 l., 11 sq., 3 l. the cotton must be cut off every row. 2nd: 4 l., 7 sq., 6 l., 2 sq., 3 l., 2 sq., 3 l., 3 sq., 21 l., 2 sq., 6 l., 1 sq., 15 l., 1 sq., 6 l., 2 sq., 6 l., 1 sq., 18 l., 1 sq., 18 l., 1 sq., 9 l., 1 sq., 9 l., 1 sq., 3 l., 1 sq., 3 l., 4 sq., 9 l., 10 sq., 3 l. 3rd: 4 l., 9 sq., 9 l., 3 sq., 3 l., 2 sq., 9 l., 1 sq., 9 l., 2 sq., 9 l., 1 sq., 9 l., 1 sq., 9 l., 3 sq., 3 l., 1 sq., 18 l., 1 sq., 18 l., 1 sq., 21 l., 10 sq., 3 l., 10 sq., 3 l. 4th: 4 l., 8 sq., 3 l., 3 sq., 6 l., 2 sq., 6 l., 1 sq., 3 l., 1 sq., 3 l., 1 sq., 3 l., 1 sq., 27 l., 1 sq., 15 l., 1 sq., 6 l., 1 sq., 33 l., 3 sq., 6 l., 1 sq., 6 l., 1 sq., 6 l., 1 sq., 6 l., 16 sq., 3 l. 5th: 4 l., 12 sq., 12 l., 2 sq., 9 l., 1 sq., 6 l., 1 sq., 18 l., 2 sq., 21 l., 1 sq., 3 l. 4 sq., 6 l., 3 sq., 6 l., 4 sq., 3 l., 2 sq., 3 l., 3 sq., 15 l., 2 sq., 3 l., 13 sq., 3 l. 6th: 4 l., 11 sq., 6 l., 1 sq., 6 l., 2 sq., 21 l., 1 sq., 12 l., 1 sq., 6 l., 2 sq., 12 l., 3 sq., 15 l., 2 sq., 3 l., 2 sq., 15 l., 3 sq., 12 l., 1 sq., 3 l., 1 sq., 3 l., 1 sq., 6 l., 3 sq., 3 l., 10 sq., 3 l. 7th: 4 l., 11 sq., 12 l., 4 sq., 6 l., 1 sq., 6 l., 5 sq., 3 l., 3 sq., 6 l., 1 sq., 3 l., 2 sq., 9 l., 1 sq., 15 l., 3 sq., 21 l., 2 sq., 6 l., 2 sq., 15 l., 1 sq., 12 l., 11 sq., 3 l. 8th: 7 l., 8 sq., 6 l., 2 sq., 6 l., 6 sq., 3 l., 5 sq., 12 l., 3 sq., 3 l., 1 sq., 18 l., 1 sq., 45 l., 3 sq., 6 l., 1 sq., 6 l., 1 sq., 6 l., 2 sq., 3 l., 2 sq., 6 l., 8 sq., 6 l.; the cotton at the end of every row must now be left sufficiently long to run in with a needle, not as before the end woven in with the last stitch. 9th: 4 l. the 1st on the 4th l. of last row, this is to form the oval, 9 sq., 3 l., 8 sq., 9 l., 4 sq., 15 l., 4 sq., 3 l., 1 sq., 12 l., 1 sq., 12 l., 1 sq., 15 l., 1 sq., 9 l., 3 sq., 3 l., 2 sq., 3 l., 6 sq., 3 l., 2 sq., 3 l., 3 sq., 3 l., 7 sq., 3 l. 10th: 4 l. the 1st on 4th l., 7 sq., 6 l., 7 sq., 12 l., 2 sq. 3 l., 2 sq., 18 l., 3 sq., 3 l., 1 sq., 15 l., 1 sq., 9 l., 1 sq., 15 l., 1 sq., 9 l., 2 sq., 6 l., 6 sq., 3 l., 2 sq., 3 l., 14 sq., 3 l. 11th: 7 l., 5 sq., 3 l., 8 sq., 12 l., 4 sq., 6 l., 1 sq., 9 l., 1 sq., 9 l., 2 sq., 6 l., 1 sq., 9 l., 1 sq., 21 l., 3 sq., 9 l., 1 sq., 9 l., 1 sq., 6 l., 4 sq., 3 l., 12 sq., 6 l. 12th: 4 l. the 1st on 4th l., 14 sq., 3 l., 13 sq., 27 l., 3 sq., 3 l., 3 sq., 21 l., 1 sq., 9 l., 2 sq., 15 l., 19 sq., 3 l. [illustration: oval tidy for easy chair.] 13th: 7 l., 18 sq., 3 l., 1 sq., 9 l., 4 sq., 12 l., 1 sq., 15 l., 1 sq., 3 l., 1 sq., 6 l., 2 sq., 6 l., 1 sq., 6 l., 1 sq., 15 l., 1 sq., 15 l., 18 sq., 6 l. 14th: 4 l. the 1st on 4th l., 15 sq., 3 l., 3 sq., 3 l., 1 sq., 9 l., 3 sq., 12 l., 1 sq., 15 l., 3 sq., 12 l., 6 sq., 15 l., 1 sq., 9 l., 1 sq., 3 l., 18 sq., 3 l. 15th: 7 l., 9 sq., 3 l., 5 sq., 3 l., 2 sq., 24 l., 1 sq., 6 l., 2 sq., 9 l., 4 sq., 6 l., 1 sq., 6 l., 6 sq., 3 l., 1 sq., 9 l., 2 sq., 9 l., 3 sq., 3 l., 14 sq., 6 l. 16th: 4 l. the 1st on 4th l., 10 sq., 9 l., 2 sq., 3 l., 2 sq., 15 l., 1 sq., 3 l., 5 sq., 3 l., 1 sq., 6 l., 4 sq., 12 l., 1 sq., 6 l., 5 sq., 9 l., 1 sq., 6 l., 3 sq., 9 l., 15 sq., 3 l. 17th: 7 l., 12 sq., 12 l., 2 sq., 9 l., 1 sq., 9 l., 3 sq., 9 l., 4 sq., 6 l., 2 sq., 6 l., 1 sq., 12 l., 2 sq., 3 l., 3 sq., 12 l. 2 sq., 3 l., 16 sq., 6 l. 18th: 7 l. the 1st on 4th l., 10 sq., 3 l., 4 sq., 6 l., 3 sq., 15 l., 1 sq., 6 l., 1 sq., 3 l., 4 sq., 12 l., 2 sq., 6 l., 1 sq., 6 l., 1 sq., 3 l., 4 sq., 6 l., 1 sq., 3 l., 3 sq., 9 l., 12 sq., 6 l. 19th: 7 l. the 1st on 4th l., 13 sq., 12 l., 2 sq., 15 l., 4 sq., 3 l., 3 sq., 6 l., 1 sq., 6 l., 2 sq., 12 l., 6 sq., 3 l., 1 sq., 6 l., 4 sq., 3 l., 2 sq., 6 l., 9 sq., 6 l. 20th: 7 l. the 1st on 4th l., 12 sq., 3 l., 1 sq., 6 l., 2 sq., 9 l., 1 sq., 3 l., 3 sq., 9 l., 2 sq., 12 l., 1 sq., 6 l., 2 sq., 6 l., 6 sq., 3 l., 3 sq., 6 l., 3 sq., 3 l., 3 sq., 3 l., 7 sq., 6 l. 21st: 7 l. the 1st on 4th l., 9 sq., 6 l., 1 sq., 6 l., 4 sq., 9 l., 3 sq., 6 l., 1 sq., 3 l., 4 sq., 6 l., 1 sq., 12 l., 7 sq., 3 l., 4 sq., 3 l., 1 sq., 3 l., 13 sq., 6 l. 22nd: 7 l. the 1st on 4th l., 7 sq., 3 l., 7 sq., 6 l., 5 sq., 3 l., 1 sq., 3 l., 2 sq., 3 l., 2 sq., 3 l., 2 sq., 6 l., 1 sq., 6 l., 12 sq., 3 l., 14 sq., 6 l. 23rd: 7 l., beginning on 4th l., 13 sq., 3 l., 1 sq., 3 l., 7 sq., 3 l., 5 sq., 3 l., 2 sq., 12 l., 1 sq., 3 l., 10 sq., 3 l., 1 sq., 3 l., 12 sq., 6 l. 24th: 7 l., beginning on 4th l., 14 sq., 3 l., 6 sq., 3 l., 1 sq., 3 l., 4 sq., 3 l., 4 sq., 6 l., 2 sq., 6 l., 10 sq., 3 l., 11 sq., 6 l. 25th: 10 l. the 1st on 4th l., 11 sq., 3 l., 7 sq., 3 l., 5 sq., 3 l., 4 sq., 3 l., 6 sq., 3 l., 10 sq., 3 l., 8 sq., 9 l. 26th: 7 l. the 1st on 7th l., 18 sq., 3 l., 10 sq., 3 l., 25 sq., 6 l. 27th: 10 l. the 1st on 4th l., 15 sq., 3 l., 12 sq., 3 l., 22 sq., 9 l. 28th: 10 l. the 1st on 7th l., 25 sq., 3 l., 1 sq., 3 l., 19 sq., 9 l. 29th: 13 l. the 1st on 7th l., 21 sq., 3 l., 3 sq., 3 l., 15 sq., 12 l. 30th: 13 l. the 1st on 10th l., 35 sq., 12 l. 31st: 16 l. the 1st on 10th l., 27 sq., 15 l. 32nd: 19 l. the 1st on 13th l., 17 sq., 18 l. 33rd: 58 l., the 1st on 16th l. 34th: now work the other half, keeping on the right side of the work, and working on the other side of the foundation chain, 4 l., 12 sq., 12 l., 1 sq., 3 l., 1 sq., 3 l., 1 sq., 9 l., 1 sq., 9 l., 3 sq., 9 l., 3 sq., 9 l., 4 sq., 3 l., 5 sq., 6 l., 1 sq., 6 l., 1 sq., 6 l., 1 sq., 6 l., 7 sq., 3 l., 2 sq., 4 l., 13 sq., 3 l. 35th: 4 l., 9 sq., 15 l., 2 sq., 12 l., 1 sq., 21 l., 7 sq., 6 l., 3 sq., 9 l., 1 sq., 3 l., 1 sq., 12 l., 5 sq., 21 l., 1 sq., 6 l., 1 sq., 6 l., 6 sq., 3 l., 10 sq., 3 l. 36th: 4 l., 8 sq., 9 l., 1 sq., 6 l., 3 sq., 3 l., 1 sq., 3 l., 2 sq., 6 l., 1 sq., 6 l., 1 sq., 9 l., 1 sq., 9 l., 1 sq., 3 l., 2 sq., 15 l., 1 sq., 18 l., 4 sq., 9 l., 1 sq., 9 l., 1 sq., 15 l., 2 sq., 3 l., 1 sq., 6 l., 11 sq., 3 l. 37th: 4 l., 7 sq., 6 l., 2 sq., 6 l., 3 sq., 3 l., 4 sq., 3 l., 5 sq., 12 l., 1 sq., 12 l., 1 sq., 3 l., 1 sq., 15 l., 1 sq., 18 l., 2 sq., 3 l., 2 sq., 3 l., 1 sq., 3 l., 1 sq., 3 l., 3 sq., 3 l., 1 sq., 3 l., 1 sq., 12 l., 3 sq., 3 l., 9 sq., 3 l. 38th: 4 l., 11 sq., 3 l., 3 sq., 3 l., 11 sq., 27 l., 3 sq., 36 l., 1 sq., 6 l., 1 sq., 9 l., 1 sq., 9 l., 1 sq., 15 l., 1 sq., 3 l., 2 sq., 9 l., 10 sq., 3 l. 39th: 4 l., 21 sq., 9 l., 1 sq., 3 l., 1 sq., 12 l., 1 sq., 12 l., 5 sq., 6 l., 3 sq., 12 l., 3 sq., 6 l., 1 sq., 21 l., 1 sq., 6 l., 1 sq., 6 l., 1 sq., 6 l., 1 sq., 3 l., 2 sq., 6 l., 3 sq., 3 l. 40th: 7 l., 16 sq., 9 l., 3 sq., 12 l., 2 sq., 3 l., 1 sq., 3 l., 1 sq., 3 l., 4 sq., 12 l., 2 sq., 3 l., 2 sq., 3 l., 2 sq., 9 l., 3 sq., 6 l., 1 sq., 6 l., 4 sq., 3 l., 4 sq., 3 l., 2 sq., 3 l., 3 sq., 3 l., 6 sq., 6 l. 41st: 4 l. the 1st on 4th l., 13 sq., 9 l., 2 sq., 12 l., 1 sq., 3 l., 2 sq., 12 l., 1 sq., 2 l., 1 sq., 15 l., 1 sq., 3 l., 1 sq., 3 l., 1 sq., 9 l., 2 sq., 12 l., 9 sq., 3 l., 18 sq., 3 l. 42nd: 4 l., 15 sq., 9 l., 1 sq., 3 l., 6 sq., 27 l., 1 sq., 15 l., 2 sq., 3 l., 2 sq., 12 l., 2 sq., 3 l., 1 sq., 9 l., 1 sq., 12 l., 3 sq., 3 l., 17 sq., 3 l. 43rd: 7 l., 10 sq., 12 l., 2 sq., 3 l., 1 sq., 3 l., 1 sq., 9 l., 2 sq., 12 l., 1 sq., 12 l., 1 sq., 18 l., 3 sq., 15 l., 2 sq., 3 l., 3 sq., 9 l., 1 sq., 9 l., 19 sq., 6 l. 44th: 4 l. the 1st on 4th l., 11 sq., 3 l., 1 sq., 3 l., 1 sq., 6 l., 5 sq., 9 l., 1 sq., 9 l., 1 sq., 9 l., 3 sq., 9 l., 1 sq., 27 l., 4 sq., 9 l., 1 sq., 18 l., 18 sq., 3 l. 45th: 7 l., 7 sq., 9 l., 2 sq., 3 l., 1 sq., 3 l., 2 sq., 9 l., 1 sq., 3 l., 1 sq., 6 l., 3 sq., 3 l., 5 sq., 3 l., 3 sq., 15 l., 1 sq., 9 l., 1 sq., 3 l., 2 sq., 6 l., 1 sq., 6 l., 1 sq., 12 l., 5 sq., 3 l., 12 sq., 6 l. 46th: 4 l. the 1st on 4th l., 8 sq., 3 l., 2 sq., 3 l., 4 sq., 21 l., 1 sq., 3 l., 3 sq., 3 l., 2 sq., 9 l., 4 sq., 15 l., 5 sq., 6 l., 1 sq., 12 l., 1 sq., 3 l., 4 sq., 15 l., 13 sq., 3 l. 47th: 7 l., 7 sq., 3 l., 10 sq., 3 l., 1 sq., 6 l., 1 sq., 3 l., 2 sq., 3 l., 2 sq., 15 l., 3 sq., 15 l., 5 sq., 6 l, 1 sq., 12 l., 1 sq., 9 l., 3 sq., 3 l., 1 sq., 3 l., 3 sq., 3 l., 9 sq., 6 l. 48th: 4 l. the 1st on 4th l., 5 sq., 3 l., 7 sq., 12 l., 2 sq., 6 l.,7 sq., 15 l., 4 sq., 9 l., 2 sq., 9 l., 2 sq., 3 l., 1 sq., 9 l., 2 sq., 3 l., 1 sq., 6 l., 2 sq., 3 l., 2 sq., 9 l., 10 sq., 3 l. 49th: 7 l., 12 sq., 9 l., 1 sq., 6 l., 2 sq., 3 l., 7 sq., 3 l., 1 sq., 9 l., 3 sq., 3 l., 3 sq., 18 l., 3 sq., 3 l., 4 sq., 12 l., 3 sq., 3 l., 1 sq., 3 l., 2 sq., 6 l., 7 sq., 6 l. 50th: 7 l. the 1st on 4th l., 14 sq., 3 l., 1 sq., 6 l., 6 sq., 6 l., 2 sq., 9 l., 9 sq., 15 l., 8 sq., 15 l., 5 sq., 3 l., 3 sq., 3 l., 5 sq., 6 l. 51st: 7 l. the 1st on 4th l., 12 sq., 6 l., 1 sq., 6 l., 7 sq., 9 l., 3 sq., 6 l., 4 sq., 6 l., 1 sq., 9 l., 1 sq., 3 l., 9 sq., 12 l., 14 sq., 6 l. 52nd: 7 l. the 1st on 4th l., 11 sq., 6 l., 2 sq., 3 l., 5 sq., 3 l., 3 sq., 3 l., 3 sq., 3 l., 1 sq., 3 l., 2 sq., 12 l., 1 sq., 9 l., 2 sq., 3 l., 10 sq., 3 l., 13 sq., 6 l. 53rd: 7 l. the 1st on 4th l., 10 sq., 6 l., 9 sq., 9 l., 1 sq., 3 l., 2 sq., 3 l., 4 sq., 3 l., 1 sq., 6 l., 4 sq., 6 l., 24 sq., 6 l. 54th: 7 l. the 1st on 4th l., 9 sq., 3 l., 8 sq., 9 l., 1 sq., 3 l., 5 sq., 3 l., 4 sq., 6 l., 1 sq., 6 l., 2 sq., 3 l., 1 sq., 12 l., 19 sq., 6 l. 55th: 7 l. the 1st on 4th l., 8 sq., 3 l., 7 sq., 3 l., 4 sq., 6 l., 4 sq., 3 l., 6 sq., 12 l., 3 sq., 6 l., 2 sq., 3 l., 17 sq., 6 l. 56th: 7 l. the 1st on 4th l., 19 sq., 3 l., 1 sq., 6 l., 4 sq., 3 l., 5 sq., 6 l., 1 sq., 3 l., 3 sq., 3 l., 1 sq., 3 l., 18 sq., 6 l. 57th: 10 l. the 1st on 4th l., 17 sq., 3 l., 1 sq., 3 l., 1 sq., 3 l., 7 sq., 6 l., 1 sq., 6 l., 3 sq., 3 l., 2 sq., 3 l., 16 sq., 9 l. 58th: 7 l. the 1st on 7th l., 15 sq., 3 l., 2 sq., 3 l., 10 sq., 3 l., 3 sq., 3 l., 6 sq., 6 l., 13 sq., 6 l. 59th: 10 l. the 1st on 4th l., 17 sq., 3 l., 8 sq., 3 l., 1 sq., 3 l., 2 sq., 3 l., 8 sq., 3 l., 10 sq., 9 l. 60th: 10 l. the 1st on 7th l., 15 sq., 3 l., 8 sq., 3 l., 5 sq., 3 l., 16 sq., 9 l. 61st: 13 l. the 1st on 7th l., 13 sq., 3 l., 6 sq., 3 l., 20 sq., 12 l. 62nd: 13 l. the 1st on 10th l., 35 sq., 12 l. 63rd: 16 l. the 1st on 10th l., 27 sq., 15 l. 64th: 19 l. the 1st on 13th l., 17 sq., 18 l. 65th: 58 l. the 1st on 16th l. now run in all the ends neatly and very secure; this may be done by darning the end backwards and forwards on the thick part. d.c. on the 1st of the 58 l. stitches at the side, 7 ch., d.c. into 6th loop, then 7 ch., d.c. into every 5th loop, 7 ch., d.c. on last l., 7 ch., d.c. into the 5th loop of the next l. stitches, 7 ch., d.c. into 5th loop, 7 ch., d.c. on last l., 7 ch., d.c. into 4th loop of the next l. stitches, 7 ch., d.c. on last l., * 7 ch., d.c. on the last l. of next l. stitches, 11 times more, * now there are 2 even rows of l. stitches, ** 7 ch., d.c. into the loop between the two rows. 7 ch., d.c. on last l. of the next l. stitches, repeat from ** twice more, now there are three even rows; now work the same, now there are 15 even rows, make 7 ch., d.c. between every alternate row for 3 times, then 7 ch., d.c. on next row; now work all round the same. there must be 31 chains of 7 on each of the four sloping sides of the oval, 11 chains of 7 on the long stitches on each side, and 8 chains of 7 on the top and bottom. border.--under each of the 7 chains work 2 l. with 1 ch. between each, 3 ch., repeat. 2nd: under each 3 ch. work 2 l. with 1 ch. between each, 5 ch., repeat. 3rd: under the 5 ch. work 2 l. with 1 ch. between each, 7 ch., repeat. 4th: 7 d.c. under the 7 ch., repeat. * * * * * honiton sprigs in crochet. the beautiful and expensive lace for which honiton is famous may be closely imitated in crochet, with the occasional aid of some point-lace stitches. honiton sprigs and edgings are done in detached pieces, which are afterwards laid on brussels net, and run on in any form that fancy may dictate. sometimes they are connected together into a solid mass by means of twisted bars, in a manner termed _guipuring_. being thus separate, the directions for each sprig or edging are comparatively short. each sprig is usually begun at the end of the stem, which is formed by a chain, any leaves or flowers that come on the right side of it being then made as you come to them; generally a flower forms the point of the spray, and this being made, the stem is finished by working the chain stitches in s.c., adding the leaves or flowers on the left side whenever they occur, and working down to the commencement of the chain. leave about three inches of thread on beginning and ending; thread these with a fine needle and run a few stitches up and down the stem, on the _wrong_ side, to secure them. they may then be cut off closely, and the sprig is complete. as these general observations refer to all imitations of honiton lace in crochet, we shall beg our readers to refer to them, when directions for other specimens are given. * * * * * crochet window curtain. materials.--brooks' great exhibition prize goat's-head crochet cotton. penelope hook. may be worked from the engraving in any thickness of cotton, amounting to the size of curtain required; the larger the curtain the thicker the cotton should be. it likewise, in thick cotton, looks remarkably well for bed curtains. [illustration: crochet window curtain] * * * * * window curtain. materials.--brooks' great exhibition prize goat's-head knitting cord, no. 70. penelope hook. the extreme elaboration of this pattern demands that the material in which it is worked should be lighter than it need be when the design is simpler and less rich. the use of finer materials also diminishes the size of the pattern; we, therefore, recommend no. 70: but, of course, it is optional to use coarser. in no. 70 cotton, about 6 patterns, besides the border, will make a curtain two yards wide; but in no. 40, not more than five patterns would be required. the border should be worked at each edge, which may very easily be done by working backwards from the centre of the last pattern, to the edge. it is not necessary to work a border at the top of the curtains. each pattern contains 61 squares or 183 stitches; the border 45 squares or 135 stitches; reckoning from the extreme edge to the straight line 8 squares, which occurs in every scroll between the patterns. for 6 patterns and 2 borders, therefore, 1,368 stitches would be required for a foundation, with the one over, always needed in square crochet. in working the border along the bottom, care must be taken completely to reverse it at the centre, that is, after 3 patterns, otherwise the corner would not be found to go right. * * * * * knitted lace for curtains, &c. materials.--brooks' great exhibition prize goat's-head knitting cord, no, 40. penelope hook. cast on twelve stitches. 1st row: slip 1, knit 3, make 1, slip 1, knit 2 together, pass the slip stitch over, make 1, knit 3, make 1, knit 2. 2nd: knit 3, purl 8, knit 2. 3rd: slip 1, knit 3, make 1, knit 2 together, knit 1, make 1, knit 1, knit 2 together, make 1, knit 3. 4th: knit 6, purl 8, knit 2. 5th: slip 1, knit 1, knit 2 together, make 1, knit 4, make 1, knit 2 together, make 1, knit 2 together, make 1, knit 2 together. 6th: knit 2, purl 1, knit 1, purl 1, knit 3, purl 8, knit 2. 7th: slip 1, knit 2 together, make l, knit 4, knit 2 together, make 1, knit 1, make 1, knit 8. 8th: cast off seven, knit 1, purl 8, knit 2. repeat for the length required. [illustration: window curtain.] * * * * * [illustration: window curtain and stove apron.] window curtain and stove apron. materials.--brooks' great exhibition prize goat's-head knitting cord, no. 40, with a suitable crochet hook. the number of stitches in this curtain must depend, of course, on the width of the window for which it is intended. each pattern requires a foundation of 102 chain stitches; and the borders at the sides 57 chain each. as there will be about 560 stitches in a yard, or very nearly five patterns and one border, it will be easy to reckon the number required for any given width. a curtain two yards wide will require 1,135 stitches, which will allow ten patterns of the convulvulus, and the two borders; to this, every 102 stitches added will make one wreath more, nearly equalling in width the sixth of a yard. the whole of this curtain is done in square crochet, the design in close squares, and the ground in open. square crochet (the majority of our readers are aware) consists of d.c. chain stitches exclusively. a close, or solid square is formed of three successive d.c. stitches: an open square of 1 d.c., 2 ch., miss 2 of the preceding row. almost all square crochet patterns are intended to be worked from the engraving, which is laid open before the worker and copied. to assist in guiding the eye it is advisable to cover each row of the engraving after it is copied. we will only observe, with regard to this pattern, that the first two rows are done in ch., and that two stitches at each end are also close, which affords an opportunity for working in the ends of the previous rows. this design is also extremely suitable for a curtain for a grate. for this purpose, brooks' great exhibition prize goat's-head knitting cord, no. 70, will be preferable to the coarser numbers. it would be greatly improved by the addition of a bead border, similar to that of the anti-macassar, given in a former part of this work. the effect of the bead border being to add weight to the end of the stove apron, it would keep it in its place better than anything else, besides being very ornamental. a handsome fringe may be knotted on the end, and it may be lined with calico to correspond with the furniture of the room. * * * * * netted window curtain. materials.--brooks' great exhibition prize goat's-head netting cotton, no. 24: embroidering goat's-head cotton, no. 30; a middle-sized netting needle; steel mesh, no. 9; and a long embroidering needle. if worked with the above cotton and mesh four squares will measure one inch, which will be a guide for the number of foundation stitches to make in the beginning for the curtain. the pattern must afterwards be darned in embroidering cotton, no. 30, according to the engraving, by passing the needle under and over the threads of the meshes very regularly and even, always keeping the same number of threads in every square, and all must run the same way and be drawn to one degree of tightness, for all the beauty of the work depends upon its evenness and regularity. this pattern may be extended to any size, and would look very well if the flowers were sewn in pale pink ingrain cotton, and the fretwork in white cotton. [illustration: netted window curtain.] * * * * * a flower vase screen, for concealing a flower-pot or basin with flowers. materials.--4 shades of green wool, the lightest almost a pale lemon, 1 skein only of this, and 3 each of the darkest; 5 shades of pink, 2 skeins of each, all 4-thread berlin wool; 3 yards of ordinary sized skirt cord, the size of blind cord. d.c. 14 stitches over the end of the cord with the darkest green, unite; now work 2 d.c. into every loop; the next row the same; from this row increase as may be required, working 4 rows of darkest green, 4 rows of next shade, 3 rows of next shade, in all 11 rows; there must by 154 stitches in the outside row. fasten off the cord neatly, and with darkest shade of green, work 21 d.c. stitches; now turn on reverse side, and work 21 rows of ridged crochet, which is done by working into the lower loop instead of the upper one, and omitting at the end of every row the 1 ch. which in ordinary ridged crochet prevents it decreasing, but by omitting this 1 ch. these 21 d.c. stitches will be decreased to a point; work 6 rows of the 2 darkest shades, and 9 of the lightest of the 3 shades: make 7 of these points, but be careful, in joining on every shade, that the knots are concealed, and run in the last end very neatly. with the lightest green of the 3 shades, commence on the wrong side of the mat, begin on the first dark ridge of the point, make 5 ch., d.c. on every ridge, but d.c. into the point, make 5 ch., d.c. into same loop, then 5 ch., d.c. on every ridge till the last, then crochet into the 1st ridge of next point, without making any chain between. _palest green_.--d.c. into centre of 2nd 5 ch. from the bottom of the point, 5 ch., d.c. into centre of every 5 ch. till the point, then d.c. in centre of top, 5 ch., 5 ch., d.c. into same, then work down till within the last ch. of 5, omit this, and d.c. in 2nd ch. of 5 from the bottom of next point. 1st row.--_darkest pink_: make 41 ch., turn back, 1 l. into 9th loop from hook, * 3 ch., 1 l. into 4th loop, repeat from * 7 times more, in all 9 spaces. 2nd: turn on reverse side, 3 l. under the 3 ch., 1 ch., repeat at the point, work 9 l., 2 ch., 6 more l. under same space, then 1 ch., 3 l. under the 3 ch., repeat; at the end cut off the wool. 3rd: with next shade commence on same side as 1st row, 1 l. between each long, but after every 3rd l., make 1 ch. at the point, and between each of the 6 l., make 1 l., 1 ch., then under the 2 ch., make 1 l., 3 ch., 1 more l. under same, then work the same as the half just completed. 4th.--_next shade_: with same colour, inclose some white wire drawn from ribbon wire, thus--between each l. stitch, and under each 1 ch., work 1 d.c. stitch with the wire between, first bending the end of the wire to prevent it slipping, but over the point work 2 d.c. under each 1 ch., and under the 3 ch., work 3 d.c.; now work the remaining half, and d.c. along the bottom, still enclosing the wire to the side where this row was commenced, twist the 2 ends of the wire together, after pulling it into shape. 5th: great care must be taken in working this row not to bend the work; next shade, 1 l. on 1st d.c. stitch at the side, 3 ch., * 1 l. into successive loops for 4 times, 3 ch., repeat from *, be careful that a 3 ch. comes at the point; this row will end as it was begun; then crochet along the bottom. 6th.--_next shade_: 2 l. under the 1st 3 ch., 3 ch., 2 more l. under same; repeat this 6 times more, then repeat the same over the point, but for 5 times make 5 ch. instead of 3. now sew these pink points up at the side, joining them for 6 times by the chain of 3, slipping the wool on from chain to chain; now pin each green point on to the part of the pink which is sewed together, stretching each green point as high as possible; then sew these green points at about the second shade of green, on to the pink, as in engraving. [illustration: bread cloth.] materials.--three reels of brooks' no. 24, and two of no. 16, great exhibition prize goat's-head crochet cotton. a hook suitable for the fine number. the octagon shape is one extremely well adapted for bread baskets, as well as for papier-machã© trays of the usual forms; but it requires a little nicety to produce even edges at the sloping sides. the way it is done is this. the whole pattern, it will be perceived, is done in square crochet, and in the increasing sides a close square is added at each end. this is done by making one chain extra at the beginning and end of the first row of d.c. 2nd row: 1 ch., 2 d.c. on the chain, and 2 on the first d.c. at the commencement, thus increasing three stitches, besides the one chain which is merely a foundation for the next increase; then at the other extremity of the row, 2 d.c. on the last stitch, 2 d.c. on the chain, and make one chain. do this for every row which is increased, working in all the ends. for the decreasing rows begin with 1 slip, 1 s.c., 1 short double crochet, 1 d.c.--this last coming on the first stitch in the second square of last row, keeps the squares evenly over each other. at the other end of the row reverse the process, by doing 1 d.c., 1 short d.c., 1 s.c., 1 slip, which completes it. the short double-crochet stitch, being new to our readers, may be briefly described. it is, as its name implies, a medium stitch between a s.c. and a d.c. stitch. begin as for a d.c. stitch, with the thread round the hook, but after the latter is inserted in the stitch, and the thread drawn through, so that there are three loops on the needle, the thread must be drawn through all three at once. short treble crochet (contracted to s.t.c.), is done in a similar manner. the thread being passed twice round the needle, there are four loops on the latter, after the one is drawn through the stitch of the preceding row. the thread is now drawn through three loops together, and afterwards through two. when the bread cloth is worked, do open square crochet all round it, taking the d.c. stitches sufficiently close at the corners to lie smoothly. knot a fringe 2-1/2 inches deep in every square. it is to be made of the coarse cotton. to increase the size of this d'oyley, for a tray, or other article, use coarser cotton and hook. * * * * * bread cloth. materials.--brooks' great exhibition prize goat's-head crochet cotton, nos. 14, 16, 18, 20. walker's penelope hook, no. 3. _a_. with cotton no. 18 make 10 chain, 1 s.c., in 1st chain; then in round loop 3 d.c., ** 9 chain, miss 3, 1 s.c. in 4th; then in round loop. * 1 s.c. 7 chain, * repeat twice more; 1 chain to cross and in 1st 7 chain,** [â·1â·] 1 d.c., 9 long, 1 d.c., repeat in the other two 7 chains; 1 s.c. in the 1 chain that crosses the stem: [â·2â·] 5 chain; 3 d.c. in the centre round loop. repeat from ** to ** 1 d.c., 5 long, join to 5th long in 3rd section, 4 long, 1 d.c. in same 7 chain; in the next two 7 chains: 1 d.c., 9 long, 1 d.c., 1 s.c. in the chain that crosses the stem [â·2â·] repeat from [â·2â·] to [â·2â·] 5 chain, 3 d.c. in the centre round loop. repeat again from ** to ** 1 d.c., 5 long, join, 4 long, 1 d.c., in next 7 chain, 1 d.c., 9 long, 1 d.c., in next 7 chain, 1 d.c., 1 s.c. on the chain that crosses, 5 chain, 1 s.c. on 1st d.c. in centre, fasten off. make 11 more _a_'s like the 1st, only joining, as in the engraving:--"thus, 1 d.c., 5 long, join, 4 long, 1 d.c." _b_. with cotton no. 20. 15 chain, 1 s.c., in 1st stitch and in round loop. * 4 d.c., 10 chain, join where the two _a_'s join, turn, 10 s.c. down the 10 chain; 4 d.c., 10 chain, join where the two 9 long of _a_ are joined together; 10 s.c. down the 10 chain; repeat from * 3 times more; * 1 s.c., 5 chain, miss 2, * repeat all round; fasten off. make 5 more, placing them as in the engraving. _c_. with cotton no. 16. 10 chain, 1 s.c. in 1st, make it round. * 1 d.c., 3 chain, 3 long, 3 chain, * repeat 3 times more in round loop. ** 1 d.c. on d.c., 7 chain, 1 d.c. on 2 long, 7 chain repeat all round. ** 9 d.c. in each 7 chain; fasten off. 1 s.c. in 5th d.c., 9 chain repeat all round. in 1st 9 chain 6 d.c., join to 5th long of _a_ 5 d.c. in same 9 chain: * in next 9 chain 11 d.c., repeat all round; fasten off. make another _c_, joining to _a_ and first _c_. make 12 more; join as in the engraving. [illustration: bread cloth.] _d_. with cotton no. 18. 7 chain make it round; 11 d.c. in round loop, join to 5th d.c. of 11 d.c. of _e_, * 7 chain, miss 1, 1 s.c., repeat * twice more; join to the other _c_ to the 5th d.c. of 11 d.c., fasten off. 1 s.c. in 4th chain of 1st 7 chain. ** 5 chain 1 s.c. in same as last s.c., then in 5 chain, 1 d.c. 4 long, 2 chain, join to _a_, turn, 1 chain, 2 long on 2 chain, 4 long, 1 d.c. in same 5 chain. 1 s.c. in next 7 chain; 7 chain join to next division of _d_ 7 chain; 1 s.c. in 4th chain stitch of 7 chain, repeat from ** to ** 7 chain, join, 7 chain, repeat from ** to ** again, fasten off. make 9 more _d_'s, joining in the same manner, and as placed in the engraving. _e_. with cotton no. 18. 10 chain, make it round and work in loop 17 d.c.; 1 d.c. on 1st d.c., 5 chain, miss 1, 1 s.c. in next 4 chain join to _c_'s 3 chain, miss 2, 1 s.c. in 3rd, 5 chain, miss 1, 1 s.c. in next, 6 chain join to _a_ 5 chain, miss 1, 1 s.c. in next, 5 chain, miss 1, 1 s.c., 4 chain, join to _c_ 3 chain, miss 2, 1 s.c., 5 chain, miss 1, 1 s.c., 7 chain 1 s.c. fasten off. make 3 more, placing them as in the engraving. _f_. with cotton no. 14. 1 long between two _c_'s; 1 _c_ before the corner. commence: 6 chain, â· 1 d.c. in 6th d.c. of 11 d.c. of _c_ 9 chain, repeat â· 3 times more; 10 chain, 1 s.c. in 4th chain of 7 chain of _e_ 10 chain, â·â· 1 d.c. in the centre of 11 d.c., 9 chain, repeat â·â· 3 times more. repeat all round the d'oyley, making the corners alike. 2nd: â· 3 long, 2 chain, miss 2, â· this is the â· pattern all round, except at the corners. you miss 2 and make no chain, this is to be done by _e_, and by the 1 long between the two _c_'s. you work as follows: make no chain, and miss 4, 2 each side of one long. 3rd: 5 chain, miss 2, 1 s.c. repeat all round. * * * * * honiton sprig. materials.--brooks' great exhibition prize goat's-head crochet cotton, no. 60. penelope hook, no. 24. 6 ch. for the end of the stem. leaf: 14 ch., miss 2, 9 d.c. on the next 9, 2 s.c., 1 slip, 24 ch., miss 3, 2 d.c. in next, 2 d.c. in next, 9 d.c. in the next 9, 2 s.c. in the next 2, slip in the next, which leaves 7 for the stem. slip stitch on the 2 s.c., and 7 of the d.c., taking great care not to contract the leaf, 10 ch., miss 4 d.c. in the fifth, x 2 ch., miss 2, t.c. in 3rd, x twice, 2 ch., miss 2, d.c. in 3rd, 2 ch., miss 2, s.c. on 3rd, 1 ch., miss 1, slip at the base of the flower. do 9 slip stitches up the last row, the open hem of which forms the centre of the flower; then 11 ch., miss 3, 2 contracted d.c. stitches on the next 4, d.c. down all but the last 3, 2 s.c., 1 slip. the flower thus formed consists of an open hem for the centre petal, and a closer petal on each side. work entirely round the flowers in s.c. s.c. on the seven chains of the stem, before you get to the leaf, opposite which make another, exactly like it. s.c. to the end of the stem, and fasten off. * * * * * a spangled wool netted cover for a tea-poy. materials.--if a fire-veil is required, use a flat thin bone or boxwood mesh, nearly half an inch in width; but if for a table-cover, etc., use a flat mesh scarcely three-eighths of an inch wide. 3 reels of brooks' great exhibition prize goat's-head crochet cotton, no. 10, of a good drab, or dark claret colour, the latter is preferable; 1 ounce of maize colour spangled wool; 1 ounce of green ditto, and 1 ounce of violet ditto. no. 13 netting needles. [footnote: this spangled wool is a new article, extremely brilliant, and may be obtained, by inquiry, at any berlin shop, at 1s. 6d. or 2s. per ounce, and weighing much the same as any other berlin wool.] begin on a foundation of 85 diamonds, and net with the cotton until the piece is 68 diamonds long; if for a fire-veil, darn, as in ordinary darned netting, the centre with maize wool, and the border with green, darn the outer row of diamonds with violet, and also the pattern inside the border; but if for any other purpose, use any colour of the spangled wool that may harmonise or contrast well with the draperies of the room; but, as a general rule, the netted ground should be dark. for the fringe, cut some shaded 4-thread berlin wool of the same colour as the spangled--in the pattern given it is violet--into lengths of 10 inches, tie this in tufts of 9 threads into every other diamond; or, if preferred, 6 lengths in every diamond. draw the wool through the loop, placing the wool exactly in the centre, double the two ends evenly, and tie in a tight knot; then, with a rug needle, draw in two or three lengths of spangled wool, so as to lie on the surface of every tuft; but, if preferred, all spangled wool may be used, but then the work would be rendered very costly, whereas, with the present directions, the work is sufficiently elegant, brilliant, and exceedingly new. darn the centre first and the border last. count 37 clear diamonds from the left-hand side of the work, and 19th diamond from the bottom. in the 39th diamond from the left-hand side and 20th from the bottom, darn the 2 first diamonds for the stem of a flower, then work from engraving. [illustration: a spangled wool netted cover for a tea-poy, square work-table, or, if drawn together at the top, makes a glittering fire-veil.] * * * * * netted anti-macassar [illustration] materials.--brooks' great exhibition prize goat's-head knitting cord, no. 40, and embroidery cotton, no 70; mesh, one-third of an inch wide. this anti-macassar is done in the fashionable style of netting, with a pattern darned on it after it is worked. make a foundation, on which work 67 stitches. repeat these, backwards and forwards, until a square is done, of as many holes up the sides as along the width. remove the foundation, and add either a crochet-bead border all round, or a netted one. the bead border makes the shape more solid; the netted one is certainly lighter, and the following is very pretty:-with a mesh three times the size of that used for the square, do one entire round, with three stitches in one at the corners. 2nd round: with the small mesh. miss the first stitch, net the second, then the missed one, repeat all round. 3rd: x net a stitch in each of seven stitches, miss one stitch of last round, x repeat all round. observe, before doing this round, count the number of stitches; if they cannot be divided by eight, add at the corners as many as may be required. supposing there are so many eights and five over, then three more will be wanted, and one must be added (by doing two in one) in each of the three corners. 4th: x 6 over seven, miss the long stitch, x repeat. 5th: x 5 over six, missing as before, x repeat. 6th: x 4 over five, as before, x repeat. 7th: x 3 over four, as before, x repeat. 8th: x 2 over three, as before, x repeat. before darning netting, wash it perfectly clean, stiffen it by dipping it into a little gum-water, and pin it out on a pillow, in the proper form, to dry. then darn it with embroidery cotton, every square of the pattern being closely filled up. * * * * * short purse, in netting. as the following specimen is done only in the ordinary netting stitch, we do not think any particular explanation of the art of netting can be needed by our readers, it being so universally known. indeed, it would be extremely difficult to teach the stitch by writing. whenever any stitch, except that used in common netting, may occur in any of the following designs, we will endeavour to explain it as clearly as possible. materials.--very fine crimson netting silk, and gold thread. two steel meshes are required, one about no. 15, and one no. 11. eagle card-board gauge. make a piece of foundation of 9 stitches, and join your silk in the first. 1st round (small mesh). 1 stitch in every stitch of the foundation. 2nd: the same. 3rd: 2 stitches in every one of the previous round. 4th: a stitch in every one of the last round. 5th: x 2 stitches in the first, and one in the second, x 8 times. 6th: a stitch in every stitch. 7th: increase eight stitches in the round, by doing two in one eight times, taking care that the stitch increased is the one which precedes the increased stitch of the last augmented round. 8th: like 6th. 9th: like 7th. 10th, 12th, 14th, 16th, 18th, 20th, 22nd: like 6th. the intermediate rounds like the 7th. there ought now to be 88 stitches in the round. do 44 more rounds, without any increase. then take the large mesh, and do another round. take the small mesh, x miss one stitch, take a stitch in the second, then one in the stitch that was missed. x repeat this all round. [illustration: short purse, in netting.] do four rounds of plain netting with the small mesh, then begin to make the points. 1st point: 7 stitches; draw out the mesh, x turn the work, and make a stitch on every one but the last; x repeat till you come to a point. 2nd and following points, like the first, so that there are 11 in the round. the pattern is then to be darned with the gold thread, according to the design we have given. * * * * * [illustration: bridal purse, in crochet.] bridal purse, in crochet. materials.--six skeins of white crochet silk, two skeins of _ombrã©_ scarlet ditto, in long shades, three skeins of slate-colour, and one of bright scarlet. two ounces of transparent white beads, rather larger than seed beads, four strings of gold, the same size, and a hank of steel to match. for the garnitures (which must be entirely of bright steel), two rings, a handsome tassel for one end, and a deep fringe for the other. boulton's tapered indented crochet hook, no. 23. begin by threading all the white beads on the white silk; half the gold on the _ombrã©_ cerise, and the steel on the slate-coloured. what scarlet silk is used in the square end is without beads; the few rows at the other end, of that colour, are threaded with gold, which may be put on afterwards. the design of the square end consists of a spray of roses and leaves, the former in scarlet _ombrã©_ with gold beads intermixed, the latter with slate-silk and steel. the ground is composed wholly of white beads, one being dropped on every stitch; where, therefore, the scarlet and slate silks are worked without beads, they appear to be _in intaglio_. a scroll of steel beads below the group is intermixed with the white, and the top and bottom of the square end are finished off with vandykes of plain scarlet without beads. at the bottom is an open pattern in scarlet, to which is attached the fringe. begin with the plain scarlet silk, with which make a chain of 100 stitches, and close it into a round. work one round in scarlet, using in the end of white silk. 2nd round: in which you begin to drop on the white beads. x 2 white, 3 scarlet, x 20 times. 3rd: x 3 white, 1 scarlet, 1 white, x 20 times. 4th: all white; work in the scarlet silk all round, and then fasten it off, as no more is required until the whole square end is worked. 5th: x 22 white, 1 steel, 23 white, 1 steel, 3 white, x twice. 6th: x 21 white, 2 steel, 22 white, 2 steel, 3 white, x twice. 7th: x 3 white, 1 steel, 5 white, 2 steel, 3 white, 2 steel, 4 white, 3 steel, 2 white, 1 steel, 6 white, 2 steel, 4 white, 2 steel, 3 white, 3 steel, 4 white, x twice. 8th: x 3 white, 2 steel, 3 white, 3 steel, * 2 white, 4 steel, * twice; 2 white, 2 steel, 4 white, 3 steel, 3 white, 3 steel, 2 white, 4 steel, 4 white, x twice. 9th: x 2 white, 3 steel, * 2 white, 4 steel, * 3 times; 1 white, 3 steel, 3 white, 4 steel, ** 2 white, 4 steel, ** twice, 4 white, x twice. 10th: x 2 white, 2 steel, * 3 white, 3 steel, * 3 times; 2 white, 2 steel, 4 white, 3 steel, ** 3 white 3 steel, ** twice, 5 white, x twice. 11th: x 1 white, 1 steel, 2 white, 4 steel, 4 white, 3 steel, 3 white, 2 steel, 3 white, 1 steel, 3 white, 4 steel, 4 white, 3 steel, 3 white, 2 steel, 3 white, 1 steel, 3 white, x twice. 12th: x 4 steel, 2 white, 1 steel, 1 white, 5 steel, 3 white, 3 steel, 4 white, 4 steel, 2 white, 1 steel, 1 white, 5 steel, 3 white, 3 steel, 4 white, 1 steel, 3 white, x twice. 13th: x 3 white, 2 steel, 2 white, 1 steel, 4 white, 5 steel, 4 white, 2 steel, 3 white, 2 steel, 2 white, 1 steel, 4 white, 5 steel, 4 white, 2 steel, 4 white, x twice. 14th: 3 white, 2 steel, 2 white, 3 steel, 4 white, 4 steel, 8 white, 2 steel, 2 white, 3 steel, 4 white, 4 steel, 9 white, x twice. 15th: x 4 white, 1 steel, * 3 white, 4 steel, * twice, 8 white, 1 steel, ** 3 white, 4 steel, ** twice, 8 white, x twice. 16th: x 9 white, 4 steel, 4 white, 2 steel, 13 white, 4 steel, 4 white, 2 steel, 8 white, x twice. 17th: all white. 18th: x 14 white, 2 slate silk, 34 white, x twice. 19th: x 14 white, 3 slate, 8 white, 5 steel, 20 white, x twice. 20th: x 14 white, 5 slate, 4 white, 9 steel, 12 white, 2 steel, 4 white, x twice. 21st: x 14 white, 11 slate, 1 steel, 3 slate, 2 steel, 10 white, 2 steel, 1 white, 2 steel, 4 white, x twice. 22nd: begin the _ombrã©_ scarlet, x 16 white, 7 slate, 2 steel, 12 white, 2 gold, 2 white, 2 steel, 4 white, 2 steel, 1 white, x twice. 23rd: x 13 white, 11 steel, 12 white, 1 gold, 2 scarlet silk, 1 gold, 7 white, 2 steel, 1 white, x twice. 24th: x 14 white, 9 steel, 3 white, 2 steel, 7 white, 1 gold, 3 scarlet, 6 gold, 5 white, x twice. 25th: x 10 white, 1 gold, 5 white, 7 steel, 2 white, 4 steel, 6 white, 1 gold, 3 scarlet, 1 gold, 5 scarlet, 1 gold, 1 white, 2 steel, 1 white, x twice. 26th: x 7 white, 2 gold, 2 scarlet, 4 gold, 5 white, 2 steel, 3 white, 4 steel, 2 slate silk, 4 white, 1 gold, 2 scarlet, 1 gold, 6 scarlet, 1 gold, 1 white, 2 steel, 1 white, x twice. 27th: x 9 white, 1 gold, 2 scarlet, 1 gold, 2 scarlet, 1 gold, 4 white, 1 steel, 1 slate silk, 3 white, 4 steel, 4 slate, 2 white, 1 gold, 2 scarlet, 1 gold, 3 scarlet, 1 gold, 2 scarlet, 1 gold, 4 white, x twice. 28th: x 11 white, 3 gold, 1 scarlet, 1 gold, 4 white, 1 steel, 1 slate, 3 white, 3 steel, 5 slate, 2 white, 1 gold, 2 scarlet, 1 gold, 3 scarlet, 1 gold, 2 scarlet, 3 gold, 2 white, x twice. 29th: x 8 white, 3 gold, 2 scarlet, 1 gold, 1 scarlet, 1 gold, 4 white, 1 steel, 1 slate, 3 white, 3 steel, 5 slate, 2 white, 1 gold, 1 scarlet, 2 gold, 1 scarlet, 2 gold, 3 scarlet, 1 gold, 2 scarlet, 1 gold, 1 white, x twice. 30th: x 8 white, 1 gold, 1 scarlet, 1 gold, 3 scarlet, 2 gold, 3 white, 2 steel, 1 slate, 3 white, 3 steel, 5 slate, 3 white, 3 gold, 3 scarlet, 1 gold, 4 scarlet, 1 gold, 2 white, x twice. 31st: x 8 white, 1 gold, 1 scarlet, 1 gold, 3 scarlet, 2 gold, 3 white, 1 steel, 2 slate, 4 white, 2 steel, 5 slate, 4 white, 7 gold, 3 scarlet, 1 gold, 2 white, x twice. 32nd: x 8 white, 1 gold, 2 scarlet, 4 gold, 3 white, 1 steel, 2 white, 1 steel, 4 white, 2 steel, 5 slate, 5 white, 4 gold, 5 scarlet, 1 gold, 2 white, x twice. 33rd: x 9 white, 5 gold, 1 white, 3 steel, 3 white, 1 slate, 1 steel, 3 white, 1 steel, 5 slate, 5 white, 1 steel, 2 white, 1 gold, 5 scarlet, 1 gold, 3 white, x twice. 34th: x 20 white, 1 slate, 1 white, 1 steel, 2 white, 2 steel, 5 slate, 4 white, 1 steel, 4 white, 5 gold, 4 white, x twice. 35th: x 19 white, 3 slate, 2 white, 2 steel, 4 slate, 5 white, 1 steel, 14 white, x twice. 36th: x 14 white, 1 slate, 3 white, 3 slate, 1 steel, 3 white, 4 steel, 7 slate, 2 steel, 12 white, x twice. 37th: x 14 white, 7 slate, 1 steel, 3 white, 2 steel, 2 white, 9 slate, 2 steel, 10 white, x twice. 38th: x 14 white, 6 slate, 2 steel, 3 white, 2 steel, 1 slate, 1 steel, 5 white, 5 slate, 2 steel, 9 white, x twice. 39th: x 10 white, 2 steel, 1 white, 2 steel, 4 slate, 2 steel, 4 white, 6 steel, 5 white, 4 slate, 3 steel, 8 white, x twice. 40th: x 10 white, 2 steel, 2 white, 6 steel, 5 white, 1 steel, 3 slate, 2 steel, 5 white, 4 slate, 3 steel, 6 white, 1 steel, x twice. 41st: x 1 steel, 6 white, 2 steel, 16 white, 1 steel, 3 slate, 3 steel, 4 white, 5 slate, 3 steel, 4 white, 1 steel, 1 slate, x twice. 42nd: x 1 steel, 7 white, 1 steel, 1 white, 2 steel, 1 white, 5 gold, 7 white, 1 steel, 4 slate, 2 steel, 5 white, 3 slate, 1 white, 3 steel. 3 white, 2 steel, 1 white, x twice. 43rd: 10 white, 2 steel, 1 white, 1 gold, 4 scarlet, 1 gold, 6 white, 1 steel, 4 slate, 3 steel, 5 white, 2 slate, 2 white, 2 steel, 5 white, 1 steel, x twice. 44th: x 12 white, 3 gold, 3 scarlet, 2 gold, 4 white, 1 steel, 1 white, 4 slate, 3 steel, 5 white, 2 slate, 3 white, 1 steel, 1 white, 2 steel, 2 white, 1 steel, x twice. 45th: x 7 white, 2 steel, 2 white, 1 gold, 3 scarlet, 2 gold, 2 scarlet, 1 gold, 4 white, 1 steel, 1 white, 5 slate, 2 steel, 5 white, 2 slate, 4 white, 1 steel, 2 white, 1 steel, 1 white, 1 steel, x twice. 46th: x 7 white, 2 steel, 1 white, 1 gold, 6 scarlet, 1 gold, 1 scarlet, 1 gold, 3 white, 2 steel, 1 white, 5 slate, 2 steel, 4 white, 2 slate, 3 white, 1 slate, 1 white, 1 steel, 2 white, 1 steel, 1 white, 1 steel, x twice. 47th: x 10 white, 1 gold, 7 scarlet, 2 gold, 3 white, 1 steel, 2 white, 5 slate, 2 steel, 1 slate, 8 white, 2 slate, * 2 slate, 1 white, * twice, x twice. 48th: x 10 white, 1 gold, 3 scarlet, 2 gold, 2 scarlet, 2 gold, 2 white, 1 steel, 3 white, 5 slate, 2 steel, 2 slate, 7 white, 2 slate, 1 white, 3 slate, 2 white, x twice. 49th: x 9 white, 3 gold, 4 scarlet, 6 gold, 4 white, 4 slate, 3 steel, 3 slate, 5 white, 3 slate, 3 white, 1 steel, 2 white, x twice. 50th: x 9 white, 1 gold, 2 scarlet, 1 gold, 4 scarlet, 2 gold, 6 white, 4 slate, 1 white, 4 steel, 3 slate, 3 white, 4 slate, 3 white, 1 steel, 2 white, x twice. 51st: x 9 white, 1 gold, 3 scarlet, 5 gold, 6 white, 4 slate, 1 steel, * 1 white, 2 steel, * twice, 9 slate, 2 white, 1 steel, 3 white, x twice. 52nd: x 10 white, 1 gold, 5 scarlet, 2 gold, 5 white, 4 slate, 1 white, 1 steel, 1 white, 1 steel, 2 white, 3 steel, 7 slate, 3 steel, 4 white, x twice. 53rd: x 11 white, 6 gold, 5 white, 3 steel, 3 white, 1 steel, 5 white, 6 steel, 10 white, x twice. 54th: x 22 white, 1 steel, 2 white, * 1 steel, 1 white, * twice, 1 steel, 5 white, 9 steel, 6 white, x twice. 55th: x 23 white, 4 steel, 2 white, 1 steel, 2 white, 2 steel, 2 white, 7 steel, 7 white, x twice. 56th: x 19 white, 2 steel, 4 white, 1 steel, 4 white, 2 steel, 2 white, 1 steel, 3 white, 4 steel, 8 white, x twice. 57th: x 18 white, 1 steel, 2 white, 4 steel, 25 white, x twice. 58th: x all white, work round to the centre of one side; also 59th: (begin again with the plain scarlet), x 1 scarlet, 4 white, x 20 times. 60th: x 2 scarlet, 2 white, 1 scarlet, x 20 times. 61st: all scarlet; fasten off scarlet. 62nd: with the white silk, 3 chain, dropping a bead on every chain, miss 3, s.c. on both sides of the fourth; repeat all round. now, instead of working round, work backward and forward, dropping a bead on every chain stitch, so that they may all come on the right side of the purse. 1st row: 5 ch., turn, s.c. in same stitch, x 5 ch., miss 3, s.c. on s.c., x all along the row. 2nd: 6 ch., turn, s.c. on centre of 5 ch., x 5 ch., s.c. on centre of next loop of 5, x to the end. repeat this row backwards and forwards until 24 are done; then work the same pattern all round for 6 rounds. thread the rest of the gold beads on the scarlet silk, and do 2 rounds in the same way with it; then 3 rounds of white; then 2 more scarlet, 3 white, then 2 scarlet. to diminish at the end, do 2 rounds of white, like the previous; then 1 with only 4 chain; then 1 with 3 chain; and finally, a round with 2 chain between the s.c. draw it up with a needle and white silk; sew on the tassel, and slip on the rings. at the other end, do a row to close the round, with the plain scarlet in s.c.; on which work x 6 ch., miss 4, s.c. under 5th, x 10 times. turn, and in each loop work 2 s.c., 4 d.c., 2 s.c. fasten off, and sew on the deep fringe garniture. * * * * * lady's short purse. materials.--purse silk, of any two colours that contrast well, gold beads, and glass ones of one of the colours. of the silk that matches the beads, two skeins will be required, and of the other, four. for the garniture, a clasp and handsome fringe. begin by threading a hank of gold beads on two of the four skeins, leaving two without any. with regard to the colours to be selected for this purse, we may be allowed to suggest a few good contrasts, leaving the choice to the taste of the worker. a brilliant scarlet looks well with white; brown with blue; lilac with green, or _vice versa_; and pink with some of the warmer tints of stone or fawn colour. in all these, the first-named colour is to be the predominant one, except in the case of green and lilac, in which either colour may be the principal one. the immense variety of tints in german beads (nearly three hundred), gives such a power of choice, that the most artistic taste may be gratified. for the sake of accuracy in the description, we will select scarlet and white for this purse. the white beads are to be threaded on the white silk, and dropped on every stitch where white is named. with a fine crochet-hook make a chain of 120 stitches with the scarlet silk, close it into a round, and do one round of single crochet. 2nd row: x 1 gold bead, 18 silk, 1 gold, 18 silk, 2 gold, x 3 times. 3rd: x 1 silk, 1 gold, 16 silk, 3 gold, 16 silk, 1 gold, 2 silk, x 3 times. 4th: x 1 silk, 4 gold, 11 silk, 2 gold, 1 silk, 1 gold, 1 silk, 2 gold, 11 silk, 4 gold, 2 silk, x 3 times. 5th: x 1 silk, 1 gold, 3 silk, 1 gold, 10 silk, 7 gold, 10 silk, 1 gold, 3 silk, 1 gold, 1 silk, 1 gold, x. this, and every future pattern must, like the preceding ones, be repeated three times. now join on the white silk, and whenever white occurs, drop on a white bead. 6th: x 1 gold, 4 silk, 1 gold, 8 silk, 2 gold, 2 silk, 1 gold, 1 silk, 1 gold, 2 silk, 2 gold, 8 silk, 1 gold, 4 silk, 1 gold, 1 white, x repeat. 7th: x 1 gold, 4 silk, 1 gold, 5 silk, * 2 gold, 1 silk, * 5 times, 2 gold, 5 silk, 1 gold, 4 silk, 1 gold, 1 white, x repeat. 8th: x 2 gold, 1 silk, 2 gold, 1 silk, 1 gold, 1 silk, 2 gold, 1 silk, 2 gold, 2 silk, 2 gold, 5 silk, 2 gold, 2 silk, 2 gold, 1 silk, 2 gold, 1 silk, 1 gold, 1 silk, 2 gold, 1 silk, 2 gold, 1 white, x repeat. 9th: x 1 white, 2 gold, 2 silk, 2 gold, 1 silk, 2 gold, 2 silk, 3 gold, 9 silk, 3 gold, 2 silk, 2 gold, 1 silk, 2 gold, 2 silk, 2 gold, 2 white, x repeat. 10th: x 2 white, 2 gold, 3 silk, 5 gold, 15 silk, 5 gold, 3 silk, 2 gold, 3 white, x repeat. 11th: x 3 white, 3 gold, 27 silk, 3 gold, 4 white, x repeat. 12th: x 5 white, 4 gold, 21 silk, 4 gold, 6 white, x repeat. 13th: x 4 white, 1 gold, 3 white, 5 gold, 13 silk, 5 gold, 3 white, 1 gold, 5 white, x repeat. 14th: x 3 white, 4 gold, 3 white, 2 gold, 1 white, 2 gold, 9 silk, 2 gold, 1 white, 2 gold, 3 white, 4 gold, 4 white, x repeat. 15th: x 2 gold, 2 white, 4 gold, 3 white, 3 gold, 1 white, 1 gold, 7 silk, 1 gold, 1 white, 3 gold, 3 white, 4 gold, 2 white, 3 gold, x repeat. 16th: x 1 gold, 3 white, 2 gold, 5 white, 4 gold, 1 white, 1 gold, 5 silk, 1 gold, 1 white, 4 gold, 5 white, 2 gold, 3 white, 2 gold, x repeat. 17th: x 2 gold, 3 white, 2 gold, 3 white, 1 gold, 1 white, 3 gold, 1 white, 1 gold, 5 silk, 1 gold, 1 white, 3 gold, 1 white, 1 gold, 3 white, 2 gold, 3 white, 3 gold, x repeat. [illustration: lady's short purse.] 18th: x 2 gold, 10 white, 4 gold, 1 white, 1 gold, 3 silk, 1 gold, 1 white, 4 gold, 10 white, 3 gold, x repeat. 19th: x 1 gold, 11 white, 2 gold, 1 white, 1 gold, 1 white, 1 gold, 3 silk, 1 gold, 1 white, 1 gold, 1 white, 2 gold, 11 white, 2 gold, x repeat. 20th: x 6 white, 3 gold, 3 white, 2 gold, 1 white, 1 gold, 1 white, 1 gold, 3 silk, 1 gold, 1 white, 1 gold, 1 white, 2 gold, 3 white, 3 gold, 7 white, x repeat. 21st: x 1 gold, 4 white, 3 gold, 3 white, 2 gold, 1 white, 2 gold, 1 white, 1 gold, 3 silk, 1 gold, 1 white, 2 gold, 1 white, 2 gold, 3 white, 3 gold, 4 white, 2 gold, x repeat. 22nd: x 5 white, 3 gold, 6 white, 2 gold, 1 white, 1 gold, 3 silk, 1 gold, 1 white, 2 gold, 6 white, 3 gold, 6 white, x repeat. 23rd: x 3 white, 1 gold, 1 white, 4 gold, 4 white, 2 gold, 2 white, 1 gold, 3 silk, 1 gold, 2 white, 2 gold, 4 white, 4 gold, 1 white, 1 gold, 4 white, x repeat. 24th: x 2 white, 3 gold, 1 white, 9 gold, 1 white, 1 gold, 5 silk, 1 gold, 1 white, 9 gold, 1 white, 3 gold, 3 white, x repeat. 25th: x 3 white, 1 gold, 2 white, 3 gold, 2 white, 1 gold, 5 silk, 1 gold, 2 white, 8 gold, 2 white, 1 gold, 4 white, x repeat. 26th: x 1 gold, 7 white, 4 gold, 3 white, 1 gold, 7 silk, 1 gold, 3 white, 4 gold, 7 white, 2 gold, x repeat. 27th: x 1 white, 2 gold, 12 white, 2 gold, 9 silk, 2 gold, 12 white, 2 gold, 2 white, x repeat. 28th: x 3 gold, 6 white, 4 gold, 2 white, 2 gold, 5 silk, 2 gold, 2 white, 4 gold, 6 white, 4 gold, x repeat. 29th: x 1 gold, 6 white, 2 gold, 7 white, 2 gold, 3 silk; 2 gold, 7 white, 2 gold, 6 white, 1 gold, 1 silk, x repeat. 30th: x 3 gold, 3 white, 1 gold, 2 white, 4 gold, 3 white, 1 gold, 1 white, 1 gold, 1 silk, 1 gold, 1 white, 1 gold, 3 white, 4 gold, 2 white, 1 gold, 3 white, 3 gold, 1 silk, x repeat. 31st: x 2 silk, 2 gold, 1 white, 1 gold, 1 white, 7 gold, 1 white, 1 gold, 2 white, 1 gold, 1 silk, 1 gold, 2 white, 1 gold, 1 white, 7 gold, 1 white, 1 gold, 1 white, 2 gold, 2 silk, 1 gold, x repeat. 32nd: x 3 silk, 1 gold, 1 white, 1 gold, 1 white, 7 gold, 3 white, 1 gold, 1 white, 1 gold, 1 white, 1 gold, 3 white, 7 gold, 1 white, 1 gold, 1 white, 1 gold, 3 silk, 1 gold, x repeat. 33rd: x 1 gold, 2 silk, 2 gold, 1 white, 3 gold, 1 white, 4 gold, 2 white, 2 gold, 1 white, 1 gold, 1 white, 2 gold, 2 white, 4 gold, 1 white, 3 gold, 1 white, 2 gold, 2 silk, 2 gold, x repeat. 34th: x 2 gold, 2 silk, 1 gold, 1 white, 2 gold, 3 white, 2 gold, 3 white, 2 gold, 1 white, 1 gold, 1 white, 2 gold, 3 white, 2 gold, 3 white, 2 gold, 1 white, 1 gold, 2 silk, 2 gold, 1 silk, x repeat. 35th: x 1 silk, 1 gold, 2 silk, 1 gold, 1 white, 2 gold, 7 white, 2 gold, 2 white, 1 gold, 2 white, 2 gold, 7 white, 2 gold, 1 white, 1 gold, 2 silk, 1 gold, 2 silk, x repeat. * * * * * handsome purse. materials.--1 reel of _ombrã©_ crimson silk, in short shades; 1 of grey ditto; 3 skeins of rich brown purse twist, 1 skein of white ditto, 2 hanks of steel beads, no. 5; 12 rows of transparent white seed beads, 2 handsome steel slides, and a few steel bugles. the silk must all be of the finest size, and the work is to be done very tightly. begin the purse by threading the steel beads on the brown silk, and the white on the _ombrã©_ crimson. this crimson is used for the rose, and for the three small flowers; the coloured silk seen through the transparent bead has an extremely pretty effect; the leaves are entirely in steel beads, as is also the scroll which ornaments the lower part of the purse. the large flower close to the rose is done in the grey silk. [illustration: handsome purse.] with the white silk, make a chain of 120 stitches, and do one round in s.c. join on the brown silk. 1st pattern round: x 1 white, 5 steel, 4 white, 4 steel, 3 white, 4 steel, 4 white, 5 steel, x 4 times. 2nd: x 8 steel, 3 white, 3 steel, 1 white, 1 steel, 1 white, 3 steel, 3 white, 7 steel, x 4 times. 3rd: x 3 steel, 2 brown, 4 steel, 3 white, 2 steel, 1 white, 1 steel, 1 white, 2 steel, 3 white, 4 steel, 2 brown, 2 steel, x 4 times. 4th: x 2 steel, 1 brown, 1 steel, 2 brown, 4 steel, 3 white, 5 steel, 3 white, 4 steel, 2 brown, 1 steel, 1 brown, 1 steel, x 4 times. 5th: x 1 steel, 1 brown, 1 steel, 1 brown, 1 steel, 2 brown, 4 steel, 2 white, 5 steel, 2 white, 4 steel, 2 brown, 1 steel, 1 brown, 1 steel, 1 brown, x 4 times. 6th: x 1 steel, 3 brown, 1 steel, 2 brown, 4 steel, 1 white, 7 steel, 1 white, 4 steel, 2 brown, 1 steel, 3 brown, x 4 times. 7th: x 1 steel, 1 brown, 1 steel, 1 brown, 1 steel, 1 brown, 6 steel, 2 white, 3 steel, 2 white, 6 steel, 1 brown, 1 steel, 1 brown, 1 steel, 1 brown, x 4 times. 8th: x 1 steel, 1 brown, 3 steel, 1 brown, 2 steel, 1 brown, 3 steel, 1 white, 1 steel, 3 white, 1 steel, 1 white, 3 steel, 1 brown, 2 steel, 1 brown, 3 steel, 1 brown, x 4 times. 9th: x 1 steel, 2 brown, 2 steel, 4 brown, 3 steel, 2 white, 3 steel, 2 white, 3 steel, 4 brown, 2 steel, 2 brown, x 4 times. 10th: 1 steel, 2 brown, 2 steel, 1 brown, 1 steel, 1 brown, 4 steel, 2 white, 1 steel, 1 white, 1 steel, 2 white, 4 steel, 1 brown, 1 steel, 1 brown, 2 steel, 2 brown, x 4 times. 11th: x 2 brown, 2 steel, 3 brown, 5 steel, x 1 white, 1 steel, x 3 times, 1 white, 5 steel, 3 brown, 2 steel, 1 brown, x 4 times. 12th: x 2 brown, 2 steel, 2 brown, 3 steel, 1 brown, 2 steel, x 1 white, 1 steel, x 3 times, 1 white, 2 steel, 1 brown, 3 steel, 2 brown, 2 steel, 1 brown, x 4 times. 13th: x 1 brown, 2 steel, 1 brown, 2 steel, 3 brown, 2 steel, 1 white, 2 steel, 3 white, 2 steel, 1 white, 2 steel, 3 brown, 2 steel, 1 brown, 2 steel, x 4 times. 14th: x 2 steel, 4 brown, 1 steel, 1 brown, x 3 steel, 1 white, x 3 times, 3 steel, 1 brown, 1 steel, 4 brown, 1 steel, x 4 times. 15th: x 1 steel, 1 brown, 2 steel, 1 brown, 1 steel, 2 brown, 3 steel, 2 white, 2 steel, 1 white, 2 steel, 2 white, 3 steel, 2 brown, 1 steel, 1 brown, 2 steel, 1 brown, x 4 times. 16th: x 1 steel, 3 brown, 2 steel, 2 brown, 3 steel, 9 white, 3 steel, 2 brown, 2 steel, 3 brown, x 4 times. 17th: x 2 steel, 2 brown, 2 steel, 2 brown, 1 steel, 1 brown, 2 steel, 2 white, 1 steel, 1 white, 1 steel, 2 white, 2 steel, 1 brown, 1 steel, 2 brown, 2 steel, 2 brown, 1 steel, x 4 times. 18th: x 2 steel, 2 brown, 3 steel, 3 brown, 5 steel, 1 white, 5 steel, 3 brown, 3 steel, 2 brown, 1 steel, x 4 times. 19th: x 1 steel, 4 brown, 3 steel, 3 brown, 3 steel, 3 brown, 3 steel, 3 brown, 3 steel, 4 brown, x 4 times. fasten off the white silk, and do three plain rounds with the brown. then join on the crimson silk, at a light part of the shade, if possible. in the future part of the pattern crimson means the shaded silk, white one of the white beads threaded on it. 23rd: x 4 brown, 2 white, 10 brown, 1 steel, 16 brown, 4 steel, 23 brown, x twice. 24th: x 3 brown, 1 white, 1 crimson, 1 white, 10 brown, 5 steel, 11 brown, 1 steel, 2 brown, 3 steel, 1 brown, 3 steel, 18 brown. x twice. 25th: x 3 brown, 1 white, 2 crimson, 3 white, 7 brown, 6 steel, 1 brown, 1 steel, 8 brown, 3 steel, 1 brown, 2 steel, 1 brown, 4 steel, 8 brown, 4 steel, 5 brown, x twice. 26th: x 2 brown, 1 white, 2 crimson, 2 steel, 2 crimson, 1 white, 7 brown, 2 steel, 1 brown, 5 steel, 8 brown, 6 steel, 1 brown, 2 steel, 8 brown, 6 steel, 4 brown, x twice. 27th: x 1 brown, 1 white, 3 crimson, 2 steel, 1 crimson, 2 white, 8 brown, 2 steel, 2 brown, 3 steel, 11 brown, 3 steel, 10 brown, 2 steel, 2 brown, 3 steel, 4 brown, x twice. join on the gray. 28th: x 1 brown, 1 white, 2 crimson, 1 white, 2 crimson, 1 white, 9 brown, 3 steel, 4 brown, 1 gray, 5 brown, 2 steel, 2 brown, 1 steel, 2 brown, 3 white, 5 brown, 1 steel, 1 brown, 4 steel, 5 brown, x twice. 29th: x 2 brown, 2 white, 1 brown, 1 white, 2 crimson, 1 white, 1 steel, 2 brown, 3 steel, 1 brown, 1 steel, 1 brown, 2 steel, 1 brown, 2 gray, 4 brown, 3 gray, 2 brown, 5 steel, 1 brown, 1 steel, 1 brown, 5 white, 4 brown, 5 steel, 6 brown, x twice. 30th: x 5 brown, 1 white, 2 crimson, 1 white, 9 steel, 2 brown, 5 gray, 2 brown, 3 gray, 1 brown, 7 steel, 1 brown, 6 white, 1 brown, 3 white, 11 brown, x twice. 31st: x 6 brown, 2 white, 1 brown, 9 steel, 2 brown, 5 gray, 2 brown, 3 gray, 2 brown, 5 steel, 2 brown, 11 white, 10 brown, x twice. 32nd: x 2 brown, 2 white, 6 brown, 2 steel, 1 brown, 6 steel, 2 brown, 5 gray, 1 brown, 3 gray, 3 brown, 4 steel, 2 brown, 4 white, 6 crimson, 2 white, 3 brown, 5 steel, 1 brown, x twice. 33rd: x 1 brown, 1 white, 1 crimson, 1 white, 1 crimson, 3 white, 3 brown, 2 steel, 2 brown, 4 steel, 3 brown, 4 gray, 1 brown, 2 gray, 5 brown, 1 steel, 1 brown, 1 steel, 2 brown, 3 white, 1 crimson, 4 white, 1 crimson, 1 white, 1 crimson, 1 white, 2 brown, 2 steel, 2 brown, 3 steel, x twice. 34th: x 1 brown, x 1 white, 2 crimson, x twice; 1 white, 2 brown, 5 steel, 3 brown, 1 steel, 3 brown, 2 gray, 1 steel, 4 gray, 2 brown, 2 gray, 7 brown, 1 white, 1 crimson, 1 white, 1 crimson, 2 white, 1 crimson, 3 white, 3 brown, 1 steel, 1 brown, 4 steel, 1 brown, x twice. 35th: x 2 brown, 1 white, 2 steel, 3 crimson, 1 white, 2 brown, 7 steel, 3 brown, 2 gray, 4 steel, 8 gray, 3 brown, 2 white, 1 crimson, 3 white, 2 crimson, 1 white, 2 crimson, 2 white, 2 brown, 5 steel, 2 brown, x twice. 36th: x 2 white, 1 crimson, 2 steel, 1 crimson, 1 white, 1 crimson, 1 white, 3 brown, 5 steel, 2 brown, 4 gray, 2 steel, 2 gray, 1 steel, 8 gray, 1 brown, 3 white, 1 crimson, 3 white, 1 crimson, 1 white, 2 crimson, 1 white, 1 crimson, 2 white, 8 brown, x twice. 37th: x 3 crimson, 1 white, 1 crimson, 1 white, 1 crimson, 2 white, 1 brown, 2 white, 6 brown, 10 gray, 1 steel, 7 gray, 1 brown, 3 white, 1 crimson, 3 white, 1 crimson, 1 white, 1 crimson, 1 white, 1 crimson, 2 white, 3 brown, 2 steel, 3 brown, 1 white, x twice. 38th: x 2 crimson, 1 white, 3 crimson, 1 white, 2 brown, 1 white, 1 crimson, 1 white, 6 brown, 9 gray, 1 steel, 8 gray, 2 brown, 2 white, 1 crimson, 3 white, 1 crimson, 1 white, 3 crimson, 3 white, 1 brown, 5 steel, 1 brown, 1 white, x twice. 39th: x 2 white, 1 brown, 1 white, 2 crimson, 1 white, 1 brown, 2 white, 2 crimson, 3 white, 4 brown, 8 gray, 1 steel, 7 gray, 2 brown, 3 white, x 1 crimson, 2 white, x 3 times, 1 crimson, 1 white, 1 brown, 1 steel, 3 brown, 4 steel, x twice. 40th: x 4 brown, 2 white, 1 brown, 1 white, 2 crimson, 1 white, 2 steel, 1 crimson, 1 white, 1 brown, 2 steel, 3 brown, 3 gray, 1 brown, 1 gray, 2 steel, 3 gray, 1 brown, 2 gray, 3 brown, 3 white, 1 crimson, 1 white, 1 crimson, 1 white, 1 crimson, 2 white, 2 crimson, 2 white, 1 brown, 7 steel, 1 brown, x twice. 41st: x 6 brown, 1 white, 4 crimson, 2 steel, 2 white, 2 brown, 2 steel, 6 brown, 1 gray, 2 steel, 4 gray, 5 brown, 4 white, 1 crimson, 3 white, 1 crimson, 1 white, 1 brown, 5 steel, 2 brown, x twice. 42nd: x 6 brown, 1 white, x 2 crimson, 1 white, x twice, 2 brown, 2 steel, 2 brown, 2 steel, 1 brown, 1 steel, 2 brown, 8 gray, 5 brown, 2 white, 1 brown, 1 white, 1 crimson, 2 white, 1 crimson, 2 white, 1 crimson, 1 white, 10 brown, x twice. 43rd: x 7 brown, 2 white, 1 brown, 1 white, 2 crimson, 1 white, 4 brown, 2 steel, 1 brown, 2 steel, 2 brown, 4 gray, 1 brown, 4 gray, 7 brown, 2 white, 5 crimson, 1 white, 11 brown, x twice. 44th: x 10 brown, 1 white, 2 crimson, 1 white, 3 brown, 2 steel, 1 brown, 3 steel, 1 brown, 5 gray, 2 brown, 3 gray, 5 brown, 1 steel, 2 brown, 6 white, 12 brown, x twice. 45th: x 10 brown, 1 steel, 2 white, 3 brown, 3 steel, 1 brown, 3 steel, 1 brown, 5 gray, 6 brown, 6 steel, 2 brown, 4 white, 13 brown, x twice. 46th: x 6 brown, 4 steel, 6 brown, 7 steel, 2 brown, 4 gray, 5 brown, 4 steel, 1 brown, 3 steel, 5 brown, 5 steel, 8 brown, x twice. 47th: x 5 brown, 4 steel, 7 brown, 5 steel, 5 brown, 2 gray, 5 brown, 3 steel, 2 brown, 4 steel, 4 brown, 7 steel, 7 brown, x twice. 48th: x 4 brown, 1 steel, 13 brown, 3 steel, 11 brown, 7 steel, 2 brown, 1 steel, 4 brown, 2 steel, 2 brown, 4 steel, 6 brown, x twice. 49th: x 19 brown, 1 steel, 13 brown, 5 steel, 9 brown, 6 steel, 7 brown, x twice. do two plain rounds with the brown; then make the other end, and with the crimson silk do about 20 rows of open square crochet; join it to the second end, with the opening at the centre of one side, having, previously slipped on the rings. to close up the ends of the purse.--s.c. the two edges together with white silk, on which do x 4 d.c., 4 ch., miss 4 x, end with 4 d.c. 2nd row: 7 d.c. under every chain, and one s.c. between the second and third d.c. of last row. turn with a fringe made of steel beads and bugles. * * * * * mousquetaire crochet collar. materials.--brooks' great exhibition prize goat's-head crochet cotton, no. 40. penelope hook, no. 5. make a round loop, work 8 double in the loop. 2nd round: work 2 double at the top of each of the one double of last round, repeat round. 3rd: the same as last, and after you have worked round, plain one to form the round. (you should have 32 loops in the round). 4th: ch. 3, miss 1, work 1 treble; ch. 5, work 1 treble in the same loop as before; ch. 3 miss 1, work 1 double in the next loop, repeat round, fasten off. 5th: work 3 treble in the centre of five ch. of last round; ch. 3, work 3 treble in the same loop as before; ch. 2, and repeat round, plain 1 and fasten off with it, complete the round. work 4 rounds more, the same for each scollop, or 32 for the collar, then work 18 of the following pattern for the leaf:-make a chain of 40 loops, turn back and work them in double crochet, turn back. 2nd round: work 2 plain and 2 double for the stalk part of the leaf; then ch. 2, miss 2, and work 1 treble, until you come to the end; then ch. 3 and work one treble at the end; work the other side the same, in order to make both sides to correspond; ch. 2, turn back. 3rd: work 2 plain in the 2 ch. of last round, then ch. 3, miss the 2 ch. of last round, and work 1 treble at the top of the 1 treble of last round; repeat round, and work 2 plain at the end, ch. 2, turn back. 4th: work 2 plain in the two ch. of last round, ch. 3, miss 2, work 1 treble, then ch. 4 and work 2 treble at the top of the 1 treble of last round, repeat round with the ch. 4, and work 2 treble at the top of the 1 treble of last round, making both sides to correspond, fasten off. 5th: ch. 12 for the stalk of the leaf, plain 1 in the first four chains of last round, then ch. 4 and plain 1 in the centre of each of the 4 chains all round the leaf; then work the last 8 chains double for the stalk, which completes the leaf; make the number of leaves required, then join the flowers and leaves together, as shown in the illustration, with a needle and crochet thread. [illustration: mousquetaire crochet collar.] then work the following band along the neck part of the collar--pass the hook through the two ends of the stalk part of the leaf, and plain 1, chain 40, and repeat to the end, turn back. 2nd row: ch. 4, miss 2, and plain 1; repeat to the end, turn back. 3rd: ch. 4, plain 1, in the centre of the 4 chains of last row, repeat to the end, turn back. 4th: work 3 treble in the centre of 4 chains of last row; ch. 2, and repeat to the end, turn back. 5th: ch. 3, plain 1, in the centre of the first 2 chain of last row; repeat to the end, turn back. 6th: ch. 2, plain 1 in the centre of the 3 chain, of last row; repeat to the end, fasten off, which completes the collar. * * * * * raised rose crochet collar. materials.--brooks' great exhibition prize goat's-head crochet thread, no. 40, and penelope crochet hook, no. 5. this collar is made in portions, and joined together with needle and thread, or worked together with one plain at the option of the worker. to form the rose.--make a chain of 8 loops, plain 1, to form a round, fasten off. [illustration: raised rose crochet collar.] 2nd: work 1 treble, ch. 3, repeat round, plain 1, and fasten off; you should have seven treble in the round. 3rd: plain 1 at the top of the 1 treble of last round, work 8 treble in the 3 ch. of last round, plain 1 at the top of the next 1 treble of last round, repeat in the same 1 treble all round, fasten off. 4th: work 1 treble at the top of the 1 plain of last round, chain 6, repeat round, plain 1 at the top of the 1 treble to form the round, fasten off. 5th: plain 1 at the top of the 1 treble of last round, work 8 treble in the 6 ch. of last round, plain 1 at the top of the next 1 treble of last round, repeat in the same loop as before, repeat round, fasten off. 6th: work 1 treble at the top of the 1 plain of last round, ch. 9, repeat round, plain 1, fasten off. 7th: plain 1 at the top of the 1 treble of last round, work 10 treble in the 9 ch. of last round, plain 1 at the top of the next 1 treble of last round, repeat in the same loop as before all round. 8th: work 1 treble at the top of the 1 plain of last round, ch. 12, repeat round, plain 1, fasten off. 9th: plain 1 at the top of the 1 treble of last round, work 13 treble in the 12 ch. of last round, plain 1 in the 1 treble of last round, repeat round. 10th: ch. 5, miss 2, plain 1, repeat round each fold of the rose. 11th: ch. 5, plain 1 in the centre of the 5 ch. of last round, repeat round; fasten off, which completes the rose; you require 7 of these flowers to form the collar, and 6 of the following:-large rounds.--make a round loop, the size of this o, and work 30 treble in the round loop. 2nd round: ch. 19, miss 5, plain 1, repeat round. 3rd: work double crochet in each loop all round. 4th: ch. 5, miss 2, plain 1, repeat round. 5th: ch. 5, plain 1 in the centre of the 5 ch. of last round, repeat round. 6th: ch. 4, plain 1 in the centre of the 5 ch. of last round, repeat round. 7th: ch. 3, plain 1 in the centre of the 4 ch. of last round, repeat round, fasten off, which completes the round; you then work 74 of the following:-small rounds.--make a round loop, the size of this o, and work 21 double in the round loop. 2nd round: ch., 9, miss 2, plain 1; repeat round; you should have 7 lots of the 9 chain in the round. 3rd: d.c. in each loop all round, which completes the round; you now require 14 of the following:-pattern for leaf.--make a ch. of 12 loops, turn back, and work the 12 loops d.c. 2nd round: ch. 3, miss 2, work two treble in 1 loop, repeat to the end, and in the end loop ch. 3, work 2 treble, work the other side the same, with the treble opposite, the treble and 3 ch. at the end, plain 1 in the end loop, fasten off. 3rd: plain 1 in the centre of the first 3 ch. of last round, ch. 3, work 1 treble at the top of the first treble of last round, ch. 2, work 1 treble at the top of the next treble of last round; you repeat all round the leaf with 3 ch., opposite the 3 ch. of last round, and 2 treble at the top of the 2 treble of last round, with 2 ch. between them, working both sides to correspond, turn back. 4th: ch. 4 and plain 1 in each lot of the chain of last round, fasten off, which completes the leaf; you then work a stalk to each leaf as follows: ch. 5, work 1 treble in the centre of the chain round between the edge and the centre, work 1 treble on the other side, the same turn back, and work the 5 chains plain, fasten off, which completes the stalk; after working the number of each portion required and joining them together, as shown in the illustration, you work a band for the neck-part of the collar as follows:-work a few plain at the end, then ch. 10, and work 1 treble where it requires a treble, and a double where it requires a double, and a plain in the centre of the stalks and rounds as you see the stitches in the engraving, so as to make it lie to the shape of the neck. 2nd row: ch. 2, miss 2, work 1 treble, repeat to the end, turn back. 3rd: ch. 2, work 1 treble at the top of the treble of last row, repeat to the end, turn back. 4th: d.c., fasten off, which completes the collar. [illustration: point collar.] * * * * * point collar. materials.--brooks' great exhibition prize goat's-head crochet cotton, no. 48. this collar is begun by making the open hem work thus: 2 ch., miss 3, 1 s.d.c., 2 ch., miss 1 s.d.c., x 2 ch., miss 1, 1 d.c., x 3 times, then 2 ch., miss 1, 1 s.t.c., then use the t.c., and finally the long t.c. for the widest parts, and gradually decreasing to s.c. at the end. on the inner side of this, do as many half-circles as the engraving indicates: thus, 1 s.c. 1 s.d.c. 1 d.c., 2 t.c., 1 d.c., 1 s.d.c., 1 s.c.; the roses near the neck may then be worked and joined to these circles in their places. the oblong flowers are then done, beginning in the centre, with a chain, worked in s.c., a round of d.c. on this, and a succession of loops all round. join these flowers in their places; then make the roses, working from the engraving which is the best guide, joining these to each other, and to the oblong flowers, and finally working the neck with the dotted bars as seen in the engraving. * * * * * point collar in crochet. materials.--brooks' great exhibition prize goat's-head crochet cotton, no. 48. penelope hook. each of the rows in this collar, large and small, are done separately, beginning with the circle in the centre, and making the six leaves round it. each rose is to be joined to the others, where it is indicated in the engraving, and at the point of two of the petals of the largest are three small loops, which serve to connect it with the edge. all the sets of roses required for the length of the collar being done, the barred edge follows, the trefoils being worked on it, where they occur, and the roses being joined to it in their proper places. on this line, another of alternate close and open squares is done, and then a point edging, similar to one already given in this volume. the ground, of chains, worked back in slip-stitch with occasional picots, is to be done when forming the band for the neck. the collars should be worked a little larger than the engraving. * * * * * lounging cap. materials.--six skeins of bright scarlet berlin wool; 5 shades of green ditto, 6 skeins each; 12 skeins of black, and 4 of gray; 4 skeins of white, and 4 of gray floss silk, or filoselle. a handsome shaded tassel, and a ball of crochet cord. the whole of this cap is worked in s.c., over the cord. begin with the band round the head, by working 240 stitches with black wool, on the cord, and closing into a round. 2nd round: (black and gray wool) x 2 black and 2 gray alternately, x all round. 3rd: (black wool, white silk) x 1 b., 3 w., x all round. 4th: black all round. 5th: scarlet all round. 6th: (scarlet and darkest green) x 2 s., 4 g., 42 s., x 5 times. [illustration: point collar, in crochet.] 7th: (scarlet, same green, and white) x 2 s., 5 g., 6 s., 3 w., 9 s., 3 g., 16 s., 2 w., 2 s., x 5 times. 8th: (scarlet, second darkest green, black, and white) x 2 s., 2 g., 1 b., 3 g., 4 s., 5 w., 4 s., 2 g., 1 s., 3 g., 5 s., 4 g., 4 s., 3 w., 1 s., 3 w., 1 s., 3 w., 1 s., x 5 times. 9th: (same colours) x 2 s., 3 g., 1 b., 2 g., 4 s., 1 w., 4 s., 4 w., 2 s., 2 g., 6 s., 6 g., 2 s., 5 w., 1 s., 2 w., 1 s., x 5 times. 10th: (scarlet, black, white, and gray silk; third shade of green) x 3 s., 3 g., 1 b., 1 g., 2 s., 2 w., 1 s., 4 gray, 1 s., 4 w., 2 s., 1 g., 5 s., 3 g., 1 b., 3 g., 1 s., 4 w., 2 s., 1 g., 1 s., 2 w., x 5 times. 11th: (same colours) x 1 w., 3 s., 4 g., 1 s., 2 w., 1 s., 1 g., 1 s., 4 g., 1 s., 3 w., 3 s., 3 g., 2 s., 2 g., 1 b., 4 g., 1 s., 3 w., 2 s., 3 g., 1 s., 1 w., x 5 times. 12th: (same colours except green, which change to the next lightest) x 2 w., 3 s., 6 g., 1 s., 1 g., 2 s., 3 g., 1 s., 2 w., 3 s., 5 g., 1 s., 1 g., 1 b., 4 g., 2 s., 3 w., 1 s., 2 g., 1 s., 1 g., 1 w., x 5 times. 13th: (same colours, with the lightest green) x 2 w. (over the two first of last round), 7 s., 3 g.. 2 w., 3 s., 1 g., 1 s., 1 w., 3 s., 4 g., 2 b., 1 g., 1 b., 4 g., 3 s., 5 w., 1 s., 2 g., 1 s., 1 w., x 5 times. [illustration: lounging cap, in crochet.] 14th: (same colours, with the lightest green but one) x 1 w., 3 s., 5 g., 2 s., 2 w., 1 s., 3 g., 1 s., 3 w., 2 s., 2 g., 2 b., 4 g., 5 s., 2 g., 1 s., 1 w., 1 s., 2 g., 1 s., 2 g., 1 s., 1 w., x 5 times. 15th: (same colours, with next darkest green) 3 s., 4 g., 1 b., 1 g., 2 s., 1 w., 1 s., 1 w., 1 s., 2 w., 1 s., 3 w., 2 s., 7 g., 1 s., 5 g., 2 s., 3 w., 1 s., 3 g., 1 s., 1 w., 1 s., x 5 times. 16th: (scarlet, black, white, and next darkest green) x 6 g., 1 b., 2 g., 2 s., 3 w., 2 s. 5 w., 3 s., 5 g., 1 s., 3 g., 1 b., 2 g., 2 s., 4 w., 3 s., 1 w., 1 s., 1 g., x 5 times. 17th: (same colours) x 1 s., 1 g., 1 s., 2 g., 1 b., 3 g., 3 s., 9 w., 2 s., 1 g., 6 s., 2 g., 1 b., 3 g., 5 s., 5 w., 2 s., x 5 times. 18th: (scarlet, white, and darkest green) x 1 g., 2 s., 5 g., 5 s., 4 w., 1 s., 2 w., 2 s., 2 g., 6 s., 5 g., 7 s., 3 w., 3 s., x 5 times. 19th: (scarlet and darkest green) x 4 s., 3 g. over centre three of 5 g., 15 s., 1 g., 8 s., 3 g., 14 s., x 5 times. four rounds of scarlet complete the band round the head. the top of the cap.--this is a worked from the centre, and gradually increased until of the same dimensions as the band, that is, containing 240 stitches. begin by working 12 stitches with black wool on the cord, and forming it into a round. 2 round: increase to 24 stitches. 3rd: increase to 40. 4th: (black and gray) x 2 g., 2 b., x 13 times. 5th: (black and white) x 3 w. over 2 g., 2 b. over 2 b., x 13 times. 6th: (black and scarlet) x 4 s. over 3 w., 2 b. over b., x 13 times. 7th to 11th: (all scarlet) increasing sufficiently to keep the work flat, and having 120 stitches in the last round, or 8 times 15. 12th: (white, scarlet, and lightest green) x 3 s., 4 g., 4 s., 2 w., 2 s., 1 w., 2 s., 1 g., x 8 times. observe that care must be taken to increase so that the pattern begins always at the same point. 14th: (white, scarlet, and third green) x 2 g., 2 s., 2 g. over second and third of 4 g. in last round, 5 s., 3 w., 2 s., 1 w., 1 s., 2 g., x 8 times. 15th: (same colours) x 2 s. over 2 g., 2 more s., 1 g., 1 s., 1 g., 3 s. over 2, 1 g., 2 s., 2 w., 2 s., 1 w., 2 s., 2 g., x 8 times. 16th: (darkest green but one, white, and scarlet) x 1 s., 2 w., 1 s., 1 w., 1 s., 2 g., 1 s., 2 g., 5 s., 2 w., 1 s., 2 g., 1 s., x 8 times. 17th: (same colours) x 1 s., 4 w., 3 s., 3 g., 5 s., 2 w., 1 s., 2 g., 3 s., x 8 times. 18th: (darkest green, white, and scarlet) x 2 s., 2 w. (over second and third of 4 white in last round), 5 s., 12 g., the last over the first of 2 green, 5 scarlet, x 8 times. there will now be 208 stitches, work on two rounds of scarlet, increasing to 240, and then join on the band. this is done by holding the top of the band and the edge of the round together, and working one round, taking up the chain of both. work on the cord with black wool and white silk, two stitches of each alternately; draw in the end of twine. take care in placing the two parts of the cap together, to make that part which begins every round at the same place in both, as a small defect in the pattern is inevitable, and must be covered by the tassel. draw the string of the tassel through the centre of the crown, and fasten it in its place. the cap may be lined with scarlet sarsenet. * * * * * crochet edgings and insertions. the whole of these edgings and insertions are intended to be worked either with or without beads. if to be worked with beads, 1 chain stitch must be reckoned in the foundation, for every square, and the ground must be perfectly solid, with the pattern in beads. if to be worked in square crochet, 3 chains must be allowed for every square. in the scallops the ends of the thread must be neatly run in after they are done. reckoning from that part where the actual scallop begins, each must be done distinctly from the others. [illustration: crochet edgings and insertions.] [illustration: crochet edgings and insertions.] insertions. to be worked in square crochet. the materials, any number of brooks' great exhibition prize goat's-head crochet cotton that will be suitable for the purpose. all these square crochet patterns may be done in beads, if desirable. [illustration: insertions] * * * * * point lace instructions. the outlines of any design in point lace are made in braid of various sorts, in thread, or sometimes in linen. the braid used is either french linen or cotton braid, or that now known as italian braid. french braid is a simple plait, more or less wide; italian braid is, in fact, a pillow lace insertion, somewhat resembling a tape, but with edges like those seen in all other pillow lace. it enters very much into the composition of venetian and other valuable italian lace, whence the name italian braid has been given to it. point lace used formerly to be worked on parchment, this, however, being very hard and stiff, is not so pleasant a material to work on as coloured paper, which may be lined with calico or alpaca, according to the work intended to be done. french braid, whether made of linen or of cotton, is laid on the pattern with stitches taken across it, from one edge to the other. this mode of putting on braid prevents it from stretching, as, from the nature of the plait, it would otherwise do. in forming angles, each edge should be sewn down to the paper, and then the braid turned over. circles are made by laying the braid on the design, and forming it into the proper shape with the fingers, before tacking it down. we give a diagram showing the manner in which lines of braid cross and intersect each other, to form the pattern; and we would observe, _en passant_, that each line is done with a separate piece of braid, that from a to b being one piece, and from c to d another. italian braid, being so much wider, requires to be tacked down at both edges; and in forming circles and scrolls, one edge has, not unfrequently, to be gathered in slightly. when thread is used as an outline, a second, and much finer thread is used to tack it down. the coarse thread is laid on the outlines, and the needle is brought up on one side of it, and down, in the same hole, on the other. the stitches are taken at the rate of five or six to an inch, one being always placed at the point of each angle, so as to keep the outlines as accurate as possible. to fasten on a thread, run the needle along the braid a little way, taking a button-hole stitch to secure it. fasten off in the same manner. if the outlines are in thread, you can twist the needle round it two or three times, and then take a tight button-hole stitch. the chief stitch in all point lace is that known as the common button-hole or overcast stitch. this stitch, worked as closely as possible, or at regular intervals, drawn tightly, or the reverse, forms almost all the stitches, or more properly _laces_, used. we will begin by describing the simplest of all, which is known as [illustration: brussels edge.] brussels edge (no. 1). this is a continuous line of button-hole stitches, not drawn tightly, and taken at equal distances of about the fourteenth part of an inch. when worked on braid, care should be taken that the needle is inserted at a little distance from the edge of the braid, which would otherwise be apt to fray. little venetian edging (no. 2). in working this stitch, do one brussels, and in the loop of that work a _tight_ stitch. venetian edging (no. 3). do four stitches instead of one in the loop of the brussels stitch. sorrento edging (no. 4). do a stitch exactly like little venetian, the eighth of an inch long, and then one-half that length in the same manner. continue to work these alternately. venetian bars (no. 6). take the needle across the space to be barred, once, twice, or oftener, according to the thickness of the bar, and then cover these threads quite closely with button-hole stitch. the veinings of leaves are often worked in venetian bars, over a ground of brussels lace. as this is to be done without breaking off a thread, it requires some little management. begin by making the foundation thread of the vein running from the base of the leaf to the point, taking one, two, or three threads, but always beginning _at the point_ to cover it with button-hole stitch. do enough to come to the first veinings branching from it; slip the needle across to the braid, in the proper direction, taking a close button-hole stitch to fasten it: cover it with button-hole up to the centre vein; then do the companion one in the same manner, and continue to work each pair as you come to it on the principal veining. edged venetian bars (no. 5). this is a venetian bar, like the last, edged with brussels or venetian edging. this, with various other bars, frequently forms the groundwork of the guipured lace. english bars (no. 7). these are frequently worked between two lines of brussels or venetian edging to connect them. they are made by passing the needle backwards and forwards through two opposite stitches, always tacking the under side of each, so that the threads be across the space smoothly and evenly. about four times each way will be sufficient. they are usually done across between two stitches, and then one at each edge is missed before the next bar is made. sometimes these bars are radiated, a single stitch of the edge being missed on one side, and two at the other. sorrento bars (no. 8). these are bars which occur most frequently in italian lace. they are simply twisted threads, so closely entwined that they only appear as one. they also are frequently radiated, and crossed; the effect produced will be seen in the accompanying diagram. dotted venetian bars (no. 9). a bar of threads is made, as for a common venetian bar. do on it six stitches, and instead of drawing the seventh tight, hold the top by sticking a needle through it and the paper, about the tenth of an inch, and work on the threads of the loop three button-hole stitches. do six more on the bar, and repeat. [illustration: venetian edging.] [illustration: venetian bars.] [illustration: edged venetian bars.] [illustration: sorrento bars.] raleigh bars (no. 10). make a bar of threads, as for venetian bars, and work on it about eight stitches. at the ninth, instead of bringing up the needle through the loop to form another button-hole, slip it under the bar, and bring it up on the right-hand side, leaving a loop of thread about two inches long, which you will hold down with your thumb, to keep it in its place. now twist your needle six times under the right hand thread of this loop; draw it up, when it will make a knot, and slip the needle through it, above the bar, to continue the process. it may be observed that when this bar forms a part of the foundation of a piece of point, only two of these dots are generally seen on it, and they are placed near each other, almost in the centre of the bar. point d'alenã�on (no. 11). this is only common herring-bone stitch, with the needle twisted once or oftener under the thread of each stitch, according as the space to be filled is narrow or wide. spanish point (no. 12). this is the raised stitch which gives the peculiarly rich appearance to all the spanish lace. a certain thickness of soft cotton is tacked down on the lace, in the form desired, and this is covered closely with button-hole stitch, edged with raleigh dots, or with small loops. it is to be noticed that this is not attached to the lace by the button-hole stitches, but only by the thread which tacks down the soft cotton, so that it can be picked off without injury. the button-hole stitches must be worked very smoothly, and quite close together. rosette (no. 13). this is exactly like a spider's web, worked on three, four, or more threads, according to the shape of the space intended to be filled. begin by making a sorrento bar across the space, from one point to the opposite; then a second one, slipping the needle under the first in going, and over it in twisting back; then do a third, or fourth, if necessary; but when you have twisted back to the centre of the last, make the rosette, leaving the half bar single. the rosette is done by passing the needle under two threads, then continuing to slip it under two, the first of which is always the last of the previous two, until you have made the spot a sufficient size, when you finish the last bar, by twisting down to the braid, and fastening off. the size of the space must be the guide for that of the rosette; but from six to ten times round a centre is an average. [illustration: stitches.] brussels lace (no. 14). consecutive rows of brussels edging, worked alternately from left to right, and from right to left. venetian lace (no. 15). rows of venetian edging. as this stitch can only be worked from left to right, a line of brussels is usually placed between every two rows, and being worked from right to left, saves the trouble of running the needle along the braid. sorrento lace (no. 16). successive rows of the sorrento edging. english lace (no. 17). this is to be worked with the finest thread that is made. do a number of sorrento bars (closely twisted threads), at equal distances, in one direction throughout the space: then take one thread under all these, in exactly the opposite direction; take a stitch on the braid to secure it, and twist to the first cross. pass the needle under the single thread and over the twisted one, till it has gone four times round, when the spot will be sufficiently large. twist on the single thread to the next cross, and repeat. do this until the whole space is filled, as seen in the engraving, where the distance between the threads is sufficiently accurately represented. this lace always looks best, however, when the lines are diagonal. english lace is often radiated; that is, the lines are more distant from each other at one edge than at the other, and the spots proportionably larger, presenting the appearance of a fan. [illustration: open english lace.] [illustration: brabant edging.] open english lace (no. 18). this is a variety of the previous lace, being worked in the same way, but on four lines of threads, instead of two, namely, one diagonal from left to right, one from right to left, one horizontal, and one perpendicular. the spots are worked on the last line made. the distance of the lines is seen in the engraving. [illustration: lyons point.] [illustration: brussels lace.] the accompanying diagram gives another variety of open english lace. the straight bars are formed of single threads, while the diagonal ones are twisted; and at every cross a tight button-hole stitch is worked, to keep the threads together. observe, that in working bars, a tight stitch should always be taken on the braid, at the beginning and end of every one. mecklin wheels (no. 19). work venetian bars on a single thread, in one direction, at equal distances. then take a thread in the opposite direction, and cover it also with button-hole stitch a little beyond the first cross. take another needle and thread and work a few stitches, in the form of a circle, round each cross, so that by slipping the first needle through every stitch, a foundation may be formed for the button-hole work with which the wheel is made, a single raleigh dot being added between every two threads. the stitches taken with the extra needle should form a sort of railroad for holding the thread in its place. this mode of working wheels will be found very superior to the old one of pinning down the circle of thread. when all the wheels are worked, the stitches made with the extra needle should be cut away at the back. henriquez lace (no. 20). this stitch, and the one that follows it, are invariably worked with the finest thread manufactured. like english lace, it has a better effect done on diagonal bars, than on those which are taken straight up and down, or across a space. make one twisted bar across the space, then take a single thread nearly close to it. twist it twice round, then darn a spot on the two threads; twist five or six times round, darn another, and repeat to the end. do all the lines in one direction first, making the spots fall one beneath the other. then begin the lines in the opposite direction, taking the thread under in one way, and over in returning, whilst, in order to keep the close bars apart, the thread must be twisted between them. care must be taken that the bars in one direction, fall between the spots in the other. cordovan lace (no. 21). worked like the preceding; but with three bars in each line instead of two. valenciennes lace (no. 22). this stitch also is done with the finest threads made. it is simple darning, of the closest and finest description, done with so much regularity that it resembles cambric. brabant edging is a name sometimes given to a union of the brussels with the venetian edging. a row of brussels is first worked, and on it a row of venetian. the diagram gives the effect of this arrangement. another variety of edging is produced by two or three rows of brussels being worked on one another. this is frequently seen in old lace; and, with venetian on the outer edge of the braid, is often termed lyons point. when spaces similar to those in the accompanying diagram are to be filled with brussels lace, the best way is to work each side to the centre, and then run the needle up the middle, catching up alternately a stitch on each side. sometimes the centre is not closed up at all. the diagram in page 132 gives a specimen of a modification of the little venetian lace. the first stitch is taken as usual, but is followed by three others, worked as closely as possible. a space equal to that of four stitches is left between every four. in the second row, the four stitches are worked on the loop. the engraving also shows how the stitches are adapted to the different spaces in a pattern. foundation stitch (no. 23). this is ordinary button-hole stitch, worked over a thread, and as closely as possible. the thread is taken across the space, from right to left, to form a bar, which is then covered with close brussels, worked from left to right. each stitch of a row is worked between two of the previous rows. escalier stitch (no. 24). work nine button hole stitches as close to each other as possible. miss the space of two, and repeat. in the second row, work one after each of the first seven, miss the space of the last two, work two on the loop, and seven more on the next nine, miss the last two of the nine; repeat in every successive row, passing over the last two of nine stitches, and doing two on the vacant space. cadiz lace (no. 25). do six close brussels stitches. miss the space of two, do two more, and again miss the space of two, repeat from the six stitches. 2nd row: do two over the loop of every space, and miss all the stitches, whether six or two. repeat these two rows alternately, to form the lace. barcelona lace (no. 26). the first row of this lace is exactly like sorrento edging. 2nd row: do four close stitches on the long stitch, and miss the short one, taking care not to draw the thread too tightly. 3rd: a row of sorento edging, the long stitch coming over the four stitches of the last row, and both the button-holes being worked on the loop, so that the short stitches come over the short of the first row. these two rows, worked alternately, make the lace. fan lace (no. 27), 1st row: six close brussels, miss the space of six. repeat. 2nd: six stitches over every six, miss the same space. 3rd: six close brussels on every loop, missing the space between. 4th: six over every six, and six on every loop. 5th: six close over the six on the long loop, miss the other six. repeat these last three rows as often as may be required to fill up the space. [illustration: little venetian lace.] spotted lace (no. 28). this very light and pretty lace is done thus:-1st: x two close button-hole stitches, miss the space of four, x repeat to the end, without drawing the thread too tightly. begin the next row, and all following, at a little distance from the one preceding, and do two close stitches on every loop of thread. venetian spotted lace (no. 29). this lace consists of a series diamonds, formed by venetian bars crossing each other diagonally, in each of the sections of which, four spots of english lace are to be worked. the foundation threads of the venetian bars are first laid; then the english lace spots are worked, and the button-hole stitch of the venetian bars is done the last. this lace is well suited to fill up large spaces. open antwerp lace (no. 30). for this lace a new stitch is required, called the double brussels. instead of a simple button-hole stitch, the needle is twisted once in the loop, so that when drawn up, it has a _longer_ appearance than the ordinary brussels. the stitches are to be worked quite close to each other. 1st row: x eight close double stitches, miss the space of six, x repeat, without drawing the thread very tightly across the missing space. 2nd: x five double over the eight, two double on the loop of thread, x repeat. 3rd: x two double on the five, five over the two, x when five stitches are worked over two, one goes between the two, and two on each side of it. 4th: x eight double over five and miss the space over the two, leaving the loop rather loose, x. repeat from the second row throughout the space. open diamond (no. 31). 1st row: five close brussels, miss the space of two, x eight close, miss the space of two, x to the end of the row. 2nd: two close, x miss two, two on the loop, miss two, work along the line after all the remainder of the eight, do two on the loop, and on six of the next eight (thirteen altogether), repeat to the end. 3rd: x miss two, two on the loop, miss two, do two on the loop, miss two, do one on every one of the line of stitches but the last two, x repeat. 4th: two on the loop, miss two, two on the loop, x miss two, two on the loop, one on every stitch, and two on the next loop (thirteen altogether), miss two, two on a loop, x repeat. the next diamond of holes must be so managed as to fall immediately between two of the first row. by repeating the first line, the place will be indicated. in all these stitches, it is assumed that _squares_ are to be filled in. where the shape varies from that, extra stitches must be added, at the beginning, or taken away, as the case may be, the worker referring to the engraving for the appearance intended to be produced. close diamond (no. 32). the first row is plain button-hole stitch. 2nd row: five stitches, x leave the space of two, fourteen stitches, x repeat. 3rd: two stitches, x miss two, do two on the loop, miss two, work on all the rest of the fourteen, except the last two, x repeat. in the fourth row, the holes fall over those of the first. the fifth row is all in close stitches. in the sixth, begin to make fresh lines of diamonds, coming exactly between the last set. antwerp lace (no. 33). 1st row: x eight close, miss the space of two, x repeat. 2nd: x five close over eight close, and two close on the loop, x. 3rd: x two close over five, and five over two, x. 4th: x five close over two, and two over five, x. 5th: x eight close over every five, x repeat. the above are the principal stitches found in old point lace. * * * * * deep point lace edging. materials.--brooks' great exhibition prize goat's-head mecklenburgh threads, no. 1, 7, 100, and 120. draw the pattern from the engraving, a section of it being given the full size. the paper must then be lined with alpaca. should a short piece only be required, the pattern should at once be made of the full length; if not, several may be drawn. from the closeness of the work it is impossible to work twice over the same paper. the border of each pattern is formed of seven small scallops. it is worked in braiding-stitch, that is, four threads are laid on, parellel with each other, and formed into a braid by darning them backwards, and forwards, putting the needle always under two together. as it is not desirable to have any break in the outline, it will be advisable to take, for each of the four outline threads a needleful sufficiently long to answer for the whole piece of lace. [illustration: deep point lace edging.] when the whole length of the paper is done, the ends may be twisted round a card, and wrapped in paper to keep them clean while that section of the work is in progress. each pattern contains one spray of flowers and small leaves, the stem of which is braided like the edge only that it is generally wider at the end. all the outlines are made in no. 1, and the braiding done in no. 7. the flowers consist of six petals three of which are worked in foundation stitch, that is close button-hole stitch over a thread, and the others in spots formed by making two close button-hole stitches, and then allowing the space of two before working the next. in the succeeding row, the two close stitches come on the bar of thread formed between one spot and the next. the centre of the flower is an open circle, covered with close button-hole stitch, with raleigh dots. the leaves, which are very small, are entirely in foundation stitch. in each section of the large scallop is a wheel formed by working a circular raleigh bar, on a foundation of three threads. the ground is in raleigh bars worked very irregularly. the straight edge of the lace is a line of button-hole stitch on two thread. three rows of sorrento edge, worked one upon another, complete the lace. this edge and the flowers are done in mecklenburgh 120. the remaining parts in no. 100. * * * * * collar in spanish rose point. [illustration: collar in spanish rose point.] materials.--brooks' great exhibition prize goat's-head valenciennes threads. this is distinguished by close heavy work, and solid spanish stitch edged with loops. the ground of the collar is guipured in the richest style, partly with plain raleigh bars partly with those having semi-circular loops, dotted in the same manner. sometimes two bars have a mecklin wheel at the cross. the section given of the collar is the full size, and has only to be repeated and reversed for the length. * * * * * [illustration: handkerchief border, in antique point lace.] handkerchief border, in antique point lace. materials.--brooks' great exhibition prize goat's-head point lace cottons, and no. 1 valenciennes thread. we give the section of the handkerchief of the full size, that workers may draw their own pattern from it. it may be made of any dimensions required. the perfect pattern occupies the entire side, reckoning from the open flower at the corner. were this entirely repeated for the quarter, it would make the handkerchief rather too large for general taste; about one half the pattern, in addition to the piece given (or the open flower, and the two next to it on the inner side) would be found sufficient for the quarter. one-fourth of the handkerchief being drawn on tracing-paper, all the design can be marked from it, on red, blue, or green; but it is preferable to draw a little more than a quarter only, instead of the whole handkerchief, which is cumbersome to hold. when a quarter is done, it may be removed from the paper, which can be used a second time by a careful worker. no braid whatever is used for this handkerchief, which is similar in the mode of working to some of the most valuable specimens of antique point. the scroll and flowers are close and heavy, the inner ground is guipured, in raleigh bars, and the space between the scroll and the outer edge is filled with fine and close english lace. the stem, and the closest part of the flowers (which may be distinguished in the engraving), are done in foundation stitch, with no. 90, point-lace cotton. the veinings of the petals, where they occur in this stitch, are made by taking the foundation thread at double the distance from the last one, and working over it a row of brussels stitches at the usual distance from each other, instead of close, as in foundation stitch. the calyx of the flower is done in antwerp lace. the very finest point-lace cotton should be used for all this stitch. all the flowers, done as we have just described, have a centre worked in venetian lace; no. 70 cotton must be used. the open flowers, and the button-hole rounds, are done with valenciennes thread, no. 120. the english lace, with no. 100 cotton. the raleigh bars, with valenciennes, no. 100. the edge of the handkerchief border is finished with close button-hole stitch, on which raleigh dots are worked at regular intervals. this edge is worked after all the rest of each quarter is finished. if it be thought troublesome to outline the whole pattern with thread, no. 5 white cotton french braid may be used. the effect is, however, greatly inferior to that of the thread. to make up the handkerchief, cut a square of cambric the exact size to fit the lace, allowing for a very narrow hem. when the hem is made, lay the inner line of the lace over it, tack them together, and work a row of close brussels edge over the two, to connect them. * * * * * apron in broderie en lacet. materials.--three-quarters of a yard of wide black silk of satin, two knots of russia silk braid, of any colour that may be approved, and a dozen skeins of sewing silk to match. the term _broderie en lacet_ is applied to a new and very pretty style of embroidery, in which the outlines are made with silk braid, and filled in with point-lace stitches. the pattern must be enlarged, and one-half drawn on a large sheet of paper: the outlines marked with a needle, and the silk pounced from it, one side of the paper marking one-half, and the reverse side the other. for running on the braid, use the threads of the silk of which it is composed, in preference to the ordinary sewing silk. cut off a piece of the braid three-quarters of a yard long before you begin, and draw the threads out of it for the braiding. when joins occur, the ends are to be drawn through the silk with a long needle, and fastened off on the wrong side. the sections of the flowers are filled with english or venetian lace, and for the leaves, brussels lace, english bars, or point d'alenã§on may be used. the last named is worked between the two lines of braid, to fill in the stems and scallops. [illustration: apron in broderie en lacet.] the bottom of the apron may either have a hem below the embroidery, or be scalloped in button-hole stitch, and the edges cut out. the colours which look best for this style of work are--cerise, crimson, blue, orange, and for mourning, a soft gray. the fancy stitches are to be done exactly like those for point lace, but they need not be so close and fine, the silk filling in without much work. * * * * * pincushion cover in point lace. materials.--brooks' great exhibition prize goat's-head valenciennes cottons, and no. 7, french braid. also some satin of any bright colour, satin ribbon 2 inches wide to match, and materials for a pincushion. [illustration: pincushion] this pincushion is intended to be made up in the french style--that is, merely laid over the top of a satin cushion, with three handsome bows of ribbon to match, placed at equal distances. the outlines are in french braid. the scallops are filled alternately with english lace, worked with valenciennes, no. 240, and rows of venetian and brussels alternately, done in no. 200 of the same. the sorrento edge is done with no. 100. one flower has a double mecklin wheel in the centre, and is merely edged with venetian lace (in no. 160), the other has two petals filled with foundation stitch (in no. 240), and two with english lace. the ground is brussels net, worked with brooks' great exhibition prize goat's-head valenciennes, no. 200. [illustration: pincushion.] the venetian and english bars are worked with no. 180. if the centre is left plain and open, a small glass for flowers is inserted. of course, the pincushion has an open centre to correspond. if filled, the cushion has a flat top, and the lace is merely laid on, and fastened with satin bows. the end. team. beeton's book of needlework. consisting of descriptions and instructions, illustrated by six hundred engravings, of tatting patterns. crochet patterns. knitting patterns. netting patterns. embroidery patterns. point lace patterns. guipure d'art. berlin work. monograms. initials and names. pillow lace, and lace stitches. _every pattern and stitch described and engraved with the utmost accuracy, and the exact quantity of material requisite for each pattern stated._ chancellor press _beeton's book of needlework_ was originally published in great britain in 1870 by ward, lock and tyler. this facsimile edition published in great britain in 1986 by chancellor press 59 grosvenor street london w 1 printed in czechoslovakia 50617 samuel butler's preface the art of needlework dates from the earliest record of the world's history, and has, also, from time immemorial been the support, comfort, or employment of women of every rank and age. day by day, it increases its votaries, who enlarge and develop its various branches, so that any addition and assistance in teaching or learning needlework will be welcomed by the daughters of england, "wise of heart," who work diligently with their hands. the recent introduction of point lace has brought a finer, and, apparently, more difficult class of fancy work into general favour. ladies may now, however, confidently commence, with our patterns before them, to reproduce antique laces; for care and patience, with a knowledge of point lace stitches, are alone required to perfect the beautiful work, which, as shown in existing specimens of exquisite old lace, constitute the chief glory of women's refined industry in past centuries. instructions in tatting, in embroidery, in crochet, in knitting and netting, in berlin wool work, in point lace, and guipure d'art are prefixed to the pages devoted to these separate branches of needlework. the whole work is interspersed with coloured and other patterns in point lace, guipure d'art, tatting, embroidery, and designs for monograms and initials for marking handkerchiefs and table-linen. the quantity of materials required for each class of work is also given with every pattern. the idea of combining a series of minute and exact instructions in fancy needlework with useful patterns was conceived some years ago by one whose life was devoted to the inculcation of the practical duties of woman's life, and to assisting her sex in their daily work of household management and refinement. her great wish was that her book of needlework should be as valuable in its way to her countrywomen as her work upon household management was useful in showing the best mode of providing for the diurnal wants of families. other hands have brought to a conclusion her original plans. the best attainable workers have contributed to this volume. only those who knew the extent of the late mrs. beeton's design, will miss, in the pages now before them, "the touch of a vanished hand." s.o.b. _paternoster row,_ 1870. contents. tatting instructions tatting patterns embroidery instructions embroidery patterns crochet instructions crochet patterns knitting instructions netting instructions knitting and netting patterns alphabets for monograms and initials monograms and initials point lace work point lace instructions point lace patterns instructions and patterns in guipure d'art berlin work instructions tatting. tatting instructions [illustration: tatting shuttle.] the needlework called tatting in england, _frivolité_ in french, and _frivolitäten_ in german, is a work which seems, from all accounts, to have been in favour several generations ago. modern ingenuity has discovered some ways of improving on the original plan of tatting, which was, indeed, rather a primitive sort of business as first practised. to mrs. mee, one of our most accomplished _artistes_ in all matters connected with the work-table, belongs, we believe, the introduction of the plan of working from the reel instead of the shuttle. by this alteration the advantage of the shuttle being constantly kept filled with cotton was gained, and the necessity also obviated for frequently joining the thread; and to mdlle. riego, equally distinguished in all details appertaining to the employment of the needle, ladies are indebted for an arrangement by which the same thread used in the making of the pattern is used for fastening the work. the old plan only provided for the working of the different portions which constituted the pattern, and then these portions had to be sewn together with a needle and thread. the ingenious workers on the continent have also given much attention of late to the art of tatting, and our instructions now printed comprise what we consider the best mode of learning and doing this exceedingly interesting and fashionable work. [illustration: tatting pin.] tatting differs entirely from crochet, and is composed of stitches forming _knots_. it is intended as an imitation of point lace, and is especially used for trimming under-linen, on account of its strength. to make the stitches or knots a small instrument is used, called a _shuttle_. this shuttle consists of two oval pieces, flat on one side and convex on the other, and is made of wood or ivory. the two oval pieces are joined together by a strong cross-piece. the illustration shows the construction of the shuttle. these shuttles are made in ivory, pearl, tortoiseshell inlaid with pearl, and silver; they are also manufactured in coloured bone, black, red, and white. the best to work with are the pearl for a white shuttle, and the inlaid tortoiseshell for a black shuttle; the prices vary from sixpence to one shilling and two-and-sixpence each. in selecting a shuttle be careful to see that the ends close, as if dropped it soon becomes unthreaded, which is very inconvenient. the cotton intended for the work is wound round this shuttle, and the thickness of the cotton varies according to the style of work. it is better to use the proper tatting cotton, because it is stronger than the ordinary kinds; this is manufactured by messrs. walter evans and co. for the purpose. their boar's head cotton is also frequently used, and answers very well. _shuttles._ these are made in 3 sizes:--finest, no. 1; no. 2, useful medium size; no. 3, the largest. _the way to hold the hands._ take the shuttle in the right hand, between the thumb and second finger, and allow the forefinger to remain at liberty, and rest the under part of the shuttle _between_ the second and third and _on_ the middle finger. place the thread round the three middle fingers of the left hand, so as to form a loop, keeping the second and third fingers a little apart, and bring the cotton again between the thumb and forefinger, letting the end fall within the palm of the hand, while the end of cotton which holds on to the shuttle passes over the thumb-nail. _to make a stitch._ keep the hands in the position above described; pass the shuttle at the back, through the loop--that is, between the second and third fingers. take the end of the shuttle which comes out from the loop between the forefinger and thumb of the right hand, and strain the cotton very tightly towards the right. when the cotton is drawn through the loop, this cotton must not be impeded by the fourth finger; it should, on the contrary, slide over it, and be drawn tight. it should divide the loop into two parts. after this withdraw the second left-hand finger, which is _above_ the cotton, and pass it again under that cotton, so as to draw up the loop. a _half-stitch_ is thus formed, and must be tightened by being drawn closely to the forefinger and thumb of the left hand. for the remaining half of the stitch keep the hands in the same position, but, instead of letting the cotton fall over the thumb, pass this cotton over the back of the hand; then let the shuttle fall between the second and third fingers of the left hand, in front, and take it out again at the back, strain the cotton very tightly, withdraw the second finger from the loop, letting the cotton which is behind the hand sweep over the fingers. when this is done, guide with the unoccupied fingers of the left hand this second half-stitch up to the other, thus completing _one stitch_. _the way to make a loop in tatting._ when a certain number of stitches are made, very tightly draw in the loop by straining the cotton until the first stitch touches the last, and thus a loop is formed. during this process the stitches should be held tightly between the forefinger and thumb. _the way to make a purl._ a _purl_ is a small loop of cotton often used as an edging in tatting, as, for instance, round the outer edge of the ovals in tatted insertion no. 2. the following is the easiest method of making a purl:--the stitches are not made quite closely together at the place where a purl is to be made; about one-sixth of an inch is left between each. this space is left free until the loop is made by uniting the stitches; then the small piece of cotton in the space bulges out between the stitches, and forms the purl. if several are required a small space is left between every two or three stitches, according to the desired number. care must be taken in that case that the small pieces of cotton left be all of the same length, so that the purl may be perfectly even. the purl can also be made thus: at the same time with the end of thread take the tatting-pin or a very large darning needle or knitting needle in the left hand, so that the point may come out farther than the row of stitches; if then you wish to make a purl, throw the cotton on the pin before making the stitch; then fasten this stitch, and push it at once close to the preceding; the pin with the cotton should come above the stitches. do not take out the pin before all the purl and all the stitches are completed and joined together. _joining the work._ place the tatting-pin in the loop that is to be joined, and with the hook draw the thread of the loop--that is, round the hand through it--pass the shuttle through this loop, and draw it up tightly close to the stitches. a "straight" or double thread is used to join various parts of the work, and forms very beautiful patterns. without the straight thread we should be unable to imitate point lace patterns, or, indeed, to execute any designs but those composed of circles, ovals, &c. to use this straight thread 2 shuttles are required; they should be of different colours. sometimes one end of thread is left attached to the reel instead of using the second shuttle. in commencing a loop the straight thread is held between the second and third fingers of the left hand, about 2 or 3 inches from the work; the other shuttle is held as usual in the right hand, and the stitches and purls worked with it upon the foundation of the straight thread of the second shuttle. * * * * * tatting. 1.--_pine pattern collar in tatting._ [illustration: i.--pine pattern collar in tatting.] materials: messrs. walter evans and co.'s boar's head cotton no. 80, or tatting cotton no. 60; tatting-pin no. 3; a small shuttle. this collar is worked with very fine tatting cotton as follows:--1st circle: 2 double, 1 purl 7 times, 2 double, draw up the cotton. 2nd circle: 3 double, join it to the last purl of the 1st circle, 1 double, 1 purl 8 times, 2 double, draw the cotton up. 3rd circle: 2 double, join it to the last purl of the 2nd circle, 1 double, join it to the 7th purl of the 2nd circle, 1 double, 1 purl 8 times, 2 double, draw the cotton up. 4th circle: 2 double, join it to the last purl of 3rd circle, 3 double, 1 purl, 1 double 7 times, 1 double, draw the cotton up. 5th circle: 2 double, join it to the last purl of 4th circle, 2 double, 1 purl, 1 double 3 times, draw up the cotton. 6th circle: 2 double, join it to the last purl of the 5th circle, 1 double, join it to the 5th purl of the preceding circle, 1 double, 1 purl 6 times, 1 double, join it to the first purl of the 1st circle, 2 double, draw up the cotton. this completes the star pattern in centre of pine. 1st circle of pine: 2 double, 1 purl, 1 double 8 times, 2 double, draw up the cotton. 2nd circle: 3 double, join to the last purl of 1st circle, 1 double, join it to the 7th purl of 1st circle, 1 double, 1 purl 6 times, 3 double, draw up the cotton and join it to the 3rd purl of centre star. 3rd circle: 3 double, join to the last purl of 2nd circle, 1 double, 1 purl 8 times, 2 double, draw up the cotton and join it on to the centre purl of 2nd circle in star. 4th circle: 2 double, join to the last purl of 3rd circle, 1 double, 1 purl 5 times, 3 double, 1 purl, 2 double, draw up the cotton and join it to the 5th purl of 2nd centre circle in star. 5th circle: 2 double, join the cotton to the last purl of 4th circle, 1 double, 1 purl 7 times, 2 double, draw up the cotton, repeat the 5th circle twice more, then join the cotton to the centre purl of 4th circle in star. 8th circle: 2 double, join to the last purl of 7th circle, 1 purl,1 double 5 times, 2 double, draw up the cotton and join it to the centre purl of 5th circle in star. 9th circle: 2 double, join to the last purl of 8th circle, 1 double, 1 purl 6 times, 2 double, draw up the cotton. repeat the 9th circle 3 times. 13th circle: 3 double, join the cotton to the last purl of the 12th circle, 1 double, 1 purl 7 times, 4 double, draw up the cotton, turn the work downwards, and work the 14th circle: 2 double, 1 purl, 3 double, join it to the 1st purl of the 1st circle of pine, 1 double, join it to the 2nd purl of first pine circle,1 double, 1 purl 6 times, 2 double, draw up the cotton. 15th circle: 3 double, join to the last purl of the 13th circle, 1 double, 1 purl 6 times, 3 double, draw up the cotton. 16th circle: 3 double, join to the last purl of the 15th circle, 1 double, 1 purl 4 times, 3 double, 1 purl, 1 double, draw up the cotton. 17th circle: 1 double, join to the last purl of the 16th circle, 1 double, 1 purl 6 times, 2 double, draw up the cotton. 18th circle: 1 double, join to the last purl of the 17th circle, 1 double, 1 purl 8 times, 1 double, draw up the cotton, and repeat from commencement until the collar is the required size. the upper part of the pines is filled in with lace stitches, as clearly shown in our illustration. * * * * * 2.--_tatted insertion._ materials: messrs. walter evans and co.'s tatting cotton no. 30, or boar's head crochet cotton no. 12; tatting pin no. 2; large shuttle. [illustration: 2.--tatted insertion.] this insertion should be worked with coarse cotton. 5 double *, 1 purl, 2 double, repeat from * 4 times, 1 purl, 5 double, draw up the cotton, turn the pattern downward, and work another circle the same as that above described, leaving one-sixth of an inch of cotton between each circle. * * * * * 3.--_lace edging in tatting._ materials: messrs. walter evans and co.'s crochet cotton no. 10, or tatting cotton no. 20; tatting-pin no. 3; any sized shuttle. for a finer edging, no. 18. 1st oval: fill the shuttle, but do not cut it off from the reel, as a double thread is used, and commence by working 10 double stitches, 1 purl, 10 double; draw up. double thread: putting the thread attached to the reel round the left hand, work 8 double, 1 purl, 8 double. [illustration: 3.--lace edging in tatting.] 2nd oval: 10 double, join to purl in 1st oval, 10 double; draw up. the pattern is now complete. repeat from beginning, taking care that the next oval be close to the last. crochet a heading with the same cotton, working 7 chain, 1 double into the purl in double thread. repeat. * * * * * 4.--_lace edging in tatting._ materials: messrs. walter evans and co.'s crochet cotton no. 10, or tatting cotton no. 20; tatting-pin no. 3; any sized shuttle. for a finer edging, no. 18. [illustration: 4.--lace edging in tatting.] 1st oval: fill the shuttle, but do not cut it off from the reel, as a double thread is required, and commence by working 10 double stitches, 1 purl, 10 double stitches, draw up. 2nd oval: close to last oval, work 10 double, 1 purl, 10 double; draw up. double thread: putting the thread attached to the reel round the left hand, work 12 double, 1 purl, 4 double; then join the shuttle-thread to the purl in 2nd oval, by drawing it through with a pin. then do another similar chain of stitches with the double thread, viz., 4 double, 1 purl, 12 double. 3rd oval: 10 double, join to the purl in 2nd oval--the same as that to which the shuttle-thread has been fastened--10 double; draw up. 4th oval: close to last oval, work 10 double, join to purl of 1st oval, 10 double, draw up. the pattern is now complete. repeat from beginning, taking care that the next oval be close to the last. crochet a heading with the same cotton, working 4 chain, 1 double into the purl of double thread, 6 chain, 1 double into the next purl. repeat. * * * * * 5.--_border in tatting with crochet edging._ materials: messrs. walter evans and co.'s tatting cotton no. 60, or crochet cotton no. 80; tatting-pin no. 2; a bone shuttle. [illustration: 5.--border in tatting with crochet edging.] work * 4 double stitches (that is, 4 times following 1 purled stitch and 1 plain), 1 purl, four times following 3 double stitches, 1 purl, 4 double stitches, draw up the cotton so as to form an oval, and for the smaller oval, work 9 double stitches, but leave, before beginning the first double stitch, the space of one-sixth of an inch between this oval and the preceding; repeat from *, leaving the same space between each oval; join together the larger ovals by the purl. for the crochet edging, work the 1st row in the following manner:-1 double (followed by 6 chain) in each of the smaller ovals. the 2nd and 3rd rows are composed of short treble stitches, placed one above the other, and divided by one chain. while working the short treble stitches of the 3rd row form the small purl thus:-* 1 short treble in the first short treble of preceding row, let the loop slip off from the crochet needle, insert the needle in the under stitch, from which comes the loop now made into a purl, work 1 double in the first short treble of preceding row, 1 chain, under which miss 1 stitch, and repeat from *. * * * * * 6.--_border in tatting with crochet._ materials: messrs. walter evans and co.'s boar's head cotton no. 20, or tatting cotton no. 40; tatting-pin no. 2. for a coarser size use boar's head cotton no. 4, or tatting cotton no. 20. [illustration: 6.--border in tatting with crochet.] 4 double stitches, 1 purl, 4 times following, 3 double stitches, 1 purl, 4 double stitches, draw up the oval, but not quite tight, leave a space about one-sixth of an inch, leave a similar space between this oval and the next, work 3 double stitches, fasten them to the nearest purl of preceding oval, then work twice following 4 double stitches, 1 purl, then 3 double stitches, 1 purl, 3 double stitches, and draw up the oval * * * * * 7.--_tatted insertion._ materials: messrs. walter evans and co.'s boar's head crochet cotton no. 18; tatting-pin no. 3. this strip of insertion is worked with crochet cotton, and consists of a row of circles, two of which are always joined together, and edged on either side with chain stitches. work first * 2 double, 4 purl divided by 1 double, 1 double, 1 long purl about one-fifth of an inch long, 10 double divided by 1 purl, 1 long purl, 4 times alternately 1 double, 1 purl, then 2 double; join the stitches into a circle; work close to this a second circle, and knot the end of the cotton together with the cotton with which the first circle has been begun; repeat from *, but henceforward in the first of the two circles fasten the cotton on to the middle purl of the preceding circle, instead of working the middle purl. when the strip of insertion is sufficiently long, edge it on either side with a row of chain stitches, by working 1 double in 1 long purl and 5 chain between. [illustration: 7.--tatted insertion.] * * * * * 8.--_rosette in tatting._ materials: messrs. walter evans and co.'s tatting cotton no. 40; tatting-pin no. 3. this rosette is worked with two cottons, viz., 1 plain, 1 purl, 1 plain, 5 double, 1 purl, 10 double, 1 purl, 1 plain; turn the work downwards, 10 double, fastened on the last purl turned downwards; this forms one loop turned upwards; turn work downwards, 10 double, 1 purl, 5 double, fastened on first purl turned downwards; turn figure thus formed downwards; 4 double, 1 single, repeat 4 times more from *, joining the figures by means of the purl stitch; the ends of the cotton are knotted together. [illustration: 8.--rosette in tatting.] * * * * * 9.--_star in tatting._ materials: messrs. walter evans and co.'s tatting cotton no. 50; tatting-pin no. 3. [illustration: 9.--star in tatting.] fill the shuttle, and commencing a loop, work 1 double, then 1 purl and 1 double 12 times, draw into a round; join the cotton to the 1st purl loop. 1st oval.--commence a loop close to the joining, work 7 double, join to 1st purl of round, work 7 double and draw close; reverse the work. join the thread from reel, and holding it out for a straight thread, commence the scallop:-5 double, 1 purl, 5 double, reverse the work. the 2nd oval same as first. repeat oval and scallop alternately, until the star is completed. * * * * * 10.--_insertion worked in tatting_. materials: messrs. walter evans and co.'s tatting cotton no. 50; tatting-pin no. 3. [illustration: 10.--insertion worked in tatting.] this strip of insertion is worked with two cottons. work with the cotton in the left hand over that in the right hand. both ends of cotton are fastened together at the beginning by a knot. first work one half of the insertion the long way in the following manner:--1 plain, 1 purl, 1 plain (the purl must be very short); turn the purl downwards, 6 double, 1 purl, * 6 double, 1 purl, 1 plain, which must all be turned upwards; then turn the work so that the upper edge is turned downwards; work 6 double, fastened on to the last purl turned downwards (the fastening of the stitches is made with the thread in the right hand); a loop turned upwards is thus formed; turn the work downwards, draw the cotton in right hand underneath that in left hand, and work 6 double, 1 purl, 6 double, all turned upwards; fasten these stitches on 1st purl turned downwards. in this pattern 1st of border pattern is thus completed; turn it downwards, 8 double, 1 purl, 8 double, 1 purl, 1 plain, turn work downwards, 6 double, fastened on last purl of last pattern, turned up. repeat from *. when the insertion is of sufficient length, work the other half in same manner, and fasten it on the 1st half by means of purl stitches between the 8 double stitches twice repeated. * * * * * 11.--_tatted insertion for trimming lingeries_. materials: messrs. walter evans and co.'s tatting cotton no. 40, or crochet cotton no. 20; tatting-pin no. 3. [illustration: 11.--tatted insertion.] this insertion consists of 2 rows of three-branched patterns which lie opposite each other, and are joined by slanting rows of knots. a coloured silk ribbon is drawn through these rows which join the patterns. each of the 3 branches of 1 pattern consists of 9 double, 1 purl, 9 double, and must be worked close to another. when the 3rd branch is completed, fasten another piece of cotton on to the middle branch. work 12 double over this 2nd piece of cotton, and then work without the 2nd piece of cotton a 2nd three-branched pattern like the 1st.* fasten the 2nd piece of cotton on to the middle branch of the just-finished pattern, work 12 double over it, then again a three-branched pattern; in this pattern as well as in the following ones, instead of working the purl of the 1st branch, fasten it on to the purl of the 3rd branch of the preceding three-branched pattern of the _same_ row, as can be seen in illustration. repeat till the strip of insertion is sufficiently long. * * * * * 12.--_circle in tatting_. materials: messrs. walter evans and co.'s tatting cotton no. 80; tatting-pin no. 3. [illustration: 12.--circle in tatting.] work first 8 ovals, each composed of 5 double stitches, 3 purl divided one from the other by 4 double stitches, 5 double stitches; these ovals are joined together by the purl at the sides, then the circle is tightened as much as possible, and the cotton with which you are working is twisted round the ends of cotton that have been cut: the cotton is then fastened off nearly underneath. begin a fresh small oval, composed of 12 double stitches, which should be fastened to the preceding oval after 3 double stitches (to the purl in the centre of the first oval), then fasten it again to the purl which joins together the first and the second oval; leave a space of about one-fourth of an inch, and work an oval composed of 4 double stitches, 5 purl, followed each by 2 double stitches, 4 double stitches. a very little farther off make a very small oval, composed of 8 double stitches, which after the four first double stitches is joined to the centre purl of the second oval, leaving the same space between as before, make another oval of 4 double stitches, 5 purl, each followed by 2 double stitches, 4 double stitches; but the first purl is _missed_, because at this place the oval is joined to the fifth purl of the corresponding oval; once more leave a space of one-fourth of an inch, and repeat. at the end of the round the two ends of cotton are tied tightly together. * * * * * 13.--_tatted border with beads_. materials: black purse silk, or, for white trimming, messrs. walter evans and co.'s tatting cotton no. 2; tatting-pin no. 3; 3 hanks of beads no. 4 to the yard of border. [illustration: 13.--tatted border with beads.] this border, edged with beads no. 4, is worked in middling-size purse silk over fine silk cord of the same colour as the silk. before beginning to work this pattern, thread the beads which take the place of purl stitches, and which are slipped in between two double stitches. when the row of stitches is of the length required, form the trefoil leaves, and sew a few beads over the places where they are joined. these trefoil leaves are made separately, and then sewn together. * * * * * 14.--_insertion in tatting_. materials: messrs. walter evans and co.'s crochet cotton no. 10; tatting-pin no. 3; any sized shuttle; for a finer insertion no. 18 or 20. [illustration: 14.--insertion in tatting.] 1st oval: fill the shuttle, but do not cut it off from the reel, as a double thread is used, and commence by working 10 double stitches, 1 purl, 10 double, draw up. double thread: putting the thread attached to the reel round the left hand, work 8 double, 1 purl, 8 double. 2nd oval: 10 double, join to purl of 1st oval, 10 double, draw up. repeat till the length required is worked, then cut off. for the fresh length, which will make the other half of the insertion, the shuttle must still be attached to the reel. commence by working-1st oval: 10 double, join to the purl which connects the first and second ovals of the piece already worked, 10 double, draw up. double thread: 8 double, 1 purl, 8 double. 2nd oval: 10 double, join to the same purl as last--namely, the one connecting the first and second ovals of the piece already worked, 10 double, draw up. repeat, joining the two next ovals to the purl which connects the two next in the piece already worked, and so on. crochet a heading each side, working 7 chain, 1 double into the purl of double thread, repeat. with a heading on one side only, this makes a pretty wide edging. * * * * * 15.--_border in tatting and crochet_. materials: messrs. walter evans and co.'s tatting cotton no. 40, and crochet cotton no. 80; tatting-pin no. 3. [illustration: 15.--border in tatting and crochet.] this lace is rendered stronger by the crochet rows of scallops and treble stitch round the edge. begin with the tatting as follows: make a circle of 8 double, 7 purl divided by 2 double, 8 double. this circle is repeated at a distance of about three-fourths of an inch, only instead of the 1st purl each following circle must be fastened on to the last purl of the preceding circle. then take some crochet cotton, which must be finer than the cotton used for tatting, and work a row of double stitches over the thread which joins the circles. the number of stitches depends on the length and size of the cotton; work double stitches round the circles at the place where both ends meet. the outer row consists of treble stitches, which are worked with 1 chain stitch between, missing 1 stitch under each chain. the scallops consist of the two following rows:--1 double, with which the last and first purl of 2 circles are joined, 4 chain; in each of the other purl, 1 double, 4 chain, between 2 double stitches. 2nd row: 1 double in each chain stitch scallop, 1 double, 3 long double, 1 double. * * * * * 16 _and_ 17.--_lady's veil in net and tatting_. [illustration: 16.--lady's veil in net and tatting.] this veil is slightly gathered in front and fastened to the brim of the bonnet. it is tied at the back under the chignon. the veil is of black silk net. the flowrets are tatted with black purse silk, and worked in appliqué over the tulle. the veil is edged round with a tatted lace made with the same silk. for the patterns and lace and instructions, see nos. 18 and 19. no. 16 shows the way in which the veil is worn upon the bonnet, and no. 17 shows its shape when stretched out. * * * * * 18 _and_ 19.--_patterns in tatting_. materials: messrs. walter evans and co.'s tatting cotton no. 120 for a white veil; fine black silk for a black veil; tatting-pin no. 2. [illustration: 17.--shape of veil.] [illustration: 18.--tatting pattern for veil (16).] [illustration: 19--tatting pattern for veil (16).] the patterns nos. 18 and 19 are meant for ornamenting the veil no. 16. they are sewn upon the net at regular distances. for working the pattern no. 18, make with black silk or white cotton 6 times alternately 2 double, 1 purl, at the end 1 purl, then join the stitch into a circle, *fasten the silk on to the next purl. then 1 spot or josephine knot, consisting of 6 plain stitches, carry the shuttle downwards through the loop, and draw the stitches close together; repeat 3 times more from *. fasten the silk on to the next purl, and work a circle as follows:--8 times 2 double, divided by 1 purl; fasten the silk on to the next purl, work again 1 spot, after which the silk is fastened, then work 2 more similar circles divided by 1 spot; they are fastened on to the last purl of the preceding circle instead of the 1st purl. fasten off the silk after the last circle. for no. 19 work 25 double, divided by 1 purl, join the stitches into a circle, knot the beginning and the end of the cotton together, cut off the ends at a short distance. then work a smaller circle, consisting of 8 double, divided by 1 purl; at the place of the 1st purl fasten the cotton at a short distance on to the 2nd purl of the large circle. the ends of this circle are knotted together and cut off in the same way. then work a circle consisting of 11 double, fasten the silk on to the 20th purl of the large circle, work 5 double, and join the stitches into a circle. then take the ends of the 3 circles, and work close fine stitches with silk round them, so as to form the stem. the completed pattern is sewn upon the net. * * * * * 20 _and_ 21.--_diamond pattern and circle in tatting, for trimming linen collars, cuffs, &c_. materials: messrs. walter evans and co.'s tatting cotton no 30; tatting-pin no. 3. 20.--diamond pattern.--work, not far one from the other, four leaves, each composed of 5 double stitches, 7 rather long purl divided one from the other by 2 double stitches, 5 double stitches. instead of making the 1st purl in each of the 3 next leaves, fasten the cotton to the last leaf of preceding leaf. fasten off and cut the cotton; begin a fresh circle by 2 double stitches, 7 purl divided by 2 double stitches, 2 more double stitches; fasten the cotton to the centre purl of one of the four leaves, and work a very small circle thus:--2 double stitches, fasten the cotton to the last purl of the first circle, 3 double stitches, 1 purl, 2 double stitches; fasten the cotton * to the 6th purl of the leaf; work a larger circle thus:--2 double stitches fastened to the purl of the small circle, 2 double stitches, 4 purl divided by 2 double stitches, 2 more double stitches; fasten the cotton not far off to the second purl of the second leaf; work another small circle similar to that above-described; fasten the cotton to the third purl of the second leaf, then to the fourth purl of the same leaf, and repeat from * three times more, always fastening the first purl of the first circle you are working (each time you repeat the pattern) to the purl of the last small circle last worked; fasten off and cut the cotton. [illustration: 20.--diamond in tatting.] [illustration: 21.--circle in tatting.] * * * * * 21.--circle.--begin it in the centre by working a circle of 8 purl, rather long, divided one from the other by 2 double stitches. after you have fastened off and cut the cotton, work * one very small circle composed of 3 double stitches, 1 long purl, 3 double stitches; fasten the cotton not far off to the first purl of the circle, and repeat from * 7 times more, at regular distances. fasten off and cut the cotton, and begin * a fresh circle of 2 double stitches, 7 purl divided each by 2 double stitches, 2 more double stitches; fasten the cotton to the purl of the very small circle, and work, not far off, a circle of 2 double stitches, 2 purl divided by 2 double stitches, 2 more double stitches; fasten the cotton to the purl of the next small circle, and repeat from * 7 times more. instead of making the first purl of the next large circle, fasten the cotton to the last purl of the small circle. * * * * * 22.--_border in tatting and crochet_. materials: messrs. walter evans and co.'s tatting cotton no. 20; tatting-pin no. 3. [illustration: 22.--border in tatting and crochet.] begin this border with one of the smaller circles consisting of * 3 double, 1 purl, 3 double, 1 purl, 3 double; work a large circle at a short distance, 5 double, 4 times 1 purl divided by 2 double, 5 double; close to this circle another as follows:--5 double, fastened on to the last purl of the preceding circle, 5 times 2 double divided by 1 purl, 1 purl, 5 double; a third circle as follows:--5 double fastened on to the last purl of the preceding circle, 3 times 2 double divided by 1 purl, 1 purl, 5 double; the cotton is fastened a short distance further on to the second purl of the first worked small circle, which must be turned downwards; then turn the work so that the three circles which are joined together are turned downwards. work another small circle as follows at the distance of two-fifths of an inch:--4 double, 1 purl, 4 double, leave again an interval of about two-fifths of an inch, and repeat from * till the lace is long enough; but in working the following figures, consisting of three circles, the 1st circle must be fastened on to the last purl of the 3rd circle at the place of the 1st purl. complete the tatting with the 2 following rows of crochet:--* 1 slip stitch in the purl of one of the small circles turned upwards, 5 chain, 1 slip stitch in the next purl, 4 chain; repeat from *. in the following row work 1 double in every stitch. * * * * * 23.--_insertion in tatting and lace stitch_. materials: messrs. walter evans and co.'s tatting cotton no. 80; tatting-pin no. 3. [illustration: 23.--insertion in tatting and lace stitch.] this insertion forms a very pretty standing-up collar when worked with fine cotton and a coloured ribbon drawn through. it consists of 2 rows of 3 branched figures turned opposite one another, which are worked separately and then joined into a row. work 9 times as follows:--2 double, 1 purl, 2 double, * draw into a circle and * work at a short distance a 2nd circle as follows:--2 double fastened on to the last purl of the 1st circle, 8 times 2 double, 1 purl, 2 double, repeat once more from *, knot together the two ends of the cotton, and fasten them on the wrong side. one figure is thus completed; each following figure is fastened on to the preceding one on the middle purl of a circle (see illustration). when a sufficient number of such figures have been worked, work a 2nd row of them in the same manner, and fasten from illustration each middle circle of one figure on to the corresponding circle of the 1st row. the circles filled with lace stitch are worked when the 2 rows are completed from illustration in the empty places between 4 patterns; work first 3 double, fasten them on to a purl on the side of a leaf turned inside, * 3 double, fasten them on to a purl of the next leaf, repeat 5 times more from *, work 3 double, join the stitches into a circle, but not too close, so that the purls keep their natural position; cut off the cotton, and fasten the two ends on the wrong side. the lace stitch inside of these circles is worked with fine crochet cotton; the pattern may be changed for a single or double wheel. * * * * * 24.--_insertion in tatting._ materials: messrs. walter evans and co.'s tatting cotton no. 30; tatting-pin no. 3. begin by working separately a sufficient number of small rosettes, each composed of six ovals of double stitches and purl. these ovals are worked first in a straight row, then they are joined into a circle and united in the centre by button-hole stitches. the rosettes are joined together with fine cotton. the crochet border is then worked on either side in chain stitches and treble crochet, as seen in illustration. [illustration: 24.--insertion in tatting.] * * * * * 25.--_centre of a tatted couvrette_. materials: messrs. walter evans and co.'s tatting cotton no. 20, or crochet cotton no. 1; tatting-pin no. 2. this illustration shows the centre of a tatted couvrette in full size, and measuring 12 inches across. separate rosettes like the pattern may be joined together with smaller ones, and form a very pretty couvrette. the pattern is worked in rounds. begin the rosette with a circle, consisting of 4 double, 1 purl, 6 double, 1 purl, 6 double, 1 purl, 4 double. take up another shuttle, and work over the cotton on it, fasten the end on the last double of the circle and work over it, beginning close to the circle, 6 plain, 1 circle like the 1st worked with the 1st shuttle, and which is fastened on the last purl of the 1st circle at the place of the 1st purl; 6 plain, and continue to work so alternately till you have 7 circles divided by 6 plain stitches. draw up very tightly the cotton over which you work, so that the circles form a rosette, which is closed by sewing together the two corresponding purl of the first and last circle. both the ends of the cotton over which you have worked are knotted together. for the 2nd round, fasten the cotton on one shuttle on the middle purl of a circle, work a circle like those of the 1st round, take up the 2nd shuttle, and work on exactly as in the 1st round, only work 8 plain between the circles over the cotton on the 2nd shuttle. the 2nd round consists of 15 circles; the cotton with which you work must be fastened at the required places on the middle purl of a circle of the preceding round. the 3rd and following rounds are worked in the same manner; the number of circles must be such as to keep the couvrette quite flat. in the pattern the 3rd round has 26 circles. fasten the cotton well after each round. [illustration: 25.--centre of a tatted couvrette.] * * * * * 26.--_tatted lace_. materials: messrs. walter evans and co.'s tatting cotton no. 30; tatting-pin no. 2. [illustration: 26.--tatted lace.] this very simple lace consists of scallops which look as if they were slightly gathered. it must be worked with tatting cotton. each scallop consists of 5 plain, 1 purl, 5 plain, then alternately 5 purled stitches, draw up these stitches till the cotton between the 1st and last stitch is two-fifths of an inch long, and work a 2nd similar scallop at a short distance from the 1st. but in the following scallops fasten each to the last purl of the preceding scallop instead of working the 1st purl. * * * * * 27.--_tatted lace_. materials: messrs. walter evans and co.'s tatting cotton no. 50 or 80; tatting-pin no. 3. [illustration: 27.--tatted lace.] this pretty lace is worked with fine tatting cotton. work with 2 threads; the knots are worked over the cotton, which is held in the right hand. work first the outer scallops of the lace fasten both ends of cotton together and make 10 double, divided by 1 purl, turn the work so as to turn the wrong side upwards, fasten the cotton over which you work on to the last purl, go back over the same row, miss 1 purl next to the cotton with which you work, 9 double divided by 1 purl, fastening the cotton over which you work on the next purl of the 1st row after every double stitch. this forms 1 scallop. * turn the work downwards (that is, the purl stitch must be turned downwards), make 4 times 2 double, 1 purl, 1 purled stitch: this is the straight row between 2 outer scallops of the lace. then work a scallop like the preceding one, fastening it from illustration after the first row on the middle one of the 9 outer purl of the preceding scallop, with the cotton over which you work; repeat from * till the lace is long enough, and fasten the cotton. knot both ends together again, fasten the cotton over which you work on the first purl of the first scallop, make 9 double, 1 short purl, 1 double, turn so that the upper edge of the row is turned downwards, and the scallops upwards, 5 double, fasten the 2 middle purl of the 4 of the next straight row together by drawing the cotton, with which you are working through the 2nd purl, so as to form a loop, draw the cotton over which you work through this loop and draw up the latter; work 5 double, fasten the cotton over which you work on to the short purl worked after 9 double, turn the work so that the outer scallops of the lace are turned downwards, 10 double, fasten the cotton over which you work on the first purl of the next scallop, repeat from *, and fasten the cotton. after having fastened both ends together again, turn the work the right side upwards and the outer scallops upwards also, fasten the cotton over which you work on to the short purl which is under the first loop; * work 4 times 2 double, 1 purl, 2 double, fasten the cotton over which you work on the purl under the next loop, and repeat from * till the lace is completed. * * * * * 28.--_collar in tatting and darned netting_. materials: messrs. walter evans and co.'s tatting cotton no. 40; tatting-pin no. 3; messrs. walter evans and co.'s french embroidery cotton no. 60; square netting. [illustration: 28.--collar in tatting and darned netting] the pattern is worked with very fine cotton; the netted grounding over a mesh measuring two-fifths of an inch round. the collar is ornamented round the outer edge with a tatted lace. work a straight strip of netting for the grounding; begin with 2 stitches, work 18 rows backwards and forwards, increasing 1 at the end of each row, so that the last row has 19 holes; work 1 row without increasing; then continue to work with the same number of stitches, increasing 1 at the end of one row and decreasing 1 at the end of the other. when the strip is sufficiently long, work 1 row again without increasing or decreasing, and form the side by making 18 rows, decreasing 1 stitch at the end of each, cast off the 2 last stitches on 1 stitch without forming a new stitch on the needle. trace the outline of the collar on the grounding with thick cotton, and begin to darn it from illustration. when the darning is completed work the tatted lace with the same cotton, as follows:--6 double, 1 short purl, alternately, 3 times 3 double, 1 purl, 6 double, draw up the stitch so as to form a scallop leaving one-fifth of an inch between the first and last stitch; work a second scallop at a short distance from the first, and so on; every scallop is fastened on to the preceding one after the first 3 double stitches. work a row of double overcast stitch between the darned netting and the tatted lace; work this row over the cotton tracing, marking the outline of the collar on the grounding and over the cotton between the tatted scallops. work also a row of double overcast round the neck part, gathering in the collar a little if necessary. cut away the netting on the wrong side close to the row of overcast stitches. * * * * * 29.--_mignardise and tatting_. materials: messrs. walter evans and co.'s tatting cotton no. 40; fine mignardise braid. [illustration: 29.--mignardise and tatting.] patterns formed of mignardise and tatting are of quite new style, and look very pretty. the insertion is easy to work by the following process:--make first a circle, as follows: 1 plain stitch, 2 double, 1 purl, 6 double, 1 purl, 2 double, 1 plain; fasten the cotton on to one side of the mignardise, at the distance of about five-eighths of an inch, by taking 2 loops of it together; work a second circle at a short distance from the first, and so on. when the strip of insertion is sufficiently long, work in the same manner on the other side of the mignardise. this kind of work is destined to become very popular, and nothing can be more light and graceful than the union of mignardise and tatting. * * * * * 30.--_linen bag for cotton_. materials: fine linen, 6 inches square; messrs. walter evans and co.'s tatting cotton no. 40. [illustration: 30.--linen bag for cotton.] the bag seen in illustration no. 30 is meant to keep the cotton for working a couvrette; it consists of a round piece, measuring 6 inches across, which is hemmed all round, and trimmed with a tatted lace. it is drawn together at top. * * * * * 31.--_tatting insertion_. materials: messrs. walter evans and co.'s cotton no. 30. the insertion shown in illustration no. 31 is composed in two similar halves. begin the first in the following way:--10 double, 1 purl, 3 double, 1 purl, 10 double, join the stitches into a circle, and work a second similar circle at a distance of one-third of an inch; instead of the 1st purl, draw the cotton through the 2nd purl of the first-worked circle; leave an interval of one-eighth of an inch, and repeat the two rounds till the insertion is sufficiently long. then tat round the pieces of cotton which join the two rounds, work round the longest 10 double, and round the shortest 4 double, inserting the shuttle alternately once upwards and once downwards, but for the rest proceeding as in the common button-hole stitch. when the first half is completed, work the second in the same way, and fasten it on to the first with the purl. [illustration: 31.--tatting insertion.] * * * * * 32.--_tatting insertion_. materials: messrs. walter evans and co.'s cotton no. 30. [illustration: 32.--tatting insertion.] the pretty effect of the insertion shown in illustration no. 32 is obtained by means of longer and shorter purl. work as follows:--join 9 double into a circle, 1 long purl, 3 double, 1 long purl, 4 double *. after an interval of five-eighths of an inch, begin the large figure of the pattern: 2 double, 1 small purl, 2 double, draw the cotton through the last purl of the small circle, 2 double, drawn through the 1st purl of the same circle, 2 double, 1 small purl, 2 double, 1 long purl, 2 double, 1 small purl, 2 double, repeat 6 times more from *, and draw up. after an interval of five-eighths of an inch comes another small circle: 4 double, draw the cotton through the last purl of the large figure, 3 double, draw the cotton through the next long purl of the same figure, 2 double, 1 long purl, 3 double, 1 long purl, 4 double. repeat the pattern for the length of insertion required. the threads which join the small circles are worked over with 7 double in the manner described above, only the cotton at the principal figure must be left loose the width of a straw, so as to imitate a long purl. complete the insertion from illustration by tatting round the small circles of 16 double on the other side (but in the contrary direction), form no purl, but draw the cotton through the long purl of the large figure; the threads which join the 2 circles are likewise drawn through the middle long purl of the large figure; this thread is then tatted over with 7 double, like the opposite outer edge. * * * * * 33.--_tatted square or diamond_. materials: if for couvrettes, messrs. walter evans and co.'s tatting cotton no. 20, or crochet cotton no. 4; tatting-pin no. 3. for d'oyleys, tatting cotton no. 50; tatting-pin no. 2. for headdresses, tatting cotton no. 80; tatting-pin no. 2. the square is composed first of nine 4-branched patterns, worked in 3 rows of 3 patterns each, and joined on one to the other with purl. each pattern consists of 4 branches close to each other, and each branch consists of 7 double, 1 purl, 7 double; when the 4 branches of one pattern are completed, cut off the cotton, and fasten both ends together so as to form a small circle in the centre. then work a second pattern, which is fastened on to the first and second branches of the first pattern, instead of working the purl stitch; work a third pattern, which is fastened in the same manner on to the second pattern. then work 2 more rows exactly the same as can be seen in illustration. [illustration: 33.--tatted square.] *for the border of the square, fasten the cotton on the first purl of the first pattern, work 4 double, 13 purl divided by 2 double, 4 double, draw up the stitches close, fasten the cotton again on to the same purl of the first pattern *, and work the following scallop at a short distance:--4 double fastened on the last purl of the preceding circle, 10 purl divided by 2 double, 4 double, draw up the stitch, leaving an interval of two-fifths of an inch between the first and the last; fasten the cotton on to the next purl which joins two patterns, repeat twice more from *, and continue to repeat from *. * * * * * 34.--_tatted rosette_. materials: messrs. walter evans and co.'s tatting cotton no. 40, or crochet cotton no. 60. [illustration: 34.--tatted rosette.] this rosette is very pretty for trimming _lingeries_; it is worked with very fine crochet or tatting cotton. begin in the centre and work one circle: 16 times alternately 2 double, 1 purl, then 1 purled stitch. fasten the cotton on to the first purl and work the 2nd round: 1 small circle, consisting of 6 double divided by 1 purl. fasten the cotton on to the next purl of the middle circle, and repeat in rounds. 3rd round: fasten the cotton on the middle purl of the first circle of the preceding round, * work at a short distance 8 double divided by 1 purl, join the stitches into a circle, fasten the cotton at the same distance on to the middle purl of the next circle of the preceding round, and repeat in rounds from *, after which the cotton is fastened off. * * * * * 35.--_rosette in tatting_. [illustration: 35.--rosette in tatting.] materials: messrs. walter evans and co.'s tatting cotton no. 40; tatting-pin no. 3. begin this rosette with the circle in the centre, and work 8 times alternately 2 double, 1 purl, 1 double, join the stitches into a circle and fasten the cotton. take a second shuttle and work over the cotton on this shuttle; knot the two ends of cotton together * and work 5 plain, fasten the cotton over which you work on a purl of the circle which is completed, and which must be turned downwards; 5 plain, 1 purl; repeat 7 times more from *, and fasten the cotton. work now with one of the shuttles the small circles on the outside; * fasten the cotton on to a purl of the second round, and work a circle as follows:--6 double, 1 purl, 6 double, fasten the cotton on to the same purl of the second round, work a similar circle at a short distance, and a third at the same distance. repeat 7 times more from *, and fasten off the cotton neatly. * * * * * 36.--_diamond in tatting_. materials: messrs. walter evans and co.'s tatting cotton no. 40; tatting-pin no. 2. [illustration: 36.--diamond in tatting.] this diamond is suitable for trimming collars, cuffs, &c., when worked with fine cotton. work first the four corner patterns separately, as follows:--7 double, 3 purl divided by 3 double, 6 double, join the stitches into a circle, work close to this circle a second one consisting of 6 double fastened on the last purl of the 1st circle, 4 double, 2 purl divided by 4 double, 6 double; then a 3rd circle consisting of 6 double fastened on the last purl of the preceding circle, 3 double, 2 purl divided by 3 double, 7 double. take a second shuttle, fasten the cotton on the end of the cotton of the 1st circle, throw the cotton of the 1st shuttle over the fingers of the left hand, and work with this cotton over the cotton on the other shuttle in the right hand. work 5 double, and then one circle as follows with the cotton in the left hand only:--8 double fastened on the last purl of the 3rd of the 3 circles worked close to each other, 5 double, 1 purl, 5 double, 1 purl, 4 double, 1 purl, 6 double, then again over the cotton on the other shuttle, 5 double, 4 purl divided by 5 double, 5 double, then with one shuttle only one circle as follows:--6 double, 1 purl, 4 double, 1 purl, 5 double, 1 purl, 5 double fastened on 1st purl of the circle worked at the beginning, 8 double; then again with two shuttles 5 double. fasten the cotton on the piece of cotton before the 5 double worked with two shuttles, so that the stitches worked over two shuttles form a circle, and cut off the cotton. when three of these patterns have been worked, work the centre pattern of the square. it consists of 4 leaves touching each other at the lower points; each leaf is formed of 3 double, 5 purl divided by 3 double, 3 double; each following leaf is fastened on to the preceding one at the place of the 1st purl. then work first 1 round of the oval circles of the square, with which the corner patterns are joined. fasten the cotton on one purl of one corner pattern, make 7 double, 1 purl, 8 double; fasten on the corresponding purl of another corner pattern, work 8 double, 1 purl, 7 double, join the stitches into a circle, fasten the cotton on to the same purl to which the cotton has already been fastened, carry the latter on to the next purl of the same corner pattern, fasten it, then work three more circles like the first, which are fastened on to each preceding circle, at the place of the first purl; fasten the cotton on the two cross purl of the centre pattern, and work four similar circles on the other side of the same. the 8 circles which go across the square in the opposite direction are worked in the same manner. when the square is completed, draw two threads on each side of each corner pattern on to the other side of the square along the cotton which joins the circles together. * * * * * 37.--_tatting for cap crown_. materials: messrs. walter evans and co.'s tatting cotton no. 100; tatting-pin no. 1. [illustration: 37.--tatting for cap crown.] this pattern is very pretty for the crown of a cap like the one described on page 36, and also for covers, toilet cushions, &c. the size of the cotton depends upon the use you wish to make of the pattern. the pattern is worked with fine tatting cotton. it consists of eight-branched rosettes joined together with small circles. each rosette is worked as follows: work 8 loops or branches close to each other, consisting of 7 double, 1 purl, 7 double; fasten both ends of the cotton together, and cut them off. each of the small circles which joins the rosettes together consists of 2 double, 8 purl divided by 2 double. it is easy to see from the illustration how the patterns are joined together by means of the purl stitches. * * * * * 38 _and_ 39.--_cap in tatting_. materials: messrs. walter evans and co.'s tatting cotton no. 100 tatting-pin no. 1. [illustration: 38.--cap in tatting.] this very pretty cap consists of an oval crown in tatting, edged all round with a tatted lace, the lappets are made in tatting also. the cap is trimmed with large and small rosettes of narrow blue velvet. a narrow velvet ribbon is drawn through the straight open-work edge of the lace, as can be seen in illustration. [illustration: 39--border for cap no. 38.] * * * * * no. 39.--border for cap.--the upper part of the border consists of 4 rows of circles worked at a distance of three-fifths of an inch from each other. the circles of the 1st row consist of 3 double, 3 purl divided by 3 double, 3 double. in the following 3 rows each circle is fastened on to the cotton, which joins 2 circles in the 1st row, instead of working the middle purl, the cotton between 2 circles in the last row must only be two-fifths of an inch long. then work a certain number of six-branched rosettes, each branch consisting of 9 double, 1 purl, 9 double. each rosette is fastened on to every other circle of the 1st row, as can be seen in illustration. the border is completed as follows:--* 1 double, 6 purl divided by 1 double, 1 purled stitch fastened on to the middle purl of a circle of the 1st row, 1 plain, 6 purl divided by 1 double, join the stitch into a circle, turn the lace so that the rosettes are turned upwards, fasten the cotton on to the purl of the next branch of the next rosette, work 1 double, 7 purl divided by 1 double, 1 double; fasten the cotton on to the purl of the next branch, * work 1 double, 8 purl divided by 1 double, 1 double; fasten the cotton on to the next branch, repeat once more from *, work 1 double, 7 purl divided by 1 double, 1 double, and repeat from * to the end of the lace. * * * * * 40.--_lace in tatting and crochet_. materials: messrs. walter evans and co.'s tatting cotton no. 50; tatting-pin no. 2; crochet cotton no. 60. [illustration: 40.--lace in tatting and crochet.] the beauty of this lace depends entirely upon the regularity of the tatting. the purl stitches must be very regularly made, the circles must be drawn up tight. make * 1 circle, consisting of 4 double, 8 purl divided by 2 double, 4 double; close to this circle a second one; 5 double fastened on the last purl of the preceding circle, 8 times 2 double divided by 1 purl, 1 purl 5 double, close to the 2nd circle a third one similar to the first, but instead of working the 1st purl fasten it on the last purl of the preceding circle; leave an interval of about 1-2/5 inch, and repeat from * till the lace is sufficiently long. the rest is worked in crochet. take the fine crochet cotton and work the straight row at the top to join the patterns together. crochet 1 double in the 3 first and last purl of the first and last circle of one pattern, then a sufficient number of double stitches under the piece of cotton which joins 2 circles. at the place where the circles are drawn together, join the two pieces of cotton (the beginning and the end) in such a manner that the top of the lace forms a straight line (see illustration). the 2nd row consists of 1 treble in every other stitch, 1 chain after every treble. then work on the other side of the lace * a row of treble stitches divided by chain. the treble stitches are worked in the purl stitches of the circles. work 1 long treble in the 1st purl left free of the 1st circle (4th purl of the circle), 3 chain, * 1 treble, 3 chain, 1 treble, 3 chain, 2 treble in the next 2 purl, but cast off the 1st treble only so far as to keep 2 loops on the needle. when the 2nd treble is completed cast off all the loops on the needle, 3 chain, 5 treble divided by 4 chain, 3 chain, 2 treble in the 2 following purl, which are cast off like those above described, 3 chain, 2 treble divided by 3 chain in the 2 next purl of a pattern, 1 chain, 1 long treble with which you must join the last purl and the first one of the next pattern, 1 chain; repeat from *. the next row consists of small scallops worked round the chain stitch scallops of the preceding row; work in each 1 double, 4 treble, 1 double, 1 double in the first and last chain stitch of every pattern. * * * * * 41.--_insertion in tatting and crochet_. materials: messrs. walter evans and co.'s tatting cotton no. 40; crochet cotton no. 60; tatting-pin no. 2. [illustration: 41.--insertion in tatting and crochet.] begin the tatting with fine cotton and 2 shuttles. work with the cotton on one shuttle over the cotton on the other in the following manner:--knot the 2 ends of cotton together * 4 times 2 double divided by a short purl, 3 long purl divided by 1 double; the 1st and 3rd purl must be three-fifths of an inch long, the 2nd one two-fifths of an inch; 4 times 2 double divided by a short purl, 1 purl two-fifths of an inch long; repeat from * till the strip of insertion is sufficiently long. then work a similar row of tatting, and join the two rows before working the 1 long purl, by fastening the cotton on the corresponding long purl of the 1st row, so that the 2 rows are joined closely together, and the purl stitches of either are turned outwards. at the top and bottom of the tatting work the 3 following rows of crochet:--* 1 double in the middle one of the 3 long purl, 8 chain, 1 double in each of the 3 following long purl, 8 chain; repeat from * to the end of the row. 2nd row. 8 double in each scallop, miss the 3 double stitches of the preceding row under 3 chain. the 3rd row consists of treble stitches in every other stitch, 1 chain after every treble. lastly, the leaves are worked with thick cotton by filling up the first and last long purl of a pattern with darning stitch from illustration; the cross stitches between the two rows of tatting are worked with very fine cotton. * * * * * 42.--_purse in tatting and beads_. materials: grey purse-silk; steel beads; scarlet glacé silk; a steel clasp with chain. this purse is worked in tatting with grey silk and beads. the beads are threaded on a piece of silk, with which you work over another piece of the same. begin each of the second halves of the purse with the circle in the centre, which consists of 1 purled stitch, 1 purl (all the purl of this circle are three-tenths of an inch long, and are covered with six beads, which must be drawn up close together before working the purl), 12 double divided by 1 purl. join the stitches into a circle by knotting together the two ends of the silk. 2nd round: begin again and work one of the small circles; * 2 double, draw up one bead after each, 1 double, 1 short purl without beads, 2 double, 1 bead after each, 1 double, fasten the silk on the purl of the middle circle, so as to let it come between the 3rd and 4th bead of the 6 beads on that purl; 2 double, 1 bead after each, 1 double, 1 short purl, 2 double, 1 bead after each, 1 double, join the stitches into a circle, draw up 2 beads; work a larger circle without fastening the silk belonging to the smaller one; 3 double, 1 bead after each, 1 double, 1 purl with 4 beads, 3 double, 1 bead after each, 1 double; 1 short purl, 3 double, 1 bead after each, 1 double, 1 purl with 4 beads, 3 double, 1 bead after each, 1 double; draw up 2 beads close to this large circle and repeat from *. each following small circle must be fastened on the next purl of the circle which forms the centre; they are also fastened on to each other, instead of working the 1st purl, by fastening the piece of silk over which you work on the preceding small circle; in the larger circles, instead of working the 1st purl with 4 beads, the piece of silk must be fastened on the last purl of the preceding circle, so that it comes between the 2nd and 3rd beads. at the end of the round, the ends of the silk are knotted together and fastened off. [illustration: 42.--purse in tatting and beads.] 3rd round: * 3 double, 1 bead after each, 1 double, 1 short purl, 3 double, 1 bead after each, 1 double fastened on the middle purl of the 1st circle of the preceding round, 3 double, 1 bead after each, 1 double, 1 purl with 2 beads, 3 double, 1 bead after each, 1 double; join the stitches into a circle, and work at a short distance a 2nd circle; 3 double, 1 bead after each, 1 double, fastened on the last purl of the just-finished circle of this round, 3 double, 1 bead after each, 1 double fastened on the purl of the preceding round which is between 2 circles; the loop must come between the 2 beads; 3 double, 1 bead after each; 1 double, 1 purl with 2 beads; 3 double, with 1 bead after each; 1 double; leave a small interval, and repeat 11 times more from *, then fasten the ends. when two similar parts have been worked, line them with scarlet glacé silk; fasten them together round the outside, and sew on the clasp. a round of large circles edges the purse round the outside. the 1st of these circles consists of 12 double, 1 bead after each, 1 double, 1 purl with 2 beads, 4 double, 1 bead after each, 1 double. work a 2nd circle at a short distance from the 1st: * 4 double, 1 bead after each, 1 double fastened on the purl of the 1st circle of this round; 7 double, 1 bead after each, 1 double, 1 purl with 2 beads, 4 double, 1 bead after each, 1 double; leave a short interval, and repeat from * till a sufficient number of circles have been made. the last purl is not worked in the last circle. * * * * * 43.--_insertion in tatting and crochet._ materials: messrs. walter evans and co.'s tatting cotton no. 40; crochet cotton no. 60; tatting-pin no. 3. [illustration: 43.--insertion in tatting and crochet.] this pattern is composed of leaves and flowers. each of the six leaves forming a circle is composed of 4 double, 2 purl, separated by 2 double, 4 double (the first and last purl of each leaf must be joined in the manner before explained), and the centre of each circle forms a wheel. the flower has four leaves: each leaf consists of 6 double, ii purl, separated each by 1 double, and again 6 double; each leaf is filled up with button-hole stitches in fine cotton. to form the circle in the centre of this flower, turn several times the thread which joins the leaves, and work button-hole stitches round it. join the flowers and the circles by knotting them together, or by making 1 purl longer than the others, and by drawing the next figure through. the crochet border on each side of the tatting consists of six rows, which are plainly seen in the illustration. * * * * * 44.--_border in tatting and lace stitch._ materials: messrs. walter evans and co.'s tatting cotton no. 20 and 40. [illustration: 44.--border in tatting and lace stitch.] this mixture of tatting and lace stitch is a style of work not only entirely new, but very pretty and effective when cotton of very different sizes is used. the tatting is begun with a row of circles two-thirds of an inch distant from each other; each circle consists of 13 stitches of plain tatting. fasten a 2nd row to the 1st, and a 3rd to the 2nd, by working a circle of 13 stitches of plain tatting at one-third of an inch distance, * then at the same distance; fasten the cotton on the next circle of the preceding row, work a circle at the same distance again, and repeat from *. the cotton is fastened on the circles by drawing it through the circle with a crochet-needle, so as to form a loop, and then drawing it out of the loop. take care to keep the distance between 2 circles always the same. between the circles of the 3rd row draw another piece of cotton, by fastening the cotton on each circle of the 3rd row at distances of two-thirds of an inch. then work the lower edge of the border in the following way:--1 small spot called a _josephine knot_ (for which work 5 stitches of plain tatting, draw the cotton downwards through the loop which fastens the stitches, and draw up the whole), fasten the cotton between the next two circles of the 3rd row, * and a little further make a spot consisting of 8 stitches of single tatting, close to this a circle formed of 3 double, 9 purl divided by 2 double, 3 double; then again a spot of 8 stitches of plain tatting, turn the 2 last spots so as to make their round sides come opposite one another; fasten the cotton on again between the 2 next circles of the 3rd row. then a little further off work 1 small spot (5 stitches of plain tatting), 1 circle of 3 double, 1 purl, 2 double fastened on the last purl of the preceding circle, 2 double, 5 purl divided by 2 double, 3 double; then again a small spot (5 plain stitches), fasten the cotton on again between the next 2 circles of the 3rd row, and repeat from *, always fastening each new circle to the corresponding purl of the preceding one. on the other long side, the border is completed by 2 rows of crochet. the 1st row is formed by working 1 double under the piece of cotton between 2 circles of the 1st row, with 5 chain stitches between. 2nd row: 1 treble in every other stitch, 1 chain stitch after every treble. the strip of insertion is then tacked on a piece of cardboard or oil-cloth, and the lace stitches are worked between the circles, as is seen in illustration. * * * * * 45.--_tatted rosette._ materials: messrs. walter evans and co.'s tatting cotton no. 30 for large rosette, no. 80 for small rosette; tatting-pin no. 3. this rosette forms a very pretty trimming for lingerie--cravats, caps, handkerchiefs, &c. the raised pattern in the centre consists of 4 rounds, consisting of 5 circles each, which are sewn together and then fastened on the rosette. the 5 circles of each round must be worked close to each other: after working the last circle of each round, knot the beginning and end of the cotton together. each circle of the smallest round has 9 double, the circles of the next round each 15, the circles of the following one 21, and the circles of the last and largest round 27 double stitches. when these circles have been sewn on one to another as in illustration, work a large circle consisting of 4 double, 1 purl, 9 times alternately 5 double, 1 purl, then 1 double. the purls of this circle are fastened on to the circles of the next round of the rosette. fasten the cotton on to the next purl of the middle circle, and work a circle as follows:--4 double, 1 purl, 4 double, 1 purl, 3 double, 1 purl, 3 double, 1 purl, 4 double, 1 purl, 4 double. repeat 9 times more from *, but now, instead of working the 1st purl of every circle, fasten it on to the last purl of the preceding circle. then fasten the cotton. for the last round, which consists of scallops and rounds, fasten the cotton on to the middle purl of a circle of the preceding round, and work a circle consisting of 3 times alternately 4 double, 1 [illustration: 45.--tatted rosette.] purl, then 4 double. then fasten a second thread on to the same purl on which the just completed circle has been fastened, and over which all the scallops are to be worked. work over it 5 double, fastened on to the last purl of the preceding circle, 4 double, 1 purl, 4 double, 1 purl, 5 double. fasten the cotton on to the middle purl of the next circle of the preceding round, and repeat from * till the round is completed; but in working these circles, instead of the first purl, fasten them on to the last purl of the preceding scallop. lastly, the raised pattern is sewn on. * * * * * 46.--_linen bag for tatting, &c._ materials: fine linen; messrs. walter evans and co.'s tatting cotton no. 30 or 40; tatting-pin no. 2. [illustration: 46.--linen bag for tatting, &c.] this pretty linen bag is meant to keep tatting and such work from being soiled before it is completed. the bag is drawn together round the top. its size depends upon what you wish to put into it. the original pattern is 3-3/4 inches deep, and 3 inches wide; it is hemmed round the top, and trimmed with a narrow tatted lace, consisting of large and small circles. * * * * * 47.--_tatted border._ materials: messrs. walter evans and co.'s tatting cotton no. 40; tatting-pin no. 2. [illustration: 47.--tatted border.] begin this elegant border with 2 rows of tatting, in the following manner:-1st row: 2 double, 1 purl, 3 double, 1 purl, 3 double, 1 purl, 2 double; draw these stitches up into a circle, and repeat the circle at a very short distance, till the border is long enough; but instead of working the first purl of each circle, you must join the circle to the preceding one; the purl on the sides of the circle must therefore be longer than that in the middle. for the 2nd row take another shuttle, make a loop on the left side with the cotton, and work with this end of cotton over the cotton in the right hand, which is also to be held between the thumb and forefinger of the left hand. then work in the following way:--2 double, then 1 circle consisting of 3 double, 1 purl, 3 double; to form this circle, let the cotton in the left-hand shuttle fall downwards, and make a loop round the left hand with the cotton on the shuttle of the right hand. then take up again the left-hand shuttle, and join the circle to the middle purl of the 1st circle of the 1st row by drawing the cotton through the purl like a loop, and then drawing the cotton in the right hand through this loop. * 7 double, 1 circle, 7 double, joined to the middle purl of the next circle of the 1st row; 1 circle, 5 double, 1 circle joined on the middle purl of the following circle; repeat from *. the upper edge of the border is worked in 2 crochet rows, in the following manner:-1st row: * 2 treble, divided by 1 chain in the 1st circle of the 1st row of tatting; 2 chain; repeat from *. 2nd row: * 1 treble in the 1st chain of the preceding row, 1 purl (3 chain, 1 slip stitch in the 1st), miss 1 stitch of the preceding row under it; repeat from *. * * * * * 48.--_rosette in embroidery and tatting._ materials for trimmings: messrs. walter evans and co.'s knitting cotton no. 20; tatting cotton no. 50; tatting-pin no. 3. for couvrettes, crochet cotton no. 4. this rosette, joined to other similar ones, forms a very pretty trimming for articles of fine linen, or even for small couvrettes; if used for the former, they must be worked with very fine cotton. the centre of the rosette is formed of an embroidered raised pattern worked in _point de minute_; round this centre there are small circles worked in button-hole stitch; the embroidery is worked with knitting cotton, the circles with crochet cotton. before beginning the circles, make a circle consisting of a foundation chain of 80 stitches, in order to be able to fasten the button-hole stitch; in each of the stitches of the foundation chain work 1 double, then fasten the cotton. in the 2nd round of these circles fasten the cotton on every 5th stitch of the crochet circle. work 1 round of open-work treble stitch in the double stitch of the crochet circle, work in tatting the border of the rosette as follows in 1 round:--* 2 double, 1 purl, 2 double, fastened on to 1 chain stitch between 2 treble stitch, 2 double; 1 purl, 2 double,; join these stitches into a circle; turn the work so that the wrong side lies upwards, and work a second larger circle at a short distance consisting of 4 double, 5 purl divided by 2 double, 4 double, turn again and repeat from *. the smaller circles must be fastened after every other treble stitch; the larger and smaller circles must be fastened above one another at the place of the 1st purl. [illustration: 48.--rosette in embroidery and tatting.] * * * * * 49--_linen collar trimmed with tatting._ materials: messrs. walter evans and co's tatting cotton no. 60; tatting-pin no. 2. [illustration: 49.--linen collar trimmed with tatting.] the diamond pattern placed in the corner of the collar is commenced in the centre. for each of the four centre leaves work 6 double stitches, 6 purl divided one from the other by 3 double stitches, then 6 more double stitches. fasten off the cotton, cut it, and begin a fresh leaf by working 2 double stitches, 10 purl divided one from the other by 2 double stitches, then 2 more double stitches. (this small leaf forms one of the corners of the diamond pattern.) fasten the cotton to the fourth purl of one of the four centre leaves, and work another leaf similar to the preceding. join this leaf by its two centre purl to the two last purl of the corner leaf (see illustration). after two more similar leaves, work one corner leaf, and continue the pattern in the same manner until you come back to the first corner leaf, then fasten off, and cut the cotton. place the diamond pattern upon the point of the collar, and cut away the material under it; fold back the edges, sew them neatly, and cover them with the following crochet edging:--make alternately 2 chain, 1 purl (the latter composed of 3 chain joined together by 1 slip stitch). it will be easy to work the circles in tatting from our illustration; they form an elegant border round the collar. we shall merely say that the centre circle is always worked separately, and that the cotton is fastened on afresh to work the eight outer leaves. the upper edge of this border is worked in crochet. it is composed of two rows--one formed of chain stitches, and a few slip stitches worked in the purl of the circles in tatting, the other worked in open treble crochet. * * * * * 50.--_cravat in cambric muslin and tatting._ materials: messrs. walter evans and co.'s tatting cotton no. 100; tatting-pin no. 3. this cravat consists of a strip of cambric muslin 1 yard long, 6 inches wide, hemmed on both sides. the ends of the cravat are ornamented with patterns in tatting, worked with tatting cotton no. 100. a rosette in tatting is sewn on in the middle of the end of the cravat. the end of the cravat is pointed, lined on the wrong side with a strip of the same material as the cravat, and edged with a tatted lace. begin the rosette in the centre with a circle worked in the following manner:--1 double, 1 purl, * twice 2 double divided by 1 purl, 1 purl, 3 double, 1 purl, twice 4 double divided by 1 purl, 1 purl, * 3 double, 1 purl; repeat from * to * once more, 2 double. at the beginning of the 2nd round fasten the cotton on the 1st purl of the 1st round, and [illustration: 50.--cravat in muslin and tatting.] work as follows:--* 1 circle consisting of 10 double, 1 purl, 2 double, 1 purl, 10 double; fasten the cotton on to the next purl, 1 circle like the preceding one, fastened on to the next purl, 1 circle consisting of 9 double, 1 purl, 9 double fastened on to the next purl, 2 circles consisting each of 7 double, 1 purl, 7 double; between the 2 fasten the cotton on to the next purl; 2 similar circles fastened also on to the next purl, 1 circle consisting of 8 double, 1 purl, 8 double, fastened on to the next circle; repeat once more from *, and fasten off the cotton. fasten on the cotton afresh for the 3rd round, worked in the following manner:--* 1 circle consisting of 6 double, 1 purl, 5 double, 1 purl, 6 times 2 double divided by 1 purl; 1 purl, 5 double, 1 purl, 6 double; fasten the cotton at a short distance on to the 1st purl of the 2nd round, 1 circle worked as follows:--5 double fastened on to the last purl of the preceding circle of this round, 4 double, 1 purl, 4 times 2 double divided by 1 purl, 1 purl, 4 double, 1 purl, 5 double fastened on to the next purl of the 2nd circle of the 2nd round; 6 similar circles, between each of which the cotton is to be fastened on to the nearest purl of a circle of the 2nd round; repeat once more from *, and knot the beginning and the end of the cotton together. when completed, the rosette is sewn on the material of the cravat with button-hole stitches, taking up one purl with each stitch; the muslin is cut away underneath the rosette; then work a round of knotted stitches underneath the button-hole stitch. for the lace, make a row of circles one-fifth of an inch distant from each other, consisting each of 6 double, 1 purl, 2 double, 1 purl, 4 times 2 double divided by 1 purl, 1 purl, 2 double, 1 purl, 6 double, which are fastened together by the purl of each circle, and are sewn on the cravat over the cotton between the circles in overcast stitch. * * * * * 51--_cravat in cambric muslin and tatting_. materials: messrs. walter evans and co.'s tatting cotton no. 100; tatting-pin no. 3. [illustration: 51.--cravat in muslin and tatting.] the end of this cravat is formed by a long rosette or _médaillon_ in tatting. this rosette is likewise begun in the centre, and consists of 4 rounds, the 2 first of which are worked like those of the rosette in illustration 50, with this difference only, that in the 2nd round each of the circles nearest to the top and to the bottom of the rosette consists of 8 double, 1 purl, 2 double, 1 purl, 8 double. 3rd round: * 1 circle, consisting of 6 double, 1 purl, 5 double, 1 purl, 6 times 2 double divided by 1 purl, 1 purl, 5 double, 1 purl, 6 double, fastened on to the next purl of the 2nd circle of the preceding round; 1 circle as follows:--5 double, the last of which is fastened on to the last purl of the preceding round, 4 double, 1 purl, twice 2 double divided by 1 purl, 1 purl, 4 double, 1 purl, 5 double fastened on the next purl of the preceding round; 8 more similar circles, between each of which the cotton is fastened on to the next purl of the preceding round; repeat from * once more, fasten the two ends of the cotton together. 4th round: * fasten on the cotton afresh with a circle consisting of 7 double, 1 purl, 4 double, 1 purl, 6 times 2 double divided by 1 purl, 1 purl, 4 double, 1 purl, 7 double, fastened on to the middle purl of the 1st circle of the preceding round; a 2nd circle worked in the same way, only instead of working the last purl, fasten the cotton on to the last purl of the preceding circle, then on to the 1st circle of the preceding round; 10 more similar circles, between each of which the cotton is fastened on to the middle purl of a circle of the preceding round, and then on to the 2nd purl of the larger circle at the bottom of the medallion; repeat once more from *. the pattern is sewn on the cravat with button-hole stitches, as can be seen in the illustration. * * * * * 52.--_border in crochet and tatting_. materials: messrs. walter evans and co.'s boar's head cotton no. 26. this border is formed of circles in tatting and crochet leaves, which are joined together by rows of crochet work; a narrow [illustration: 52.--border in crochet and tatting.] border in tatting forms the lower edge. omitting this edge, the border forms a strip of insertion. each of the rosettes or circles is begun in the centre; work first 2 double (a double stitch is formed by passing the thread over the back of the hand, and then passing the shuttle upwards between the forefinger and second finger, and drawing it up, then work a stitch of plain tatting; this completes the double stitch, and whenever so many double stitches are directed it means the 2 stitches), 1 purl, repeat 9 times, join the stitch into a circle, work at a small distance * a smaller ring consisting of 3 double, 5 purl, divided each by 2 double stitches, 4 double, draw the cotton through the purl of the first circle, and repeat 8 times more from *, only each following circle must be fastened on to a purl of the preceding circle after 3 double stitches, and having completed each circle the thread must be drawn through the purl of the first circle, which forms the centre of the rosette. the beginning and the end of the thread are knotted together. for the tatted border, make at short distances 1 loop with 5 double, 1 purl, 5 double; after having worked a sufficient number of such loops, wind another thread round the thread between the loops, turning always 1 loop on the right side and 1 on the left. now begin the crochet part with the leaves. make for each of these a foundation chain of 12 stitches, crochet back over this chain 2 double in the last stitch but one, 1 double in the next stitch, 1 treble in each of the following 7 chain, 2 treble in the next stitch, 2 treble, 1 long treble, and 2 treble in the next following stitch of the foundation chain. work on the other side of the chain the same pattern, only the reverse way; then 3 double in the point of the leaf thus formed, and edge the whole leaf with a round of double stitches, always working 2 double in each stitch of the preceding row, and 3 in the long treble stitch. in working this last round, the circles must be joined to the leaves by taking up the purl stitch of the circle before casting off the corresponding double stitch of the leaf; then work the stem which joins the 2 rows of circles and leaves with a row of chain stitches, on which a row of double is worked. then comes the border which forms the upper edge. make a row of chain stitches, joining leaves and circles together, then work 3 rows of treble, work 3 more rows over the tatted border, the first row entirely in chain stitches, after every fourth stitch take up the purl of the loops on one side. 2nd row: 1 treble in the middle stitch of the 3 chain, 2 treble, divided by 3 chain. 3rd row: 1 treble, 1 chain, miss 1 under the last. in the last row the leaves and circles must be fastened on the border, as seen in illustration. * * * * * 53.--_diamond in tatting_. materials: messrs. walter evans and co.'s crochet cotton no. 10; tatting-pin no. 2; any sized shuttle. [illustration: 53.--diamond in tatting.] 1st oval: fill the shuttle, but do not cut it off from the reel, as a double thread is required, and commence by working 5 double stitches, 1 purl, then (3 double, 1 purl 10 times), 5 double, draw up. double thread: putting the thread attached to the reel round the left hand, work 7 single stitches, taking care to do them tightly. 2nd oval: 4 double, join to the last purl of 1st oval, then (3 double, 1 purl, 5 times) 4 double, draw up. double thread: 12 single stitches tightly worked. 3rd oval: 4 double, join to last purl of 2nd oval, 3 double, join to next purl of 2nd oval, then (3 double, 1 purl 5 times) 4 double, draw up. double thread: 12 single stitches. 4th oval: 4 double, join to last purl of last oval, 3 double, join to next purl, then (3 double, 1 purl, 8 times) 4 double, draw up. double thread: 12 single stitches. 5th oval: 4 double, join to last purl of last oval, 3 double, join to next purl, then (3 double, 1 purl, 5 times) 4 double, draw up. double thread: 12 single stitches. 6th oval: 4 double, join to last purl of last oval, 3 double, join to next purl, then (3 double, 1 purl, 4 times) 4 double, draw up. double thread: 7 single stitches. 7th oval: 5 double, join to last purl of last oval, then (3 double, 1 purl, 10 times) 5 double, draw up. double thread: 7 single stitches. 8th oval: 4 double, join to last purl of last oval, then (3 double, 1 purl, 5 times) 4 double, draw up. double thread: 12 single stitches. 9th oval: 4 double, join to last purl of last oval, 3 double, join to next purl then (3 double, 1 purl, 5 times) 4 double, draw up. double thread: 12 single stitches. 10th oval: 4 double, join to last purl of last oval, 3 double, join to next purl, then (3 double, 1 purl, 8 times) 4 double, draw up. double thread: 12 single stitches. 11th oval: 4 double, join to last purl of last oval, 3 double, join to next purl, then (3 double, 1 purl, 5 times) 4 double, draw up. double thread: 12 single stitches. 12th oval: 4 double, join to last purl of last oval, 3 double, join to next purl, then (3 double, 1 purl, 3 times) 3 double, join to 1st purl of 1st oval, 4 double, draw up. double thread: 7 single stitches. now cut off both threads, and with a needle fasten off neatly at the back of first oval by sewing 1 thread over the other. the diamond is now finished. the centre must be filled up with lacework, using fine sewing-cotton. arranged in groups of 7 or 8, 3 diamonds form a very pretty trimming for the skirts of silk dresses, the body being trimmed with single diamonds. * * * * * 54.--_linen collar trimmed with tatting_. materials: messrs. walter evans and co.'s tatting cotton no. 100, tatting-pin no. 3; 1 piece of very fine cord. this collar is ornamented with a triangle and a border of a very effective pattern. the triangle is begun in the centre, by working for each of the three leaves 5 double stitches, 5 purl divided one from the other by 2 double stitches, and 5 more double stitches. when the third leaf is completed, fasten off and cut the cotton. now take, instead of the cotton wound upon the shuttle, a piece of extremely fine cord, over which work with the cotton from the reel the following row of stitches:--1 double stitch, fasten the cotton to the centre purl of one of the three leaves, * 2 double stitches, 5 purl divided one from the other by 2 double stitches, 3 double stitches, fasten the cotton to the centre purl of the nearest leaf, 2 double stitches, 9 purl divided one from the other by 3 double stitches, 2 double stitches fastened to the same purl as before. repeat from * twice more, then fasten off, and cut the cord and the cotton. begin afresh, and work 3 small circles, each composed of 12 plain stitches placed quite close together (these form one of the corners of the triangle), then at small distances one from the other work 13 similar circles, every second one of which is fastened to one purl of the row of [illustration: 54.--linen collar trimmed with tatting.] stitches worked over the cord (see illustration). cut away from the collar the piece of linen which is to be replaced by the triangle, fold in the edges and work them round in button-hole stitch, and fill up the space with the triangle. for the border, work first * one circle composed of 3 double stitches, 4 purl divided one from the other by 2 double stitches, 3 more double stitches; take up the cord once more and work over it, 3 double stitches, then, without cord, 1 circle composed of 2 double stitches, 12 purl divided one from the other by 2 double stitches, 2 more double stitches; take up the cord again and work over it 3 double stitches, 4 purl divided each by 2 double stitches, 3 double stitches. fasten the cotton to the third purl (reckoning from the last) of the second circle worked without cord; 3 double stitches fastened to the fourth purl of the row of stitches worked over the cord (see illustration), 2 double stitches, 6 purl divided each by 2 double stitches, 3 double stitches fastened to the purl of next circle, 3 double stitches fastened to the last purl of the row, 2 double stitches, 3 purl divided each by 2 double stitches, 3 double stitches; fasten the cotton to the sixth purl of the circle (reckoning from the beginning), 4 double stitches. repeat from *. work over the top of the border a crochet edging similar to that round the diamond pattern of collar no. 49. for the point of the border, at the corner of the collar, see illustration no. 54. * * * * * 55.--_tatted collar_. materials: messrs. walter evans and co.'s tatting cotton no. 100; tatting-pin no. 1. this collar is worked with very fine tatting cotton. it consists of four branched tatted patterns and of separate tatted circles, fastened on to one another as seen in illustration. the four branched patterns are worked as follow:--3 double, 1 purl, 7 times alternately 2 double, 1 purl, then 3 double, and join the knots into a circle. work 3 similar leaves close to this 1st leaf, but instead of working the 1st purl, fasten them on to the last purl of the preceding leaf; besides this, instead of [illustration: 55.--tatted collar.] working the last purl of the 4th branch, fasten it on to the first purl of the 1st branch. when 1 such four-branched pattern is completed, knot both ends of the cotton together and cut them off. make a row of similar patterns by joining them on to the 2 middle purl of a branch of the preceding pattern, instead of working the 2 middle purl of the last branch (see illustration). two rows of similar patterns are joined by the above-mentioned circles, consisting of 32 double stitches, by fastening these circles from illustration between four branched patterns. begin each circle with 2 double stitches, fasten it on to the corresponding purl of the four-branched pattern, work again 2 double, fasten on to the next purl, and continue in the same manner till the circle is sufficiently large. each circle is ornamented with lace stitch. the collar is edged round the neck with close button-hole stitches. * * * * * 56.--_tatted collar_. materials: messrs. walter evans and co.'s tatting cotton no. 60; tatting-pin no. 3. this collar is commenced at the top, and worked with fine cotton in the following manner:--1st oval: 2 double, 1 purl, 9 times, draw the cotton into a circle, 3 double, 1 purl, 1 double, 5 times, 1 purl, 3 double, draw the cotton into a circle, and join it to the first purl of the first circle; work two more circles the same as last. 2nd oval: 2 double, 1 purl, 7 times, join the third purl to the third purl of the centre circle of preceding pattern, 3 double, 1 purl, 3 times, 2 double, 1 purl, draw the cotton up, and work 5 small circles, as follow:--3 double *, 1 purl, 1 double, 4 times, * 1 purl, 3 double, joining each circle to the purl of the 2nd oval. 3rd oval: 2 double, 1 purl, 8 times, joining the 3rd purl to the 2nd purl of the centre circle of the preceding pattern, 3 double, 1 purl, 4 times, 2 double, 1 purl, draw the cotton up, and work 7 small circles, similar to the small circles described in 2nd oval. [illustration: 56.--tatted collar.] * * * * * 57.--_circle in tatting_. materials: messrs. walter evans and co's tatting cotton no. 50; tatting-pin no. 2. [illustration: 57.--circle in tatting.] this circle is worked with fine cotton, and will be very pretty for ornamenting cravat-ends and different articles of lingerie. it is commenced in the centre with 2 double, 1 purl, repeated 8 times, draw the cotton into a ring, and work 8 small circles, as follow:--3 double, * 1 purl, 1 double, repeat from * 6 times, 1 purl, 3 double, draw up the cotton, and join it to the purl of centre ring and corresponding circle. large circle: 3 double, * 1 purl, 2 double, repeat from * 14 times, 3 double, draw up the cotton, and join it to the 4th purl of small circle. the centre of ring is filled up with lace stitches. * * * * * 58.--_tatting medallion for trimming lingeries, &c._ materials: messrs. walter evans and co.'s tatting cotton no. 50 for cravats and collars, 100 for pocket-handkerchiefs, 20 for petticoats; tatting-pin no. 2 or 3. this pattern is suitable for trimming cravats, collars, pocket-handkerchiefs, petticoats, &c., according to the size of the cotton with which it is worked. work first the round of circles which incloses the leaves, overlapping each other in the centre; begin with the smallest circle, which is at the top of the pattern; it consists of 3 double, 1 purl, 7 double, 1 purl, 7 double, 1 purl, 3 double. then work at a short distance another circle like the preceding one, only work 8 double instead of 7, and instead of working the first purl, fasten the circle on to the last purl of the preceding circle; all the other circles are fastened on to each other in the same manner. the next circle, worked again at a distance of about one-fifth of an inch, has 4 double; fasten it on to the preceding circle, 9 double, 1 purl, 9 double, 1 purl, 4 double. the following four circles are worked like the preceding one; only work in the first of these circles 10 double instead of 9, in the second 11 double, in the third 12 double. the piece of cotton which joins the circles together must also be somewhat longer between the larger circles. then work a circle [illustration: 58.--tatting medallion.] as follows: 5 double, fasten the cotton, 13 double, 1 purl, 13 double, 1 purl, 5 double; then a similar circle, but always working 14 double instead of 13. the next circle consists of 6 double, fasten the cotton, 15 double, 1 purl, 15 double, 1 purl, 6 double; the two following circles are worked in the same manner, working 16 double instead of 15. then comes the largest circle of the round, which consists of 6 double, 17 double, 1 purl, 17 double, 1 purl, 6 double. work 11 circles more like the 2nd to 12th of those just described (the 13th circle forms the middle), only the order of sizes must be reversed, so that the round closes with the smallest circle. then fasten both ends of the cotton together, so that the circles are joined into a circle. then work round this row of circles another round, the circles of which must be of graduated sizes like those of the first round. fasten the cotton on to the middle purl of the first small circle of the first round, and work one circle as follows:--3 double, 1 purl, 6 times alternately 2 double, 1 purl, then 3 double; fasten the cotton on to the middle purl of the next circle, &c. the remaining circles are worked in the same manner, only they must be increased and decreased in size gradually like the circles of the first round; this is done by increasing or decreasing the number of purl, instead of working the first purl of every following circle, fasten it on to the last purl of the preceding circle. when the round is completed, fasten both ends of the cotton together. in the centre of the oval pattern, fasten 6 five-branched patterns of graduated size, which are worked in one piece. for the smallest of these patterns work first three circles, consisting of 5 double, 1 purl, 5 times alternately 2 double, 1 purl, then again 5 double (these circles must be close to each other; the second and third circles must, moreover, be fastened on to the last purl of the preceding circle). the cotton is then fastened on the first circle between the beginning and the end of the same, then work close to them two small circles, consisting of 6 double, 1 purl, 6 double, fasten the cotton between the beginning and the end of the third circle. the other five-branched patterns are worked in the same manner at intervals of about three-tenths of an inch; but the separate circles of each pattern must become gradually larger. in the largest pattern the three large circles consist of 5 double, 1 purl, 8 times alternately 2 double, 1 purl, 5 double; the two smaller circles consist each of 15 double, 1 purl, 15 double; the size of the other patterns can easily be worked from this; the cotton which joins these last together is covered by over-casting with a needle and thread, so as to imitate double stitches. the five-branched patterns are then fastened in the oval pattern; they must overlap each other to half way, as seen in the illustration. * * * * * 59.--_tatted diamond_. materials: messrs. walter evans and co.'s tatting cotton no. 40, or 80 if required finer; tatting-pin no. 3. [illustration: 59--tatted diamond.] this pattern is meant to ornament lingerie; it is worked with fine tatting cotton in the following manner:--work a * circle consisting of 6 double, 1 purl, 6 double, turn the circle downwards and work at a short distance another circle consisting of 5 double, 4 purl divided by 2 double, 5 double; at a similar distance a circle of 5 double fastened on to the last purl of the preceding circle, 2 double, 5 purl divided by 2 double, 5 double; then again a circle consisting of 5 double fastened on to the last purl of the preceding circle, 2 double, 3 purl divided by 2 double, 5 double: fasten the cotton on to the first circle. then turn the work so that the last three circles are turned downwards, leave an interval of at least three-fourths of an inch, and repeat three times more from *, fastening the circles on to each other from illustration. knot together the beginning and end of the cotton, work button-hole stitches round the cotton which joins the circles, as shown in illustration. the purl stitches of the four middle circles of the diamond are knotted together. * * * * * 60.--_tatted cravat end_. materials: messrs. walter evans and co.'s tatting cotton no. 50; tatting-pin no. 3; 2 shuttles. this cravat end is given in full size. it is ornamented with a tatted medallion, edged with lace. the tatting is worked with tatting fine cotton and two shuttles. make first the two rosettes which form the centre of the medallion, then the insertion-like part which edges the rosettes. the larger rosette is worked as follows:--knot the cotton of both shuttles together and work with 1 shuttle only 1 circle consisting of 10 double, 1 purl one-fifth of an inch long, 10 double; * close to this circle, which is turned downwards, work over the cotton with the other shuttle, 1 double, 1 purl, 8 double; this forms one of the scallops joining two circles. then turn the work again and work close to the just completed scallop another circle like the first, but which is joined to the first circle instead of working the purl. repeat 4 times more from *. then work another scallop and fasten both ends of cotton on to the cotton over which the first scallop has been worked, at the place where the scallop is joined to the first circle. the first round of the rosette is thus completed. work then the 2nd round over the cotton on the 2nd shuttle, beginning to work where the two ends of cotton have been fastened, * 6 double, 1 purl, 5 double, fastened on to the purl of the next scallop of the preceding round, 5 double, 1 purl, 6 double fastened on to the cotton between two scallops of the [illustration: 60.--tatted cravat end.] preceding round; repeat 5 times more from *. the larger rosette is now completed. the smaller rosette is worked like the first, only without the second round. the insertion-like border is worked in two halves as follows:--the half which touches the edge of the medallion is worked as follows:--knot both ends of cotton together and *, work with 1 shuttle only 1 circle consisting of 8 double, 1 purl one-fifth of an inch long, 8 double; turn the circle downwards and work close to it over the cotton on the 2nd shuttle 6 double, 1 purl, 6 double; this forms a scallop of the border. then turn the work again and work close to the scallop another circle like the first, but which is fastened on to the first circle instead of working the purl. turn the work again, work a scallop like the preceding one, and repeat 15 times more from *, only the scallops at the lower edge of the medallion must have a few double stitches more, as can be seen in illustration. after working the last scallop fasten the two ends of the cotton on to the 1st circle; then cut them off. the second inner half is worked like the first; only the circles are worked without any purl stitch, and fastened on to the circles of the first half from illustration; the scallops of this half are somewhat smaller; each consists of 5 double, 1 purl, 5 double. the completed border is sewn on to the rosettes from illustration; the different pieces must be first fastened on cardboard. the cotton must be wound several times round the long threads, as seen in illustration. the medallion is then sewn into the muslin at the top only; the remaining border is edged, before joining it to the muslin, with a straight row of knots to be worked over cotton, and fastened on to each outer scallop of the border at regular intervals. the number of double stitches between two purl is different, as distinctly seen in illustration. for the lace knot both ends of cotton together, * work with one shuttle only 1 circle consisting of 8 double, 1 purl, 8 double; turn the work and make another circle consisting of 2 double, 9 times alternately 1 purl, 2 double; then fasten this circle on to the preceding one, where it has been joined into a circle, so that both circles meet as seen in illustration. after having turned the work again, work 9 double over the cotton on the 2nd shuttle, which form a scallop between the circles, and repeat from *. the lace is then sewn round the edge of the muslin. * * * * * 61.--_rosette in tatting and embroidery_. materials: messrs. walter evans and co.'s tatting cotton no. 60, or no. 40 if desired in a larger size. [illustration: 61. rosette in tatting and embroidery.] this rosette is suitable for ornamenting lingeries, cravats, &c. it is worked in white embroidery and lace stitch, and edged all round with a tatted lace. for the latter work with very fine cotton * 1 large circle, consisting of 5 double, 1 purl, 7 times alternately 2 double, 1 purl, then 5 double. at a short distance from this circle work a smaller one, consisting of 5 double fastened on to the last purl of the large circle, 5 double. leave again an interval as small as the last, and repeat from * 11 times more. but in working the large circles, instead of working the 1st purl, fasten them on the same purl of the large circle on which the small circle has been fastened; besides this, in working the last (12th) large circle, instead of working the last purl, fasten it on the 1st purl of the 1st circle; the last small circle is fastened on to the same purl. the lace is thus joined into a circle, and is sewn round the outside of the rosette with button-hole stitches. * * * * * 62.--_cravat end in tatting_. materials: messrs. walter evans and co.'s tatting cotton no. 60; tatting-pin no. 3. [illustration: 62.--cravat end in tatting.] the illustration shows the end of a tatted cravat. work first the middle row of the cravat at the same time with the row of circles on the left side of the middle row in illustration; begin with the first circle of the middle row. it consists of 7 times alternately 3 double, 1 small purl, then 3 double. work close to this circle, which must be turned downwards, a josephine knot, consisting of 5 plain stitches, then a circle consisting of 5 double, 1 purl one-fifth of an inch long, 5 times alternately 3 double, 1 small purl; 3 double, 1 long purl, 5 double. *turn this circle (which is the first of the side row) downwards, work close to it a josephine knot, then a circle consisting of 12 double, 1 small purl, 12 double. turn this circle downwards, work a josephine knot, and then again a circle like the first of the side row, but instead of working the first long purl, fasten it on to the last purl of the preceding circle of the same row. then hold the work so that the circles of the side row are turned downwards, work a josephine knot, 1 circle like the first circle of the middle row, turn the work, make 1 josephine knot, and then a circle like the second circle of the side row. repeat from * till the cravat is sufficiently long. the last circle of the middle row must correspond to the first circle of the same row. then begin to work the lower edge at the same time with the last circle of the middle row, * 1 josephine knot, then a circle like the circles of the side row, again 1 josephine knot, fastened on to the next purl of the last circle of the middle row; repeat 3 times more from *. then continue as before, and work on the right side of the middle row a row of circles exactly like those which have been worked at the same time with those of the middle row. the fastening on of the cotton between two josephine knots is seen in illustration. the circles at the other end of the cravat are fastened like those of the first-described end. the cravat is edged all round with a row of circles with josephine knots worked exactly like those of the preceding row, and the manner of fastening which is seen in the illustration. * * * * * 63.--_rosette in tatting and embroidery_. materials: messrs. walter evans and co.'s tatting cotton no. 60, or 40 if required larger; tatting-pin no. 3. [illustration: 63.--rosette in tatting and embroidery.] the centre of this rosette is worked in lace stitch on muslin, edged round with button-hole stitch and trimmed with a tatted lace, which is worked at the same time with the centre. work first * a small circle consisting of 5 double, 1 purl, 3 double, fastened on to the button-hole stitch edging of the rosette, then 3 double, 1 purl, 5 double. then turn the just-completed circle downwards, and afterwards work at a short distance a large circle consisting of 7 double, 6 times alternately 1 purl, 2 double, lastly 1 purl, 7 double, then 1 josephine knot consisting of 7 plain. then turn the work again, so that the last large circle is turned downwards, and repeat from * 12 times more; the large and small circles must be fastened on to one another, as seen in illustration. the fastening of the small circles on to the centre is likewise done from the illustration. 64.--_cravat end in tatting and darned netting_. materials: messrs. walter evans and co.'s tatting cotton no. 50; tatting-pin no. 3; square of netting; fine mecklenburg thread no. 80. [illustration: 64.--cravat end in tatting and darned netting.] the end of this cravat is ornamented with a square of darned netting, edged with a tatted border, and sewn on to the material of the cravat. but the diamond in tatting (page 18), or the square (page 31) will look very pretty with this border. the square is worked in diamond netting, and has seven holes in length and breadth. they are darned in linen stitch, darning stitch, and _point d'esprit_, with mecklenburg thread. the ground is worked over a mesh measuring three-tenths of an inch round. for each square one more row than is needed must be worked, and the cast-on stitches are cut off, as they are longer than the stitches of the other rows. the tatted border is worked with fine tatting cotton. fasten the cotton at one corner of the square and work * a circle consisting of 7 double, 1 purl, then six times alternately 2 double, 1 purl, 7 double, fasten the cotton on to the same stitch of the ground where it was first fastened; #work a second circle like the first, but fasten it, instead of working the first purl on to the last purl of the preceding circle; fasten the cotton again on to the same stitch, then on to the next stitch, and work a small circle, consisting of 5 double fastened on to the last purl of the preceding circle, 4 double, 1 purl, 5 double. the cotton is fastened on to the same netted stitch as before, and then on to the next stitch; repeat twice more from #, and then repeat from * in all three times more, so that the square is edged all round. it is sewn into the material from the illustration. * * * * * 65.--_tatted antimacassar. (see pages_ 574-5.) materials: messrs. walter evans and co.'s boar's head cotton no. 30, or tatting cotton no. 24, or for a larger size tatting cotton no. 20; tatting-pin no. 1; large shuttle. the illustration shows the fourth of the antimacassar and the whole of the rosette which forms the centre. begin with the latter, with the five-branched pattern in the centre, at the same time with the following round of circles:--*work first one circle of this round, consisting of 3 double, 1 purl, 4 times alternately 2 double, 1 purl, 3 double; then at a short distance a circle like the one just made, in which, however, instead of working the first purl, the cotton must be joined on to the last purl of the preceding circle. then work at a short distance the first leaf of the five-branched pattern, which consists of 4 double, 1 purl, 4 double. when this branch is completed, repeat at a short distance 4 times more from *; but in working the branches of the five-branched pattern, instead of working the purl, join it on to the purl of the first branch of the five-branched pattern (this purl forms the centre of the pattern). all the circles must also be joined one to each other, as can be seen from illustration. then work the scallops round the border of the rosette, * fasten the cotton on to the purl which joins the two next circles of the preceding round, and work one scallop consisting of 11 times alternately 2 double, 1 purl, then 2 double. repeat 9 times more from *. when the rosette is completed, work eight rosettes in the same manner and join them into a circle from illustration by means of small three-branched patterns, and then join them on to the middle rosette. the strip of insertion which comes next is worked in two halves as follows:--work first, for the half turned towards the centre, two rows of circles lying opposite each other; begin with one of the largest circles, consisting of 4 double, 1 purl, 3 times alternately 2 double, 1 purl, then 4 double; * at a short distance work a smaller circle of 4 double, 1 purl, 4 double; after another short distance, a circle like the first joined on to it; then again a smaller circle, which at the place of the first purl is joined on to the purl of the preceding small circle. a short distance from this work again one of the larger circles just described, which is fastened on to the preceding similar circle; then repeat from * till the double row has nine larger and eight smaller circles. the first half of the strip of insertion is completed; the second outer half is worked like the first, only the small circles must here be worked without any purl, and two of them together must always be fastened on to the two joined small circles of the first half, as was done for the five-branched pattern of the rosette; besides this, each of the large circles has 4 double, 1 purl, 4 times alternately 2 double, 1 purl, then 4 double. when eight similar patterns have been worked, join them into a circle from illustration by means of small rosettes; this circle is then joined to the already-finished part of the cover. the small rosettes and remaining patterns of the antimacassar are easily worked from illustration. the completed patterns are joined together in the course of the work. * * * * * tatting cotton is supplied by messrs. walter evans and co., of derby, in all sizes from 20 to 120. crochet cotton, which is preferred by some tatters, is sold in all sizes from to 120. the following table will assist ladies in selecting the size of either tatting or crochet cotton. all these cottons are on reels containing 100 yards:-|--------------------------------|-----------------|---------------| | | tatting. | crochet. | |--------------------------------|-----------------|---------------| | petticoat edgings and | | | | insertions | 20 | 0 and 12 | | night dress trimmings | 40 | 60 | | lingerie trimming | 50 | 70 | | collars and cravats | 50 | 70 | | pocket handkerchiefs | 100 | 120 | | parasol covers | 100 | 120 | | antimacassars | 20, 30 | 0 and 20 | | pincushions | 60 | 80 | | caps | 100 | 120 | | lace | 60, 80, 100 | 80, 100, 120 | | insertions | 20, 40, 80 | 40, 80, 100 | |--------------------------------|-----------------|---------------| ladies at a distance from town or on the continent will be glad to have some guide as to the quantity of cotton required to complete their work. the quantity of tatting or crochet cotton used by an average worker is found to be two yards to the square inch with a single shuttle; three yards to the square inch with two shuttles. * * * * * embroidery instructions. the art of embroidering with cotton on linen, muslin, cambric, piqué, &c., is very easy to learn by strictly attending to the following instructions. the size of the thread and needle must correspond to that of the material on which you embroider; the needle must not be too long, and the cotton must be soft. messrs. walter evans and co.'s embroidery cotton is the best. skilful embroiderers never work over anything, because when you tack the material on paper or cloth each stitch shows, and if the material is very fine, leaves small holes; but for those that are learning we should advise them to tack the material to be embroidered upon a piece of _toile cirée_. if you work without this, place the material straight over the forefinger of the left hand; the material must never be held slantways. the three other fingers of the left hand hold the work; the thumb remains free to give the right position to each stitch. the work must always, if possible, lie so that the outline of the pattern is turned towards the person who works. for the sake of greater clearness one part of the following illustrations is given in larger size than nature. preparing the patterns is one of the most important things in embroidery, for the shape of the patterns is often spoiled merely because they have not been prepared with sufficient care. [illustration: 66.--scallop.] illustration 66 shows how to prepare a scallop. take thicker cotton than that with which you work; never commence with a knot, and do not take a thread longer than sixteen or eighteen inches. the outlines of the scallops are first traced with short straight stitches. in the corners particularly the stitches must be short. the space between the outlines is filled with chain stitches, as can be seen from illustration; they must not be too long, otherwise the embroidery will look coarse. it is in this way that every pattern to be worked in button-hole or satin stitch is to be prepared. [illustration: 67.--double overcast stitch.] illustration 67 shows the double overcast stitch or button-hole stitch in a straight line. after having traced the outline begin to work from left to right; fasten the cotton with a few stitches, hold it with the thumb of the left hand under the outline, insert the needle downwards above the outline, draw it out under the same above the cotton which you hold in the left hand, and draw it up. repeat for all the stitches in the same manner; they must be regular and lie close to one another. great care should be taken that the material on which you embroider is not puckered. [illustration: 68.--overcast stitch.] illustration 68 (_overcast stitch_).--the double overcast and the button-hole stitches are worked from left to right, whilst back stitches, knotted and satin stitches are worked from right to left. the stitch is worked in the same way as the double overcast, only the needle must never be drawn out _above_, but _below_, the cotton with which you work, and which you keep down with the thumb of the left hand. [illustration: 69.--slanting overcast stitch.] illustration 69.--the slanting overcast stitch is worked without tracing the outline, always inserting the needle downwards--that is, from top to bottom. the needle must be inserted in the manner shown in illustration--that is, not straight, but slanting; insert it a little farther than the last stitch, and draw it out close to it. the wrong side of the work must show back stitches. this sort of stitch is used for the fine outlines in patterns or letter. [illustration: 70.--back stitch.] illustration 70.--this shows the back stitch, the working of which is well known; it is worked in several rows close to each other. [illustration: 71.--point croisé.] [illustration: 72.--point croisé.] illustrations 71 & 72 show another kind of back stitch, called _point croisé_, which is only used on very thin and transparent materials. this stitch forms on the wrong side a sort of darned pattern, which is seen by transparence on the right side, and gives the embroidered pattern a thicker appearance, contrasting with the rest of the work (see the lower leaves of the flower on illustration 110). for this stitch insert the needle into the material as for the common back stitch, draw it out underneath the needle on the opposite outline of the pattern, so as to form on the wrong side a slanting line. insert the needle again as for common back stitch; draw it out slanting at the place marked for the next stitch on the opposite outline, as shown in illustration 71. [illustration: 73--knotted stitch.] illustration 73 shows the knotted stitch; the simplest way of working it is to work two back stitches at a short distance from each other over the same thread. the knotted stitch seen in illustration 74 is worked thus:--take about four threads of the material on the needle, draw the needle half out, wind the cotton twice round the point of the needle, hold it tight with the thumb, draw the needle out carefully and insert it at the place where the stitch was begun, and draw it out at the place where the next stitch is to be worked. [illustration: 74.--knotted stitch.] [illustration: 75.--knotted stitch] the knotted stitch seen on illustration 75 is worked in nearly the same manner as the preceding one. before drawing the cotton out of the material hold it tight with the left-hand thumb; leave the needle in the same position, wind the cotton twice round it, turn the needle from left to right, so (follow the direction of the arrow) that its point arrives where the cotton was drawn out (marked by a cross in illustration), insert the needle there, and draw it out at the place of the next stitch. illustrations 76 & 77.--raised satin stitch is principally used for blossoms, flowers, leaves, letters, &c. after having traced the outlines of the pattern, fill the space left between them with chain stitches in a direction different from that in which the pattern is to be embroidered; begin at the point of the leaf, working from right to left, make short straight stitches, always [illustration: 76.--raised satin stitch.] inserting the needle close above the outline and drawing it out below. the leaves on the flowers, as well as on the branches, must be begun from the point, because they thus acquire a better shape. if you wish to work a leaf divided in the middle, as seen in illustration 77, you must trace the veining before you fill it with chain stitches, then begin at one point of the leaf and work first one half and then the other. [illustration: 77.--raised satin stitch.] [illustration: 78.--point de plume.] illustration 78 shows the so-called _point de plume_ on a scalloped leaf. it is worked like the satin stitch, only the needle is drawn through the material in a slanting direction. [illustration: 79.--point de minute.] illustration 79 (_point de minute_).--this stitch is often used instead of satin stitch when the patterns must appear raised. wind the cotton several times round the point of the needle, which is inserted into the material half its length (the number of times the cotton is to be wound round the needle depends on the length of the pattern), hold fast the windings with the thumb of the left hand, draw the needle and the cotton through the windings, insert the needle into the material at the same place, and draw it out at the place where the next stitch is to begin. [illustration: 80.--ladder stitch.] [illustration: 81.--ladder stitch.] illustrations 80 & 81 show the _ladder stitch_, often used in ornamental embroidery. trace first the outlines as seen in illustrations; mark also the cross stitches between the outlines, so that the first touch the outlines only at both ends. the outlines are embroidered in overcast stitch or double overcast; the material is cut away underneath the ladder stitch between the outlines. we have now shown the different kinds of stitches used in embroidery; the following illustrations show them used for different patterns. [illustration: 82.--button-hole stitch scallop.] [illustration: 83.--button-hole stitch scallop.] [illustration: 84.--button-hole stitch scallop.] [illustration: 85.--button-hole stitch scallop.] illustrations 82 to 85 (_different button-hole stitch scallops_).--these scallops are prepared as above described. take care to have the stitches even and regular; the scallops must be wide in the centre and very fine at both ends. illustrations 86 & 87 (_button-holes and eyelets_).--this kind of embroidery is used only in round or long patterns. trace first the outline of the hole, cut away a small round piece of material, not too close to the outlines (when the button-hole is very small merely insert the point of the scissors or a stiletto into the material), fold the edge of the material back with the needle, and work the hole in overcast stitch, inserting the needle into the empty place in the centre and drawing it out under the outline. some button-holes are worked separately; sometimes they are in a row; if so, take care to begin to work each button-hole at the place where it touches the next. in the following button-holes the outside must be traced double, so as to reach as far as the next one, but each button-hole is finished at once. illustration 86 shows a button-hole worked round in button-hole stitch, 87 an eyelet-hole worked in overcast. [illustration: 86.--button and eyelet holes.] [illustration: 87.--button and eyelet holes.] [illustration: 88.--shaded button-hole.] [illustration: 89.--shaded button-hole.] illustrations 88 & 89.--shaded button-holes are worked like the others, only they are prepared, as can be seen in illustration 89, so as to mark the thickness. the stitches must gradually get narrower or wider, and be worked very close to each other. [illustration: 90.--leaf in raised satin stitch.] illustrations 90 & 91 (_two leaves in raised satin stitch_).--in a leaf like the one seen in 90 work first the outline and veining in overcast stitch; work one half of the leaf in satin stitch, and the other half between the overcast outline and veining in back stitch. the stem of a leaf is always worked last. [illustration: 91.--leaf in raised satin stitch.] [illustration: 92.--raised leaf.] illustrations 92 & 93 (_two leaves in satin stitch and point de plume_).--for leaves like the one seen in 93 begin with the veinings, then work the inner points, then the outer ones, and lastly the raised spots in the centre. the leaf seen in 92 is worked, one half in _point de plume_, the other half in back stitch or _point d'or_. [illustration: 93.--raised leaf.] [illustration: 94.--leaf.] illustration 94.--the outline of this leaf is embroidered in overcast stitch; the open-work veining consists of eyelets; one half of the leaf is worked in back stitch, the other half in a kind of satin stitch worked without chain stitches underneath; the stitches are worked across the leaf, leaving between two stitches an interval as wide as the stitch itself. the next row is then worked in these intervals, and each stitch begins half-way up the one before and after it. [illustration: 95.--leaf raised.] [illustration: 96.--leaf raised.] [illustration: 97.--raised leaf.] illustrations 95 to 97 (_leaf in raised embroidery).--this kind of embroidery is particularly beautiful, as it is worked separately and sewn on the material with an outline in very fine cotton, this produces the shade seen in 95 (see also illustrations 98 to 113). for such leaves work first one half in overcast and satin stitch (illustration 96); the other half is worked on a separate piece of material (see illustration 97); cut away the material along the overcast outline, and fasten it on the foundation material along the outline which forms the veining on illustration 96. [illustration: 98.--raised embroidered leaf.] [illustration: 99.--half of leaf (98).] [illustration: 100.--centre of leaf (98).] illustrations 98 to 100 show a similar leaf; both halves are worked separately (see 99); the centre is worked in open lace stitch. the latter (see no. 100) is traced, then make ladder stitches across, work the outlines in overcast stitch, and cut away the material underneath the ladder stitch. the cross stitches are then worked in darning stitch with very fine cotton wherever two threads meet. [illustration: 101.--blossom in satin stitch.] illustration 101 (_blossom in satin stitch_).--the eyelet is worked in overcast stitch, then work the upper part of the blossom all in one piece as far as the beginning of the veining, thence the blossom is worked in two halves. [illustration: 102.--blossom in satin stitch.] [illustration: 103.--bead partly covered.] illustrations 102 & 103 (_blossom in satin stitch_).--the raised centre of this flower is formed by a bead, over which the embroidery is worked. when the leaves have been worked one after the other, place a bead in the centre, left free in such a manner that one hole lies on the material, and work over the bead by inserting the needle into its upper hole, then underneath the material, drawing it out above the material close to the bead, and so on (see 103). [illustration: 104.--star in satin stitch.] illustration 104 (_star pattern in satin stitch_).--the centre, which forms a wheel, is worked first. draw the threads across the circle marked by an outline; in the centre they are wound round, always taking one thread _on the needle_ and leaving the next thread _under the needle_, as can be seen in 122 on the half-finished pattern. the material underneath the wheel is only cut away when the rest of the pattern has been embroidered. [illustration: 105.--star in point de reprise.] illustrations 105 & 106 (_patterns in back, satin, and ladder stitches_).--the small star in the centre of no. 105 is worked in _point de reprise_. [illustration: 106.--star.] [illustration: 107.--flower in satin stitch.] illustration 107 (_flower in satin stitch_).--the fine veinings are worked with fine black silk in _point russe_, which renders the effect of the flower very beautiful. [illustration: 108--rose in satin stitch.] [illustration: 109.--petal for rose.] illustrations 108 & 109 (_rose in satin stitch_).--no. 109 shows one petal larger than full size. the outer circle only is prepared with chain stitches underneath, so as to appear raised; the inner circles are worked flat. the centre of the rose is embroidered in open work. [illustration: 110.--heartsease.] illustration 110 (_embroidered heartsease_).--for the knotted stitch see no. 75. for the _point croisé_ see 71 and 72. [illustration: 111.--raised flower] illustration 111 (_flower in raised satin stitch_). [illustration: 112.--ear of corn.] illustration 112 (_an ear of corn in point de minute_). [illustration: 113.--bluebell.] [illustration: 114.--inner part of bluebell.] illustrations 113, 114, & 116 (_bluebell in raised satin stitch_).--this flower is worked partly in separate pieces, as has been described. illustration 116 shows the raised part stretched out flat. when it is finished it is fastened down along the dotted line on no. 114, which shows the inner part of the flower. [illustration: 115.--flower.] illustration 115 (_flower in point de minute_).--this stitch is here worked over a thick foundation of chain stitches. for raised patterns it looks very well. [illustration: 115.--outer part of bluebell.] [illustration: 117.--flower appliquéd on net.] illustrations 116 & 117 (_flower worked in appliqué_).--to work in appliqué, two materials, either similar or different, are needed. you can work either in appliqué of muslin on muslin, or of muslin on net, or of net on net. muslin on brussels net is the prettiest way of working in appliqué; we will therefore describe it: the other materials are worked in the same manner. trace the pattern on the muslin, fasten the latter on the net, and trace the outlines of the pattern with very small stitches work them in overcast stitch with very fine cotton, taking care not to pucker the material. the veinings are worked in overcast. when the pattern has been embroidered cut away the muslin round the outlines with sharp scissors, so that the net forms the grounding (see no. 117). the greatest care is required in cutting out the muslin to avoid touching the threads of the net. [illustration: 118.--border.] illustrations 118 & 119 (_narrow borders_).--it will be easy to work these borders from the above instructions. observe only that on border 118 the outer row of scallops is worked first, then the button-hole stitch row, and the rest afterwards. the spots are edged all round in knotted stitch. the wheels in the centre of the eyelets of no. 119 are worked with very fine cotton in loose button-hole stitch; they are wound round with the cotton in a second row. [illustration: 119.--border.] [illustration: 120.--insertion.] illustrations 120 to 122.--three strips of insertion, which are worked nearly like the ladder stitch. for no. 120, in tracing the outlines, make two small knots at short distances by winding the cotton four times round the needle, as can be seen in illustration; the windings are held down with the thumb of the left hand, draw the needle through, and a knot is formed. the outlines are worked in button-hole stitch only when all the knots have been made, and then the material is cut away underneath. illustration 121 is a variety of the slanting ladder stitch. illustration 122.--the cross threads are worked in two rows in the common herring-bone stitch, as can be seen by the black lines on the illustration. the straight lines at the top and at the bottom are worked in double overcast; lastly, the wheels are worked in a row as described for the star pattern, no. 104. [illustration: 121.--insertion.] [illustration: 122.--insertion.] [illustration: 123. u] [illustration: 124. c] [illustration: 125. b] [illustration: 126. o] illustrations 123 to 129 (_embroidered initials_).--to learn to work initials the roman characters are the easiest to begin with. they must be traced and prepared like other embroidery in satin stitch, only the chain stitches underneath must not be too thick: it would take away the shape of the letters. all depends on the fineness and regularity of the stitches; they must be worked in overcast stitch. work from left to right, and the letter when completed must look rather like raised printing than like embroidery. gothic letters are much more difficult to work on account of the many flourishes; it requires great practice in needlework to embroider them well. illustration 123.--the small black dots are worked in black silk on the thick parts of the letter: the fine strokes are covered with cross threads of black silk. illustration 124.--the outlines of the letter and the fine strokes are worked in black silk. illustration 125.--this letter is embroidered in raised satin stitch and _point de plume_. illustration 126.--this letter is worked in back stitches, over which are worked at regular distances cross stitches of black silk. illustration 127.--letter in satin and back stitch. illustration 128 to be worked in overcast and double overcast. illustration 129.--letter g in _point russe_ with black silk. [illustration: 127.] [illustration: 128.] [illustration: 129.] [illustration: 130.] illustration 130 (_embroidered figures_).--they are worked like the letters in _point de plume_ and overcast; the dots are worked in knotted stitch. * * * * * embroidery. [in working the following embroidery patterns it will be found advisable to trace the design clearly upon tracing-paper with a sharp-pointed lead pencil. the pattern thus traced must be perforated with a fine needle in a succession of tiny holes, at the rate of about twenty to the inch. those ladies who possess a sewing-machine will find no difficulty in accomplishing this. several thicknesses of paper can be perforated at the same time, if required, by any ordinary machine. to transfer the traced and perforated design to the fabric to be embroidered, it is only necessary to rub a small quantity of powder blue through the holes.] 131.--_insertion in embroidery_. material: messrs. walter evans and co.'s embroidery cotton no. 16. this insertion is worked in raised satin stitch and button-hole stitch. the outlines must first be traced and the space filled up with chain stitches. to work a leaf, begin at the point, working from right to left, making short stitches, and always inserting the needle close above the outline and drawing it out below. the holes left for the ribbon to pass through are worked in plain button-hole stitch, the dots are worked in raised satin stitch. [illustration: 131.--insertion in embroidery.] * * * * * 132.--_insertion in embroidery and stitching_. materials: messrs. walter evans and co.'s embroidery cotton nos. 10 and 16. the veinings of this pretty insertion must be worked in overcast stitch (no. 68, _embroidery instructions_), the leaves and flowers in raised satin stitch, the scallops in button-hole stitch, and the outer edge of the leaves in back stitch (no. 70, _embroidery instructions_) with no. 10 cotton. [illustration: 132.--insertion in embroidery and stitching.] * * * * * 133.--_cravat end in embroidery_. materials: muslin, cambric, or linen; messrs. walter evans and co.'s embroidery cotton no. 24, or fine black china silk. this graceful design is worked in raised satin stitch (see nos. 76 and 77, _embroidery instructions_) and back stitching, or point russe. black silk may be introduced at will, and the delicate leaves may be stitched in fine black silk, and the flowers embroidered in white, with the stamens in black silk. [illustration: 133.--embroidered pattern for cravat ends, &c.] * * * * * 134.--_basket embroidered in chenille_. materials: a basket of fine wicker-work; 1 skein of black chenille, and 3 of blue chenille. this small round basket measures seven inches across; it has a cover and two handles. the wicker is very delicately plaited, and is ornamented with a pattern in chenille which is very easy to work. upon the cover, work in point russe one large star in blue chenille, with the centre and outer circle in black. all round, work small stars in blue chenille, with a black stitch in the centre. the position of these stars is shown in our illustration. the basket requires no mounting; it is not even lined. [illustration: 134.--basket embroidered in chenille.] * * * * * 135.--_pattern for collars and cuffs in embroidery._ materials: muslin, cambric or lawn; messrs. walter evans and co.'s embroidery cotton perfectionné no. 40. work the outer circle in long even scallops (see page 90 of _embroidery instructions_) in raised button-hole stitch; the spray of flowers is embroidered in raised satin stitch, the leaves in the same, and the rosebud calyx in tiny eyelet-holes. the centres of the roses are embroidered in open-work. [illustration: 135.--embroidery pattern for collars, cuffs, &c.] * * * * * 136.--_cravat end in embroidery_. materials: muslin, brussels net; messrs. walter evans and co.'s embroidery cotton no. 30. tack the traced muslin over the net and work the scallop of the inner edge; next the design in the centre must be worked in raised satin stitch (see no. 77 in _embroidery instructions_). the raised dots are also worked in satin stitch (see page 90 of _embroidery instructions_). lastly, work the outer edging of round scallops and the lines of raised dots, and with a pair of embroidery scissors carefully cut away the muslin from the outer edge and from the leaves of the centre pattern. [illustration: 136.--cravat end in embroidery.] * * * * * 137.--_embroidery pattern for collars, cuffs, &c_. materials: linen; messrs. walter evans and co.'s cotton perfectionné no. 40. this pretty star should be worked in fine overcast stitch (see no. 68 in _embroidery instructions_). the centre is worked in raised satin stitch leaves round a circle of button-hole stitch, in the middle of which a wheel is worked thus:--slip the cotton under the thick edge and fasten it, then cross it over and back so as to make 8 bars, then twist the cotton twice round 1 bar; this will bring it to the centre; work over and under each of the bars until a thick dot is formed; fasten the cotton beneath this, and twist it twice round the bar opposite to the first one you worked, and finish off. [illustration: 137.--embroidery pattern for collars, cuffs, &c.] * * * * * 138.--_embroidery covering for a quilted counterpane_. materials: cashmere, cambric muslin, or linen; messrs. walter evans and co.'s embroidery cotton no. 4. [illustration: 138.--embroidery covering for a quilted counterpart.] this is an embroidery-pattern for a woollen or silk quilted counterpane. such counterpanes generally have a lining which is turned back on the right side, and buttoned down at the point of each scallop. the pattern is a quilted counterpane of scarlet cashmere; the lining is of fine linen. before embroidering it, make the points for the corners. the embroidery is worked in button-hole stitch, overcast, satin, and ladder stitch. it can also be worked on fine cambric or muslin, and then the embroidered pattern sewn on the piece of linen which forms the cover on the wrong side. make the button-holes as seen on illustration, and sew on mother-of-pearl or china buttons. * * * * * [illustration: 139.--embroidery pattern for cravat ends, &c.] * * * * * 139.--_embroidery pattern for ornamenting collars, cuffs, &c_. materials: muslin, cambric, or linen; messrs. walter evans and co.'s embroidery cotton no. 40. this pattern is worked in satin stitch, point russe, and point d'or on muslin, cambric, or linen; it is suitable for collars, or cravat ends, or handkerchief corners. * * * * * 140.--_handkerchief in embroidery_ materials: french cambric; messrs. walter evans and co.'s embroidery cotton no. 50. [illustration: 140.--handkerchief in embroidery.] three rows of hem-stitching ornament this handkerchief; the pattern forms an insertion within the outer rows, the flowers are worked in raised satin stitch, with eyelet-hole centres (see no. 87 of _embroidery instructions_); the tendrils are worked in overcast stitch; three rows of raised dots, in groups of four, are worked on the inner side of the last row of hem-stitching. this pattern looks very handsome on a broad-hemmed handkerchief. * * * * * 141.--_convolvulus leaf insertion_. materials: muslin; messrs. walter evans and co.'s embroidery cotton no. 20. [illustration: 141.--convolvulus leaf insertion.] the convolvulus leaves are worked in raised satin stitch, the veinings and stems in overcast stitch, the eyelet-holes in slanting overcast stitch. (see no. 69 of _embroidery instructions_.) * * * * * 142.--_insertion_. materials: muslin; messrs. walter evans and co.'s embroidery cotton no. 20. this simple insertion is worked in raised satin stitch, the stems alone excepted; these are embroidered in overcast stitch. [illustration: 142.--insertion.] * * * * * 143 and 144.--_two patterns in embroidery for trimming lingerie_. materials: messrs. walter evans and co.'s embroidery cotton no. 20, and mecklenburg thread no. 50. [illustration: 143 and 144.--patterns for trimming lingerie.] these patterns are worked in point russe and stitching; the spots in satin and knotted stitch. illustration 143 is ornamented in the centre with lace stitches. * * * * * 145 _and_ 146.--_insertion_. materials: muslin; messrs. walter evans and co.'s embroidery cotton no. 16. the two insertions, nos. 145 and 146, are worked partly in satin stitch, partly in open-work embroidery, and are edged on either side with an open-work hem. [illustration: 145.--insertion.] [illustration: 146.--insertion.] * * * * * 147.--_couvrette in appliqué embroidery_. materials: net, fine muslin; messrs. walter evans and co.'s embroidery cotton no. 16. the pattern must be traced on the muslin, which should be tacked on the net. the outline of the design must be traced with very small stitches, and worked in overcast stitches, as are also the veinings; the dots are worked in raised satin stitch; the border is embroidered with satin stitch flowers and scallop button-hole stitch. to work appliqué on net, see no. 117 of _embroidery instructions_. [illustration: 147.--couvrette in appliqué embroidery.] * * * * * 148.--_wreath for centre of pincushion or toilet mat_. materials for pincushion: jaconet muslin; messrs. walter evans and co.'s embroidery cotton no. 16. for toilet mat: white piqué; cotton no. 12. [illustration: 148.--wreath for centre of pincushion or toilet mat.] the leaves and flowers are worked in satin stitch; the eyelet-holes and stems in overcast stitch. * * * * * 149.--_corner for handkerchief in point russe_. materials: french cambric, fine china black sewing-silk, or filoselle. [illustration: 149.--corner for handkerchief in point russe.] point russe stitch is made by a succession of back stitches. these stitches carefully follow every line of the design, and are worked in black china sewing-silk or filoselle. the pattern should be repeated at each corner of the handkerchief. * * * * * 150 _to_ 152.--_borders and insertions_.--_white embroidery_. materials: lawn; messrs. walter evans and co.'s embroidery cotton no. 30, and mecklenburg thread no. 50; fine black sewing-silk. [illustration: 150.--embroidered border.] for the border no. 150, trace first the outlines of the scallop, then draw the threads which are to form the wheel in each scallop (take for this fine mecklenburg thread, for the rest embroidery cotton), fasten them at the places where they cross each other, and work at these places small and large spots in satin stitch. then work the scallops in button-hole stitch; edge each larger spot with button-hole stitch all round, and make a row of button-hole stitches for the upper edge of the border, and above this a row of herring-bone stitches. the material is cut away underneath the wheels. * * * * * [illustration: 151.--corner in embroidery.] [illustration: 152.--corner in embroidery.] the corner borders, illustrations 151 and 152, are worked in point russe, chain and satin stitch, with fine black sewing silk. * * * * * [illustration: 153--cravat end in embroidery] 153.--_muslin cravat_. materials: muslin; messrs. walter evans and co.'s embroidery cotton no. 50; no. 40 for the edges. this cravat is worked on fine muslin, embroidered upon both ends in raised satin stitch; the scalloped edge is worked in button-hole stitch; the bouquet in the centre is worked in appliqué satin stitch--that is, the leaves of the rose and the foliage are worked separately on muslin; they are then cut out and worked in appliqué (see nos. 113 and 116, _embroidery instructions_) upon the cravat, as seen in the illustration. * * * * * 154.--_sandwich case_. materials: strip of grey kid; strip of oil silk; 1 skein black silk; 1 skein red purse silk; 1 hank steel beads; steel button. this case will be found very useful on the occasion of a journey or picnic, as it can be carried in the pocket without any inconvenience. the case is made of a strip of grey kid, scalloped out at the edges. the words "bon appetit," or "good appetite," at will, are worked over it in overcast with black purse silk and steel beads, the scroll pattern in chain stitch with red silk. the back and front of the case are formed of the same strip, which is lined with oilskin, and to which narrow side-pieces are added to form the pocket. these pieces are lined and scalloped out in the same way as the back and front, and then the scallops of both sides are joined together, and worked round in button-hole stitch with purse silk. the case is fastened down with a steel button. if another colour is preferred, the sandwich case can be made of brown kid. the scroll pattern should then be worked in rich blue purse silk, and gold beads used for the letters, which should be embroidered as before in black silk. the edge may be worked in double overcast stitch in blue or black silk. a gold button must replace the steel when this alteration of colour is made. [illustration: 154.--sandwich case.] * * * * * 155.--_insertion_. materials: muslin; messrs. walter evans and co.'s embroidery cotton no. 16. this insertion is worked in raised satin stitch between two rows of hem-stitching; a small eyelet-hole is worked in the centre of each flower. [illustration: 155.--insertion.] * * * * * 156.--_cravat end in raised embroidery_. materials: messrs. walter evans and co.'s. embroidery cotton nos. 50 and 16. this pattern is a muslin cravat 32 inches long. the greater part of the embroidered ends is worked in satin stitch; the leaves in the bouquet of the centre are worked in raised embroidery. (see nos. 113 and 116, _embroidery instructions_.) the dotted lines are raised by taking four threads of the muslin on the needle, draw it half out, wind the cotton twice round the point, holding it tightly under the thumb, draw the needle out and insert it at the place where the stitch was begun, and draw it out where the next stitch is to be worked. [illustration: 156.--cravat end in raised embroidery.] * * * * * 157.--_lady's purse_. materials: russia leather; blue silk; black purse silk; blue silk soutache; fine gold braid; and gold thread. [illustration: 157.--lady's purse.] this purse is embroidered upon russia leather; an oval-shaped medallion is cut out in the centre; a piece of blue silk is gummed on under the leather so as to show within the oval; both leather and silk are then lined with calico and stretched upon a small embroidery frame. the front and back of the purse are made all of one piece, the centre of which is the bottom; after the embroidery is completed a piece of leather is added on each side to give the necessary fullness. four flowrets are worked over the blue silk, with black purse silk, in raised satin stitch, with a dot in gold thread for the centre. the stems are black and the leaflets gold. the inner border round the oval medallion is worked in gold braid, and the outer one in blue soutache. the network upon the leather is formed of threads of black purse silk, fastened at every crossing with a stitch of gold thread; the outer border round this network is formed entirely of gold braid. on the opposite side of the purse initials may be worked in black and gold, over the blue silk oval medallion. the purse is lined with brown watered silk, and mounted with a clasp of gilt steel. * * * * * 158.--_table-napkin ring_. materials: crimson cashmere; _toile cirée_; 1 reel each of white, black, green, blue, and yellow chinese silk. [illustration: 158.--table-napkin ring] stretch a strip of cashmere of a bright shade of crimson over a piece of _toile cirée_, and work the pattern over it in point russe with fine silk. the outer borders have white and black outlines, and leaflets of green silk. the stars have black and blue outlines, a yellow cross and dots. the figure between the stars is black and yellow. * * * * * 159 _and_ 160.--_knife basket_. materials: grey american cloth; red cloth; black jet beads and bugles; red worsted braid, three-quarters of an inch wide; some strong wire; a cigar-box. [illustration: 159.--knife basket.] this basket is meant for holding dessert knives. it consists of a common cigar-box nine inches and two-fifths long, five inches and four-fifths wide, and two inches and one-fifth high, covered inside and out with grey american cloth, which is ornamented with embroidery worked in appliqué. the seams are made in overcast stitch. the feet consist of four pieces of strong wire three inches and two-fifths long. these pieces of wire are first covered with wool, and then with jet beads; they are then bent into loops, and fastened on at the bottom of the box by means of holes bored into it for that purpose. the feet must be fastened before covering the inside of the box. the inside of the basket is ornamented with an embroidered pattern in appliqué, which must also be worked before covering the box. the leaves are made of red cloth, the stems and veinings of black bugles. no. 160 shows the pattern in full size; the flowers and leaves are edged with light grey purse silk, over which small stitches in black silk are fastened at regular intervals. inside the box fasten a deal board covered on both sides with american cloth, so as to divide the basket into two compartments, and fasten on to this board a handle consisting of a piece of wire seven inches long, wound round with beads. the basket is ornamented with ruches of red worsted braid; between two box pleats of the ruche a black bugle is fastened. [illustration: 160.--knife basket.] * * * * * 161.--_satin stitch embroidery_. materials: purse silk of two colours, in 4 shades of green and 4 shades of red or magenta for the flowers, gold twist. [illustration: 161.--fuchsia spray.] this branch is embroidered with purse silk of the natural colours of the flowers and leaves, or in different shades of one colour, on silk canvas. fuchsia blossoms are here designed, and should be worked in raised embroidery; the stamens to be worked in gold twist. * * * * * 162.--_acacia spray in raised satin stitch embroidery_. materials: four shades of green purse silk for the leaves; 1 skein of brown silk; 3 shades of white or gold silk for the flowers. [illustration: 162.--acacia spray.] this spray of acacia is worked in raised satin stitch embroidery; the flowers should be carefully shaded, and the veinings should be worked before the leaves are embroidered. the flowers may be worked gold colour, or imitate the white acacia blossom. * * * * * [illustration: 163.--tobacco pouch.] [illustration: 164.--tobacco pouch.] 163 _and_ 164.--_tobacco pouch_. materials: fine crimson cloth; bits of coloured and white cloth for the pattern; purse silk of various colours; white kid; brass rings; gimp cord; and silk tassels. this pouch is cut in four pieces, two of which are given in full size; the two others must be worked after the same patterns. these patterns represent the attributes of a lover of tobacco; they are cut out of cloth and worked in appliqué over crimson cloth. in no. 163 the outer chain stitch border is green. the knot from which the different articles are suspended is black, the cigar-case yellow in cloth appliqué, the cigars brown in satin stitch. the case is crossed by two rows of chain stitch in blue silk, and edged all round with button-hole stitch, also blue. the two pipes are of white cloth, edged round with yellow silk; the shade is imitated by long stitches of grey silk. the upper part of the pouch is of blue cloth, with a white silk edging and yellow dots; the under part of brown cloth with a black edging and a pattern worked in chain stitch with white; the three tassels are embroidered with black and yellow silk. in no. 164 the outer border is yellow, the knots black, the small pattern at the top is of blue cloth edged with yellow; the pipes of white cloth edged with blue and shaded with grey. the bundle of cigars is of brown cloth, shaded with black silk stitches, and fastened on with double rows of chain stitch in yellow silk. the cigar-case is of light green cloth, edged with white; the grecian pattern and dots are embroidered over it with white silk also. to make up the pouch, cut out the four pieces and join them together by seams, which are hidden under yellow soutache; cut out also and join in the same way four pieces of white kid for the lining, and fasten it on to the crimson cloth at the top only. sew small brass rings round the top, and pass a double piece of crimson silk cord through them. add silk tassels of various colours at the bottom of the pouch, and at each of its four corners. * * * * * 165.--_insertion_ materials: linen; messrs. walter evans and co.'s embroidery cotton no. 16. [illustration: 165.--insertion.] this strong and simple insertion is useful for petticoat trimmings. it is worked in button-hole stitch; the stems in overcast stitch; the circles can be filled up with lace stitches or with wheels, or the pattern may be worked upon brussels net and the linen cut away. * * * * * 166.--_embroidery pattern for ornamenting needlebooks, workbaskets, &c._ materials: coloured purse silk; silk or cashmere; glacé silk; gold beads. this pattern is worked in french embroidery and point russe, with coloured purse silk on silk or cashmere. the thimble, cotton, and ribbon are worked in appliqué with glacé silk. the colours are chosen according to personal taste. the thimble is ornamented with small gold beads. a bead is placed in the centre of each pair of scissors to imitate the screw. [illustration: 166.--pattern for needlebook, &c.] * * * * * 167.--_embroidery pattern for ornamenting needlebooks, &c._ materials: coloured purse silk; silk or cashmere; beads. the shuttlecocks are worked in raised satin stitch; the feathers in point russe; the battledores in very thickly raised double overcast; the interior is filled with a netting worked in chain stitch or dotted stitch; the flowers are worked in satin stitch and beads; the ribbon is embroidered in appliqué, with a contrasting shade of silk ribbon. [illustration: 167.--pattern for needlebook, &c.] * * * * * 168 _and_ 169.--_travelling bag_ materials: 20 inches of java canvas; single berlin wool of 2 shades of a pretty green; 2 shades of bronze colour and white; floss silk--white, brown, and 2 shades of yellow; purse silk--black, yellow, cerise, blue, and grey; steel beads; brown silk fancy braid. [illustration: 168.--travelling bag.] this pattern is of the ordinary shape of travelling-bags, but it is very prettily worked. besides the engraving showing the bag when completed, the bouquet in the centre in full size is given. this bouquet is also worked upon the java canvas. for each petal the white wool is passed several times from one stitch of the canvas to another till the required thickness is obtained, then 1 stitch is worked at the point with white silk. the centres are filled up in point d'or with 2 shades of yellow silk. the buds are made like the petals, but with 3 stitches of white silk at the point instead of 1. the leaves are worked in 2 shades of green wool with 1 stitch of brown silk in the centre; the stems are embroidered in overcast with light brown wool. the scroll-pattern border round the bouquet is made with brown fancy braid put on with steel beads. [illustration: 169.--bouquet for travelling bag.] the remaining space outside this border is worked in coloured purse silk. the 1st outline of the squares is worked in black silk, by inserting the needle in and out of the stitches of the canvas. when you have worked all the square thus, 12 stitches one from the other, work on either side, at one stitch's distance, the outlines of yellow silk, which are worked in back stitch, two strips of the java canvas being covered by each stitch. next to the inner yellow outline comes a border worked over two strips of the canvas, in slanting stitches; this border is alternately blue in one square and grey in the other. a star is embroidered in point russe in the centre of each square; it is grey in the blue squares and blue in the grey; a steel bead is placed in the middle of each star. the small crosses between the squares are worked in cerise. the outer border of the work is composed of a piece of black soutache, edged with a tiny trefoil pattern in cerise silk. the front and back pieces of the bag are worked in the same manner. the side pieces are made of plain java canvas. the embroidered part measures 14 inches in its widest part, and is 11 inches deep. the bag is lined with light brown silk, and made up with a steel clasp. * * * * * 170.--_embroidery trimming for muslin bodices_. materials: fine muslin; fine black silk; messrs. walter evans and co.'s embroidery cotton no. 24. this pattern is very easily worked, and looks very nice for a trimming. it is worked on fine white muslin; the border is worked in button-hole stitch with white cotton; these scallops are covered with loose button-hole stitch in black silk. the feather-like branches are worked likewise in black silk in herring-bone stitch. the white spots are worked in raised embroidery. the large oval openings through which a narrow ribbon velvet is drawn are worked round with button-hole stitches: [illustration: 170.--trimming for bodices.] * * * * * 171, 172, _and_ 173--_toilet cushion cover in white embroidery_. this handsome embroidery pattern is to be worked on fine muslin; if lined with coloured silk or satin it is very effective. the patterns, which are covered white dots on illustration, are worked in point d'or; the outlines of these patterns are worked in fine double overcast. the flower-leaves and wings of birds, which appear raised on illustration on account of the dark shadows, are worked separately and sewn on at the corresponding places. no. 172 shows the wing of a bird, no. 173 a rose-leaf somewhat increased in size; the former is worked entirely in button-hole stitch, or trimmed with a ruche of coloured ribbon. this pattern may also be worked on glacé silk with purse silk. [illustration: 171.--toilet cushion cover in white embroidery.] [illustration: 172.--wing of bird.] [illustration: 173.--rose leaf.] [illustration: 174.--pattern for glove box.] * * * * * 174 _and_ 175.--_glove box_. materials: 15 inches of french blue cashmere; silks of various colours. a shape in bamboo cane, painted brown and varnished. [illustration: 175.--glove box.] the ornamentation of this box is both novel and tasteful. it is embroidered in coloured silks, upon light blue cashmere. part of the embroidery pattern is given in full size. all the outlines are worked in overcast, the stitches being made rather long and slanting, and the small leaves are each composed of one stitch, as in point russe. the leaves are alternately red and yellow upon a green stem; the scalloped outline which has no leaves is red. the pine patterns are worked in satin stitch--the centre one is green, edged with red; the side ones are pink, edged with red; the small wing-like figures are black, edged with maize; the diamond, maize, edged with black, with an outer rim of maize. in the round pattern the centre is pink; the edge red, with red and yellow leaves; the 3 outer circles are successively white, green, and red; at the top the centre branch is yellow, the leaves red and yellow, the side ones are green, with the leaves pink and green. the strip of embroidered cashmere is lined with blue silk, slipped through the bamboo-canes of the mounting, and joined together at the side by a seam. the cover is lined with plain blue cashmere, upon which initials might be embroidered at discretion. the four corners are ornamented with pretty silk tassels, of colours to match with the embroidery. to fasten the box, sew on a blue ribbon to the cover, and one to the box. * * * * * 176 _and_ 177.--_hanging letter case_. materials: crimson velvet; white satin beads; gold soutache; and fine gold bouillon. no. 176 shows the letter case when completed in a reduced size, no. 177 the principal part of the embroidered pattern in full size. the letter case is composed of two parts. the larger part is 11 inches long, 8 inches wide; it is ornamented on the upper part with a pattern in gold soutache, and the word letters or lettres embroidered in gold bouillon; underneath there is a pattern embroidered in oval white satin beads, edged round with fine white chenille; the scroll pattern is embroidered in gold bouillon. the second part is placed over the lower part of the first, and forms the pocket which contains the letters. the centre flower is composed of 11 oval beads, edged round with white chenille; another white bead is placed in the centre, and edged with gold bouillon. the other flowers are also composed of white satin beads, edged with gold bouillon. [illustration: 176.--hanging letter case.] [illustration: 177.--pattern for embroidered letter case.] * * * * * 178.--_embroidered edging_. materials: muslin; messrs. walter evans and co.'s embroidery cotton no. 24 [illustration: 178.--embroidered edging.] this edging is worked in broderie anglaise or overcast stitch; the edge in scallop button-hole stitch; the ovals and dots in raised satin stitch. the stems are worked in slanting overcast stitch (no. 122, _embroidery instructions_). * * * * * 179.--_border in oriental embroidery_. materials: purse silk of the following shades:--dark red, bright red, 2 shades of green, 2 of blue, 2 of yellow violet. [illustration: 179.--border in oriental embroidery.] the four ovals placed together are worked of four contrasting colours. these ovals are composed of two rows of chain stitch. the outer row of the first oval is dark red, and the inner one bright red. following the same arrangement, the second oval is of two shades of green; the third of two shades of blue; and the fourth of two shades of yellow. the knotted stitch in the centre is violet. the dots outside the ovals are worked in satin stitch, and are alternately red, yellow, violet, and blue. the stems are long stitches of black silk. the arabesque patterns between those formed of four ovals are worked in chain stitch with silk of two shades of brown. the colours of the ovals may be varied as much as you please, but the brown shades of the arabesque patterns should remain the same for the whole of the border. * * * * * 180 _and_ 181.--_embroidery stars_. materials: fine linen; messrs. walter evans and co.'s embroidery cotton no. 40. these stars are designed for medallions, to be worked on linen collars and cuffs. no. 180 is worked in successive rows of back-stitching, round an open wheel; ladder stitch (see no. 81, _embroidery instructions_) is worked round this, and a raised scallop in button-hole stitch forms the edge. [illustration: 180.--embroidery star.] * * * * * [illustration: 181.--embroidery star.] no. 181 is worked in raised satin stitch; the interior of the star is filled with lace wheels. * * * * * 182 _and_ 183.--_key bag_. materials: grey kid; grey silk; steel-coloured glacé silk; purse silk of 5 shades of blue-green, 4 shades of brown, and silver-grey, scarlet, and white; grey silk cord; grey glacé silk ribbon. this bag is made of grey kid, and lined with grey silk. the embroidery imitates on one side a key formed of poppies, leaves, and stems, in the upper part of which sits an owl, "the [illustration: 182.--key bag.] [illustration: 183.--key bag.] bird of night." the poppies are worked with blue-green purse silk in 5 shades; the plumage of the owl is worked with brown silk of 4 shades in satin stitch, the colours blending one into the other, as can be clearly seen in illustration no. 182. the eyes of the owl are embroidered in scarlet and white silk. illustration no. 183 shows the other side of the bag, which is ornamented with steel-coloured silk appliqué figures, in the form of a gothic lock. they are edged with fine grey silk cord. the screws of the lock are imitated in satin stitch embroidery with silver-grey silk. after having lined each part, join the two halves of the bag with a border of grey glacé silk ribbon, which must, of course, continue round the revers. the bag is fastened by means of a loop and steel button. * * * * * 184 _and_ 185--_embroidery patterns for trimming cravats, bodices, morning caps, &c._ [illustration: 184--embroidery pattern for cravats, &c.] materials: muslin or cambric; messrs. walter evans and co.'s no. 24 for lingerie, no. 12 for couvrettes. these patterns, worked on muslin or cambric, are suitable for trimming various articles of lingerie; joined on to other squares they make pretty covers. they can also be embroidered with coloured silk, wool, or thread, on cloth, rep, or cashmere, for trimming couvrettes and toilet pincushions. the patterns should be embroidered in satin stitch and edged with chain stitch; they can also be worked in button-hole stitch. when the pattern is worked on woollen material this material must be cut away inside the leaves and spots. [illustration: 185.--embroidery pattern for cravats, &c.] * * * * * 186 _and_ 187.--_pen-wiper in cloth appliqué_. materials: 4 circles of black cloth; 1 large white, 4 small white, and 4 red circles of cloth; 4 white and 4 red stars of cloth; small black beads; gold and black purse silk; small ivory handle or figure. this pretty little pen-wiper is covered with small circles of cloth. no. 187 is one of these circles seen in full size. there are 4 white and 4 red ones, and they are pinked out round the edge. in the centre of each red circle place a white, and in the centre of each white circle a red star, and work a cross over it with small round black beads. the border, in herring-bone stitch, is worked with gold-coloured purse silk on the red, and with black on the white cloth. the centre of the pen-wiper is covered with a circle of white cloth larger than the side ones, worked in point russe and point mexico in black silk. when all the circles are prepared, sew them neatly on to a round piece of red cloth, placing alternately 1 white and 1 red, so as to overlap one another, and between each a circle of black cloth, also pinked out round the edge. the work is then fastened upon a round of cardboard lined with black glazed calico, and a [illustration: 186.--pen-wiper in embroidery.] small handle of carved ivory, or an ivory figure, is fixed in the centre. the circles of black cloth are used to wipe the pens. [illustration: 187.--full-sized circle for pen-wiper.] * * * * * 188.--_insertion_. materials: fine muslin; messrs. walter evans and co.'s embroidery cotton no. 30. [illustration: 188.--insertion.] the flowers of this insertion are embroidered in raised satin stitch round an open eyelet hole, worked in overcast stitch the stars are worked in point russe stitch; the four eyelet holes which surround each flower, in overcast stitch; and the edge is finished with a row of hem-stitching on each side. * * * * * 189.--_insertion_. materials: fine muslin; messrs. walter evans and co.'s embroidery cotton no. 24. this insertion is entirely embroidered in raised satin stitch; the dots and stems should be worked first, and the leaves afterwards. it is edged on both sides with a row of hem-stitching. [illustration: 189.--insertion.] * * * * * 190.--_cigar case_. materials: russia leather; fine silk cord; black purse silk; gold thread. the material of this cigar case should be finely-embossed light brown russia leather; the centre pattern to be embroidered in well-raised satin stitch with black purse silk. all the lighter outlines shown in the illustration are worked in gold thread. the border to be worked in fine silk cord of the same colour as the leather, with a network of black purse silk, stitched with gold at all the crossings. on the opposite side of the cigar case [illustration: 190--cigar case.] initials may be worked. the lining of light brown watered silk, or fine leather, and the mountings gilt or steel. * * * * * 191.--_wicker waste paper basket_. materials: basket and stand; coloured berlin wools; cloth fringe; and glazed calico. [illustration: 191.--waste paper basket.] the basket may be of any size, but of the shape of the pattern. it rests upon two brass hooks fastened upon a stand. this stand can be made by any joiner, and should match the furniture of the room. the trimming consists of an embroidered border, lined with glazed calico, and put on round the edge; the lower part of the border is trimmed with a woollen fringe. the shades selected should correspond with the prevailing colour of the room. * * * * * [illustration: 192.--insertion.] 192.--_insertion_. materials: messrs. walter evans and co.'s embroidery cotton no. 16. the edge of this insertion is worked in raised button-hole stitch, and embroidered in sharply-pointed scallops; the dotted line is worked in raised satin stitch, as are also the flowers which compose the centre wreath; the eyelet holes are worked in overcast stitch. * * * * * [illustration: 193.--embroidered linen collar.] 193 _and_ 194.--_embroidered linen collars_. materials: double linen; messrs. walter evans and co.'s embroidery cotton no. 40. these patterns are to be worked on linen taken double. no. 194 is worked in button-hole, satin, and knotted stitch (see nos. 81, 82, 76, and 73 of _embroidery instructions_), and point d'or with white cotton, and point russe with black silk. no. 193 is worked entirely with white cotton in button-hole, satin, knotted ladder, and overcast stitch. (see nos. 82, 76, 73, 81, and 68 of _embroidery instructions_.) [illustration: 194.--embroidered linen collar.] * * * * * [illustration: 195--what-not in the shape of a hammock.] 195 _and_ 196.--_what-not_. materials: fine canvas; 3 shades of violet floss silk; 4 shades of green floss silk; sea-green wool, or floss silk; 1 skein of yellow floss silk; green chenille; cord and tassels. [illustration: 196.--pattern for what-not (full size).] this small what-not or jewel-stand is very elegant. it is meant to place upon the toilet-table. no. 195 shows the hammock when completed, no. 196 one-half of the embroidery pattern in full size; it is worked upon fine canvas. the violets are in floss silk of three shades of violet, with a raised spot worked in yellow silk in the centre, the leaves are worked in berlin wool of various shades of green, and the stems in overcast of a light green shade. the pattern is grounded in tent stitch with sea-green silk. the hammock is composed of two sides and an under-piece cut out in cardboard, covered with the embroidered canvas outside, lined and quilted with plain green silk inside. it is edged round the top with green chenille. the mounting is composed of bamboo-canes; the hammock is fastened on to it with green silk cord, finished off with tassels. * * * * * 197.--_embroidered handkerchief_. materials: grass lawn or french cambric; messrs. walter evans and co.'s embroidery cotton no. 40. this embroidery pattern is worked between the borders of a handkerchief, which may be either of french cambric or grass lawn. the design is simple, but effective, and very easy to work. if worked on fine french cambric, the handkerchief should be lightly tacked upon _toile cirée_. the rows of raised dots should be worked first, and then the graceful branches of pointed leaves in satin stitch. the plain round dots might be worked in bright red marking cotton in either of the patterns. to produce a good effect, rather fine cotton must be selected, and no. 40 will be found very effective on either lawn or cambric. for mourning wear, this pattern should be embroidered with black filoselle, or the leaves can be worked in white cotton, and the dots in filoselle. [illustration: 197.--handkerchief border.] * * * * * 198 _and_ 199.--_two medallions for a purse in embroidery_. materials: light brown russia leather; black, scarlet, and gold silk; steel or gold clasp. these medallions are intended to ornament a small purse, but may be employed on a variety of articles. [illustration: 198.--medallion for a purse in embroidery.] [illustration: 199.--medallion for a purse in embroidery.] the raised spots of no. 198 should be worked in black silk, in satin stitch, the branched sprays in point russe in scarlet and gold, the four largest being in scarlet and the intermediate sprays in gold silk. medallion no. 199 is worked entirely in point russe, and may be embroidered in one colour, or in alternate branches of scarlet and gold, or scarlet and black. * * * * * 200.--_work-bag_. materials: drab cloth; small pieces of cloth of different colours; embroidery silk of different colours; scarlet satin; red silk braid; red cord; cardboard; cotton wool; and a strap of light-coloured leather. [illustration: 200.--work bag.] this work-bag is made in the shape of a rolled-up plaid. the outside consists of drab cloth, trimmed with appliqué embroidery. the inside of the bag is slightly wadded and lined with red satin, which is quilted in diamonds. the seams are covered with red braid, and a leather strap completes the whole. cut out a good pattern in paper, and then cut the satin and wadding and the drab cloth which forms the outside. after having traced the pattern on the cloth, work it with small pieces of coloured cloth in appliqué embroidery. the different figures are sewn over the centre partly in point russe, partly in button-hole stitches, with embroidery silk. the stems in the middle are worked with silk in chain stitches. the colours may be chosen according to taste. cut a pattern in cardboard, and fasten the drab cloth on it. the edge must be bordered with red satin, and the satin lining must be sewed in. the ends of the bag are likewise cut out of cardboard; the inside is wadded and lined with red satin; the outside worked in appliqué embroidery like the rest of the bag. all the seams are covered with red silk cord. the straps are fastened with a few stitches, as seen in the illustration. * * * * * 201 _to_ 203.--_pattern for braces_. materials: java canvas; black silk; red wool; calico. [illustration: 201.--pattern for braces (full size).] these braces are made of java canvas lined with calico ornamented with embroidery in black silk and red wool, and edged on either side with loose button-hole stitch and crochet vandykes in red wool. illustration 201 shows part of the embroidered braces, full size. work first the embroidery of the braces, then line them with calico; work loose button-hole stitch and crochet vandykes on all the edges of the cross bands as well as at the top and bottom of these strips, and sew on the tabs for the braces between the lining and the canvas. the latter are then edged with button-hole stitch and crochet-vandykes. the vandykes are worked as follow--in one row: 1 double in 1 button-hole stitch, * 1 purl (3 chain, 1 double in the 1st), missing the next button-hole stitch under it; 1 double in the following button-hole stitch, repeat from *. the tabs are made of tape worked round with red button-hole stitch, with button-holes worked with red cotton. no. 203 shows another [illustration: 102.--embroidered braces.] way of working these braces on fine ribbed piqué. work any berlin wool work pattern in the common cross stitch over the ribs of the piqué. for the vandyke border work in every other button-hole stitch, 2 double divided by 3 chain stitches. [illustration: 203.--pattern for braces (full size).] * * * * * 204.--_embroidery border for a reading-desk_. materials: white silk rep; black velvet, rep, or cloth; gold and silver brocade; gold and silver braid; silk cord and thread. this pattern is embroidered on white silk rep with silver and gold thread, and sewn on over a black velvet, rep, or cloth centre. the dark patterns are worked in appliqué with black velvet, the two other shades in gold and silver brocade. the embroidery is worked in satin stitch with gold and silver braid, silk and cord of the same material. the border can also be worked upon the material for the centre if it is not intended to contrast with it. the pattern can also be worked entirely in silk with satin stitch. the size of the border may, of course, be increased if desired, but the third pattern in the darkest shade must, in any case, form the centre of it. [illustration: 204.--embroidery border for a reading desk.] * * * * * [illustration: 205.--lappet or sash end in venetian embroidery.] 205.--_lappet or sash end in venetian embroidery._ materials: messrs. walter evans and co.'s embroidery cotton no. 6 and no. 12; net and muslin. the pattern must first be traced on muslin, which is then tacked over net. the outlines are worked in button-hole stitch, and the veinings are sewn over, using the coarse cotton for tracing; the muslin is then cut away all round the pattern. * * * * * 206.--_venetian border._ materials: messrs. walter evans and co.'s embroidery cotton no. 12 and no. 16; net and muslin. [illustration: 206.--venetian border.] this design is elegant and effective, without there being a great deal of work in it. it is useful for tuckers for evening dresses or handkerchief borders. the muslin is laid over the net, sewn neatly over, and then cut away between the pattern, leaving the net for the ground work. [illustration: 207.--lace insertion.] * * * * * _207.--lace insertion._ materials: fine black sewing silk; black brussels net. this lace insertion is first outlined in running stitch upon the net; the leaves are then darned across the net holes; the stems are worked in overcast stitch; the dots are embroidered by darning across the circle previously outlined; the lace stitches in the centre are formed by gently enlarging the net holes with a fine stiletto, and then sewn lightly round, the remaining holes being filled with lace stitches consisting of fine button-hole stitches, very evenly worked over the entire space surrounding the open holes. to be effective the very finest black silk should be employed. this pattern may be worked in appliqué by placing muslin over net, sewing all the outlines in fine overcast stitch, and when finished, carefully cutting away the muslin. * * * * * 208 _and_ 209.--_slipper on java canvas._ materials: light brown java canvas; green silk; green filoselle and purse silk; green silk ribbon three-fifths of an inch wide; some wadding; 2 cork soles. [illustration: 208.--slipper on java canvas.] this slipper is very pretty, and easy to work. it is made of light brown java canvas, and embroidered in point russe with green filoselle. it is lined with green silk, and slightly quilted. the soles are of cork. the slipper is trimmed all round with a ruche of green silk ribbon three-fifths of an inch wide, pleated in double box pleats. the heel is turned down inside. no. 209 shows the pattern of the point russe stitch nearly full size. [illustration: 209.--point russe stitch for slipper (no. 208)] * * * * * 210 _and_ 211.--_medallions in point russe_. materials: coloured filoselle, cloth, velvet, cashmere, or silk. these medallions can be alternated for ornamenting small covers, cushions, borders, &c. they are worked with coloured filoselle in point russe, herring-bone stitch, coral stitch, and knotted stitch, on cloth, velvet, cashmere, or silk. the middle oval of both medallions contrasts with the colour of the ground, and must therefore be worked in appliqué on the latter with herring-bone stitch, before working the outer border. the wreath on no. 211 is worked in coral stitch; the knots, which imitate small blossoms, in knotted stitch. the choice of colours is left to the personal taste of the worker. [illustration: 210.--medallion in point russe.] [illustration: 211.--medallion in point russe.] * * * * * 212.--_butterfly for handkerchief corner_. materials: french lawn or cambric; fine black silk. this butterfly is worked in the finest black silk procurable, in order more closely to imitate etching. it is worked in point russe and scallop stitch; the dark shaded scallops are worked in button-hole scallop stitch, the stitches being taken very closely together, but not raised by the usual method of placing chain stitches beneath the button-hole stitches. the outlines and flowers are worked in point russe, the dot in knotted stitch (see no. 73, _embroidery instructions_.) [illustration: 212.--butterfly for handkerchief corner.] the initials are embroidered in raised slanting overcast stitch, and should be worked with great regularity. * * * * * 213 _to_ 215.--_pattern for a couvrette in appliqué_. (_see pages 576-7_.) materials: messrs. walter evans and co.'s embroidery cotton nos. 24 and 30; cambric muslin; brussels net; flesh-coloured silk; sewing silk of the same shade; 1 skein of a darker shade; blue silk; brown silk; gold thread. this style of work is most effective for couvrettes or bed covers. it is worked in cambric muslin and silk, over brussels net. the arabesque patterns are worked in cambric muslin, the outlines are embroidered in overcast, and the material is cut away all round. the medallions are made of blue silk; the figures upon them are cut out of flesh-coloured silk, and are gummed first upon tissue-paper, then upon the blue silk; the figures are further fastened upon the medallions in overcast stitch with fine silk of a rather darker shade of flesh-colour. the scarfs are cut out of bright rose-coloured silk; the quiver and arrows and all the other attributes are worked in gold thread; the hair in fine brown silk. the edge of the blue silk medallions is worked round in button-hole stitch, but so as to be easily unripped when the couvrette has to be cleaned. a border in open ladder stitch is worked round them (see no. 81, _embroidery instructions_). the openings in the centre pattern are also filled in with lace stitches. * * * * * crochet instructions. [illustration: a crochet-needle] cotton or thread, wool or silk, with a crochet-needle, are the materials required for working crochet. the needle, whether it be steel or bone, must be smoothly polished. the long wooden and bone crochet-needles are used for wool; for cotton and silk work short steel needles screwed into a bone handle are best. the beauty of the crochet-work depends upon the regularity of the stitches, as is the case with every other style of needlework. the stitches must be elastic, but if too loose they look as bad as if too tight. the size of the needle and that of the cotton or wool must correspond; work only with the point of the needle, and never move the stitch up and down the needle. the cotton with which you work must be of the very best quality; for borders, insertions, rosettes, imitation of guipure, use evans's crochet cotton; for couvrettes, counterpanes, covers, &c., use knitting-cotton. all crochet-work patterns are begun on a foundation chain; there are three kinds of foundation chains--the plain foundation, the double foundation, and the purl foundation chain. the plain foundation chain consists of chain stitches. [illustration: 216.--plain foundation chain.] illustration 216.--form a loop with the cotton or other material with which you work, take it on the needle, and hold the cotton as for knitting on the forefinger and other fingers of the left hand. the crochet-needle is held in the right hand between the thumb and forefinger, as you hold a pen in writing; hold the end of the cotton of the loop between the thumb and forefinger of the left hand, wind the cotton once round the needle by drawing the needle underneath the cotton from left to right, catch the cotton with the hook of the needle and draw it as a loop through the loop already on the needle, which is cast off the needle by this means and forms one chain stitch. the drawing the cotton through the loop is repeated until the foundation chain has acquired sufficient length. when enough chain stitches have been made, take the foundation chain between the thumb and forefinger of the left hand, so that these fingers are always close to and under the hook of the needle. each stitch must be loose enough to let the hook of the needle pass easily through. all foundation chains are begun with a loop. [illustration: 217.--double foundation chain.] illustration 217 (_the double foundation chain_).--crochet 2 chain stitches, insert the needle downwards into the left side of the 1st chain stitch, throw the cotton forward, draw it out as a loop, wind the cotton again round the needle and draw it through the two loops on the needle, * draw the cotton as a loop through the left side of the last stitch (see illustration), wind the cotton round the needle, and draw it through both loops on the needle. repeat from * till the foundation chain is long enough. [illustration: 218.--purl foundation chain.] illustration 218 (_purl foundation chain_).--* crochet 4 chain stitch, then 1 treble stitch--that is, wind the cotton round the needle, insert the needle downwards into the left side of the 1st of the 4 chain stitches, wind the cotton round the needle, draw it through the stitch, wind the cotton again round the needle, and at the same time draw the cotton through the last loop and through the stitch formed by winding the cotton round the needle. wind the cotton once more round the needle, and draw it through the 2 remaining loops on the needle. the 4 chain stitches form a kind of scallop or purl. repeat from *. the following crochet stitches require foundation chains like nos. 216 and 217; they are all worked in separate rows excepting the two nos. 222 and 234. make a loop at the beginning of every row, as has been described (no. 216), and take it on the needle. [illustration: 219.--slip stitch.] illustration 219 (_slip stitch_).--draw the needle through the back part of a foundation chain stitch, or in the course of the work through the back part of a stitch of the preceding row, wind the cotton round the needle, and draw it through the stitch and loop on the needle. the illustration shows a number of slip stitches, the last of which is left quite loose; the arrow marks the place where the needle is to be inserted for the next stitch. [illustration: 220.--double stitch.] illustration 220 (_double stitch_).--these are worked nearly like the preceding ones. draw the cotton as a loop through the back part of a stitch, wind the cotton round the needle, and draw it through the two loops on the needle. [illustration: 221.--double stitch.] illustration 221.--these double stitches are worked nearly like the preceding ones; the 1st row is worked like that of no. 220; in the following ones insert the needle into the two upper sides of a stitch of the preceding row. [illustration: 222.--ribbed stitch.] illustration 222 (_the ribbed stitch_).--this stitch is worked backwards and forwards--that is, the right and wrong sides are worked together, which forms the raised ribs. insert the needle always into the back part of every stitch. work 1 chain stitch at the end of every row, which is not worked, however, in the following row. [illustration: 223.--slanting stitch.] illustration 223 (_slanting stitch, double stitch_).--this stitch is worked like that described in no. 220; the cotton is not wound round the needle the first time in the usual manner, but the needle is placed in the direction of the arrow, above the cotton. draw the cotton through as a loop; the stitch is finished like the common double stitch. [illustration: 224.--cross stitch.] illustration 224 (_cross stitch_).--this stitch is worked like no. 223 on a foundation like no. 217, only insert the needle through the two upper sides of a stitch. [illustration 225:--long double stitch.] illustration 225 (_long double_).--for this stitch wind the cotton round the needle, insert it into the back part of a stitch, draw the cotton out as a loop, wind the cotton again round the needle, and cast off together the two loops and the loop formed by winding the cotton round the needle. [illustration 226.--treble stitch.] illustration 226 (_treble stitch_).--these stitches are worked as has been described for the purl foundation chain, no. 218. the treble stitches are worked on a foundation chain or in the stitches of the preceding row. illustration 227 (_long treble_).--these are worked like treble stitches, only the cotton is wound twice round the needle; the double long treble (illustration 228) is worked by winding the cotton three times round the needle. the loops formed by winding the cotton round the needle are cast off one by one with one of the loops on the needle. the two loops that remain at the end are cast off together after winding the cotton round the needle. [illustration: 227.--long treble stitch.] [illustration: 228.--double long treble stitch.] [illustration: 229.--cross treble stitch.] [illustration: 230.--cross treble stitch.] illustration 229-231 (_cross treble_).--illustration 229 shows this stitch completed; illustrations 230 and 231 show them in the course of the work. wind the cotton twice round the needle as for a long treble, insert the needle into the stitch in which the first half of the cross treble is to be worked, wind the cotton round the needle, draw the cotton through as a loop, wind the cotton again round the needle and cast off together with the same the loop on the needle and the loop formed by throwing the cotton forward; you have now 3 loops left on the needle, 1 of which has been formed by winding the cotton round the needle; missing these, wind the cotton again round the needle, miss the 2 next stitches of the foundation chain, and draw a loop through the third stitch. you have now 5 loops on the needle. always cast off 2 loops at a time till only 1 loop remains on the needle. work 2 chain stitches (if you wish to have the stitches more or less) slanting, work 1, 2, or 3 chain stitches, missing, of course, the same number of foundation chain, work 1 treble stitch, inserting the needle, as shown by the arrow on no. 231, into the 2 cross chain of the completed treble stitch. [illustration: 231.--cross treble stitch.] [illustration: 232.--raised spots.] illustration 232 (_raised spots_).--the grounding on which these spots are worked consists of double crochet. they are worked across 3 rows of the ground, and formed of treble stitches, the spots of one row being placed between those of the preceding. work first 2 rows of double stitch, in the 3rd row work first 2 double stitches and then 1 spot as follows:--1 treble, inserting the needle into both sides of 1 stitch of the first row (the preceding row is missed); the treble stitch is only completed so far that 2 loops remain on the needle; then work 2 treble stitches in the same stitch as the first, which are also only completed as far as the first treble stitch, so that after the 2nd treble there remain 3 loops and after the 3rd 4 loops on the needle (see illustration). the 4 loops are cast off together by winding the cotton once more round the needle and drawing it through. miss under the spot the next double stitch of the preceding row; the spots are repeated at intervals of 5 stitches and in every other row. [illustration: 233.--hollow spots.] illustration 233 (_hollow spots_).--the ground is worked in double crochet (illustration 220). these spots, which appear raised, consist of 5 treble stitches; they are worked in every other row at intervals of 5 stitches. for working them leave 1 loop on the needle, insert the needle between the 2 long sides of the last-worked double stitch, and work 5 treble stitches, always inserting the needle into the front part of 1 stitch of the preceding row. the first 4 treble are completed entirely without taking up the loop which was on the needle; with the fifth treble stitch only the 3 loops are cast off together by winding the cotton round the needle. miss 1 stitch of the preceding row under the spot. [illustration: 234.--open-work spots.] illustration 234 (_open-work spots_).--these spots are treble stitches divided by 2 chain; miss 2 stitches under the latter; for the rest, they are worked like the raised spots (illustration 232). [illustration: 235.--raised treble stitch.] illustration 235 (_raised treble stitch_).--these stitches are long treble worked on a ribbed ground (illustration 222), and are thrown across 3 rows of the same. the raised treble are always worked on the same side of the work and in the long side of the corresponding stitch of the last row but two. after every row with treble stitch comes a row in ribbed stitch. at the beginning work 3 rows of ribbed stitch; the treble stitches begin only in the 4th row. [illustration: 236.--purl stitch.] illustration 236 (_purl stitch_).--these purl stitches imitate a lace edging perfectly well. work 1 double, draw out the loop to a certain length (this forms the purl), take the needle out of it, insert it in the front part of the last stitch which has been worked (see illustration), wind the cotton round the needle and draw it through as a loop; 1 double, 1 purl, and so on. [illustration: 237.--purl stitch.] illustration 237 (_purl stitch turned upwards_).--work 1 treble, then 7 chain stitch. insert the needle into the 2nd of the 7 chain stitch downwards, so that the chain stitches form a scallop upwards (see illustration), wind the cotton round the needle and draw the cotton through; work 1 chain stitch and 1 treble in the next stitch but 3, missing 3 stitches under it. [illustration: 238.--purl stitch.] illustration 238 (_purl stitch turned downwards_).--the chain stitches form a scallop turned downwards. after having worked the 7 chain stitches take the needle out of the loop, insert it underneath the upper chain of the 2nd chain stitch, from right to left, and draw it through the loop in the direction of the arrow. wind the cotton round the needle and cast all the loops off together. it is evident that the purl stitches may be worked at larger or smaller distances. * * * * * crochet patterns. 239.--_small crochet basket_. materials: 2 balls of closely-covered white and silver, and 1 ball of pink and silver twine; a crochet needle. [illustration: 239.--small crochet basket.] for the bottom: make a chain of 4 stitches and unite it, work 3 long, 3 chain, and repeat three times more. 2nd round: work 3 long into the 1st 3 chain, make 3 chain, work 3 long into the next 3 chain, make 3 chain, work 3 long into the same place, make 3 chain, and repeat. 3rd round: 3 long, 3 chain, working twice into the 3 chain of last round. 4th round: 3 long, 3 chain, increasing in every other 3rd chain by working twice into it. 5th round: increasing in every 3rd chain, repeat. for the leaves: make a chain of 32 stitches, then work a row of 1 long stitch and 1 chain stitch with the silver twine. 2nd round: work 1 long stitch into each chain stitch in 1st row, make 1 chain stitch, repeat. (at the point, make 4 long, with a chain stitch between each), repeat on the other side of the chain, 1 long stitch and 1 chain stitch alternately. 3rd round: with pink: work over a wire in double crochet 1 stitch into each loop, work 15 more leaves in the same way, join each leaf half way, then sew it to the centre, work a row of double crochet 1 yard in length, and twist it for the handle. this should also be crocheted over wire. * * * * * 240 to 243.--_couvrette in crochet_. materials: messrs. walter evans and co.'s boar's head cotton no. 10, and steel crochet needle. this very pretty pattern is composed of separate circles representing dahlias in raised work upon an open centre. no. 242 shows one of these large circles in full size, no. 241 one of the small circles placed in the spaces between the larger ones, no. 243 part of the border, and no. 240 the couvrette when completed, but in reduced size. for each large circle make a chain of 20 stitches, and join it into a circle. 1st round: 30 stitches of double crochet over the circle of chain stitches. 2nd round: 36 stitches of double crochet. 3rd round: 1 double, 5 chain, miss 1. 4th round: [illustration: 240.--couvrette in crochet.] the same as the preceding--the 1 double always on the 3rd chain. 5th round: close double crochet; 3 stitches in 1 in the centre stitch of each loop. 6th to 12th round: the same as the 5th, close double crochet, increasing in the centre of each small scallop, which forms the 18 raised petals of the dahlia. 13th round: here begins the open-work border round the dahlia. work 1 double between 2 petals, taking together the 2 centre stitches, 1 double in the next, 5 chain. there will be 18 loops of 5 chain in the round. 14th to 17th round: 1 double in centre of each loop, 5 chain between. 18th round: 1 double in centre of 1st loop, 4 chain, 1 treble in next loop; in the top of this treble stitch work 3 double, with 3 chain between each; make 4 chain. repeat the same all round, and the large circle is completed. six of these are required. [illustration: 241.--showing one of the small circles full size of no. 240.] for each small circle make a chain of 10 stitches, and join it into a round. 1st round: 16 stitches of close double crochet. 2nd round: 1 treble, 3 chain, miss 1, 8 times. 3rd round: 9 treble over each loop of chain, 1 double between. this completes 1 of the 6 small circles placed round the large ones in the centre of the couvrette. the 6 that are placed between the 5 other large circles have 1 more round, which is worked as follows:--1 treble in the centre of 1 scallop in the top of this treble stitch, 3 double, with 3 chain between each, 6 chain. repeat the same all round. [illustration: 242.--showing one of the large circles full size of no. 240.] when all the circles are completed, join them together, as seen in illustration 217, and work the border as follows:-1st round: 1 treble in one of the trefoil branches of a small circle, 8 chain, 1 treble in next trefoil, 8 chain, 1 treble in 3rd trefoil, 8 chain, 1 long treble in 4th trefoil, 10 chain, 1 long treble in 1 trefoil of a large circle, 1 treble in each of the 4 next trefoils of the large circle, 8 chain between each 8 chain, 1 long treble in the last trefoil of the large circle,10 chain. repeat all round. 2nd round: 2 treble, with 1 chain between, in first stitch of last round, * 4 chain, miss 5, 2 treble with 1 chain between next stitch. repeat from *. 3rd and 4th rounds: the same as the 2nd. the 2 treble always in 1 chain. 5th round: in each 1 chain, 4 treble, with 1 chain between the 2nd and 3rd, 4 chain after the 4 treble. the same all round. 6th round: the same as the 5th. 7th round: 1 treble in 1 chain, 1 trefoil in the top of the treble, 6 chain. repeat the same all round, which completes the couvrette. [illustration: 243.--border for couvrette.] * * * * * 244.--_star in crochet_. materials: messrs. walter evans and co.'s crochet cotton no. 80, or with no. 8 or 10 for couvrettes. a number of these stars joined together will make very pretty strips of insertion. for this purpose they should be worked with fine cotton. they may also be used for trimming collars, cuffs, and cravats, the material being cut away underneath. if worked with crochet cotton no. 8 or 10, they will make nice couvrettes, bed-quilts, &c. [illustration: 244.--star in crochet.] the star is begun by the outer circle. make a chain of 70 stitches, and join it into a circle. * make 10 chain, miss 3, work 1 extra long treble, 1 treble, and 1 double, inserting the needle under the chain, then 1 double worked as usual, 1 long double, 2 extra long double, miss 4, and work 1 double, inserting the needle _under_ the 5th. repeat 13 times from * fasten off, and for the centre of the star work as follows:-1st round: * 10 chain, turn, miss 1 and work 1 double in the next 7 chain, 1 double in the 1st of the 10 chain, thus forming 1 loop. repeat from * 5 times more. 2nd round: 12 double on the first loop of chain of the first branch, 1 double in the centre of the branch, 2 chain; slip the stitch which is upon the needle in one of the stitches of the foundation chain of the outer circle, work 1 double in the first of the 2 chain last made, then 12 double in the remaining loop of chain of the branch, and 1 double at the bottom of the branch. repeat 5 times more from *. the centre star must be joined on to the outer circle at regular distances. * * * * * 245.--_crochet silk bag over rings_. materials: 2 skeins each of black, blue, rose, and drab coarse purse twist; 8 skeins of the spangled silk for the top part of the bag and strings; the tassel for the bottom is made of the silks that are left; rings. work over a ring in double crochet, with black, 48 stitches and fasten off; this is for the centre ring. then with the rose colour take a ring and work 24 stitches in double crochet as before, take a second ring, and work 24 double crochet over it without cutting off the silk, work over 4 more rings in the same manner, then work on the other side of the rings to correspond, join the first and last ring together, and sew in the centre ring; this completes the 1st circle. work 12 more rounds in the same way, 3 rose colour, with drab centre, 3 blue with black, 3 drab with rose centre, 3 black with blue, join 6 circles of the alternate colours to the 1st circle, 1 to each ring, then sew the second ring to the corresponding one of the next circle, till the 6 are united; join the other 6 circles in the following manner: join one ring to the second from the one that was sewed to the 1st circle, join the next ring to the corresponding one of the next circle (which will be the one opposite to the one sewed in the 1st circle), and repeat, joining the other 5 in the same way. [illustration: 245.--crochet silk bag.] for the small diamond make a chain of 5 stitches and unite it, work 4 long stitches into the circle, make 2 chain, work 1 single stitch to the centre of the ring missed in joining the last circle, make 2 chain, work 4 long into the circle, make 2 chain, and work a stitch of single crochet to the centre of the next ring, make 2 chain, work 4 long into the same place, make 5 chain, work 4 long into the same place, make 2 chain, and work a stitch of single crochet to the next ring, make 2 chain, and join it to the first of the long stitches; this completes the diamonds; work 5 more, joining them in the same way, then work over 12 rings, and join one on each side of every diamond; this completes the lower part of the bag. for the top part of the bag work 3 stitches of double crochet to the centre of each ring, make 5 chain, and repeat. 1st round: work 1 long stitch, make 1 chain, miss 1 loop, and repeat. work 12 more rounds in the same way, working the long stitch into the chain stitch of last row. run some cord in the top of the bag to match one of the colours used, and make the tassel for the bottom from the silk that is remaining after working the crochet. * * * * * 246.--_crochet sovereign purse._ materials: 1 skein of black purse silk: 1 skein of coloured ditto; a few steel beads; and a steel clasp. the open portion of this purse is worked in coloured, and the raised rose and outer border in black, silk, the latter being dotted with steel beads. a few rows of plain double crochet are worked, increasing where necessary, to make the work lie flat; then 4 rows of loops of chain in coloured silk, and then 3 rows of thick double crochet, threading the beads first on the silk, and pushing them up to the stitches when required. [illustration: 446.--crochet sovereign purse.] the black silk must now be joined on to the centre, and the little raised piece worked in treble crochet, inserting the hook on the _upper_ side of the stitches. three rounds of treble are executed, and when both sides of the purse are finished they should be joined together (except where the clasp is put on) by a row of open treble, ornamented with beads. this purse is so easy to make, that it might be worked without the least difficulty from the illustration. * * * * * 247.--_stars in crochet_. materials: messrs. walter evans and co.'s crochet cotton no. 8 or 20. this pattern can be used for a couvrette or pincushion cover, according to the size of the cotton with which it is worked. each star is begun in the centre by a chain of 8 stitches. in the 1st stitch work 1 treble, * 4 chain, 1 treble in this same 1st stitch, repeat from * 3 times more, 4 chain, 1 slip stitch in the 4th of the 8 chain. you have thus formed 8 rays, joined to the 1st stitch. now work (without cutting the cotton) the branches, which are begun from the centre. 1st branch.--1st round: 18 chain, 1 treble in the 13th, so as to form a purl with the last 5, 2 chain, 3 treble with 2 chain between, missing 2 stitches under the 2 chain, 2 chain, 1 slip stitch in the last of the 18 chain. 2nd round: 2 double over the 1st 2 chain, 2 double with 1 purl between over the next 2 chain, 2 double over the next 2 chain, 1 purl, 7 double over the next 5 chain; then, on the other side of the branch, 1 purl, 2 double, 1 purl, 2 double, 2 double with 1 purl between, 2 double on the last 2 chain of the branch, 1 slip stitch in the stitch from which the leaf was begun, 5 double over the 4 chain of the circle. here begins the second branch. 1st round of the 2nd leaf: 22 chain, 1 double in the last so as to form a circle. [illustration: 247.--stars in crochet.] 2nd round: 1 double in each of the 10 first chain, in the next stitch work 1 double, 1 chain, 1 double to form the point, 1 double in each of the 10 remaining stitches, 1 slip stitch in the 1st stitch of the 1st round. 3rd round: 3 double, 1 purl, repeat from * twice more, then work in double crochet as far as the point, work 2 double with 1 chain between, then work the 2nd half of the branch the same as the 1st. before beginning the next leaf, work 5 double on the chain stitches of the circle; work 6 branches, repeating alternately the 2 above explained; cut the cotton and fasten it on again to the point of one of the branches, in order to join them together by the two following rounds:-1st round: 1 double in the point of one of the leaves, * 4 chain, 1 purl under the chain; thus make 5 chain, turn the chain with the crochet to the right, insert the needle downwards in the first chain, and make a slip stitch, 4 chain, 1 purl under, 4 chain, 1 purl under, 4 chain, 1 slip stitch in the point of the next leaf, repeat from * five times more. 2nd round: * 4 double over the nearest 4 chain; 1 purl as usual--that is, above the chain--4 double over the next 4 chain. now work 1 trefoil (thus: 1 chain, 1 purl, 1 chain, 1 purl, 1 chain, 1 double in the 1 double coming just before the 3 purl). 1 double on each of the next 4 chain of last round, 1 purl, 5 double, 1 trefoil, repeat five times from *. join the stars by a few stitches, as seen in the illustration. * * * * * 248.--_crochet purse over rings._ materials: 67 rings; 2 skeins each of cerise and black, and 1 of maize coarse purse silk. work in double crochet with maize over one ring 38 stitches; this is the centre ring for the bottom of the purse. [illustration: 248.--crochet purse over rings.] then work with cerise colour over a ring 19 stitches, take another ring and work 19 stitches, repeat this till you have 6 rings, then work round the other half of each ring 19 stitches; and when the 6 are finished, join the first to the last to make a circle; sew the maize ring into the centre of it, then work over 12 rings with black in the same manner, and place them outside the cerise circle. then work over 16 rings with maize colour, and join them beyond the black, but not to lie flat down; they are to stand up to form the sides of the purse. work over 16 rings with cerise, and these you can join one to each of the former rounds in working the second half of the crochet, as it will save the sewing. work over 16 rings in black, and join them in the same manner to the cerise. for the edge, with cerise, work into the centre stitch of the ring a stitch of double crochet, make 5 chain, work into the stitch joining the 8 rings an extra long stitch, make 5 chain, repeat. then work 4 rounds of single open crochet. 6th round: * work a stitch of double crochet and 1 chain alternately, missing 1 loop between each 4 times, then work a long stitch, make 1 chain, work into the next loop 1 long stitch, make 2 chain, work another long stitch into the same place, make 1 chain, work a long stitch into the next loop, repeat from *. 7th round: work into the 2 chain 1 long stitch, make 2 chain, work another long stitch into the same place, * make 1 chain, work a stitch of double crochet into the 1 chain in last round, repeat from * 3 times more, miss the next 1 chain, * work a stitch of double crochet into the next 1 chain, make 1 chain, repeat from * 3 times more, then repeat from the beginning. 8th round: join the black, work into the 2 chain 1 long stitch, make 2 chain, work another long stitch into the same place, make 2 chain, work another long stitch into the same place, make 1 chain, work a 4th long stitch into the same place, * make 1 chain, work a stitch of double crochet into the 1 chain, repeat from * 3 times more, miss the next 2 stitches of double crochet, * work a stitch of double crochet into the 1 chain, make 1 chain, repeat from * 3 times more, then repeat from the beginning. 9th round: work into the 2 chain 1 long stitch, make 2 chain, work another long stitch into the same place, repeat the stitches of double crochet with 1 chain between, as in last round, then repeat from the beginning. 10th and 11th rounds the same as the 9th. add a tassel at the bottom, and strings run into the last row of open crochet complete the purse. * * * * * [illustration: 249.--crochet brioche cushion.] 249.--_crochet brioche cushion_. materials: 10 skeins of 12-thread fleecy, of six shades of red (these should be most of the darker shades); 2 skeins of white ditto; 1 skein of white filoselle. make a chain of 196 stitches with the darkest shade of red wool, and join it into a circle. work 1 round of raised spots thus:--turn the wool 5 times round the needle, insert the needle in 1 chain, and draw it through all the loops, then work 1 slip stitch, insert the needle in the next stitch, work 1 double, and begin a fresh spot. continue in the same way all round. 2nd round: divide the round into 7 parts; work 12 spots with the 3rd shade of red, always working 1 double between each spot, and taking care to place them between those of preceding round: after 12 spots, work 1 double, then 12 more, and so on. 3rd round: 3rd shade of red, 11 spots, 1 double. 4th round: 4th shade, 10 spots, 3 double. 5th round: 5th shade, 9 spots, 5 double. 6th round: same shade, 8 spots, 7 double. 7th round: 5th shade, 7 spots, 9 double. 8th round: same shade, 6 spots, 11 double. 9th round: same shade, 5 spots, 13 double. 10th round: 6th shade, 4 spots, 15 double. 11th round: same shade, 3 spots, 17 double. 12th round: same shade, 2 spots, 19 double. 13th round: same shade, 1 spot, 21 double. the pattern of raised spots being now completed, continue to work with the lightest shade of red in double stitches, decreasing once above each pattern, so as to close up the circle gradually. the white flowers are worked over the plain part of the cushion with white wool, and silk for the petals, and a black dot in the centre. the cushion is stuffed with horsehair and lined with glazed calico. a round of thick pasteboard is stitched in at the bottom, to make it stand firmer. * * * * * _250.--daisy pattern for a crochet couvrette._ materials: for a large couvrette, messrs. walter evans and co.'s boar's head cotton no. 8; for pincushion covers, mats, and such-like small articles, boar's head cotton no. 16 or 20. a pattern of this description is most useful, as it can be converted to so many purposes. counterpanes, couvrettes of every description, mats, pincushions, and a thousand other things can all be arranged from the design. [illustration: 250.--daisy pattern for a crochet couvrette.] each circle is made separately, and joined to the others, as the last row is crocheted. begin in the centre; make 8 chain, insert the needle in the first, and make * a long treble stitch, then make 3 chain, repeat 4 times from *, always inserting the needle in the 1st chain stitch, join the last chain to the 5th of the 1st 8 chain to close the round. 2nd round: work 1 double crochet, * 9 chain, turn, work a slip stitch in each of the 9 chain; work round the stem thus made in close crochet, working 3 stitches in 1 to turn at the point; miss 1 stitch of preceding row, work 2 double crochet, and repeat from * 5 times more, making 6 petals in all. 3rd round: work at the back of the last row, behind the petals; make 1 petal between each petal in last row, 1 double crochet at the back of each, and cut the cotton at the end of the round. 4th round: 2 double crochet at the point of each of the 12 petals, 5 chain between each petal. 5th round: 2 treble, 5 chain, repeat. 6th and last round: 1 double crochet in the centre of the 1st 5 chain, * 5 chain, 1 treble in the centre of the next 5 chain, 5 chain, 1 slip stitch in the top of the treble stitch, 6 chain, 1 slip stitch in the same place, 5 chain, a 3rd slip stitch in the same place, 5 chain, 1 double crochet in the centre of the next 5 chain, repeat from * to the end of the round. there should be 12 trefoil patterns in the round. for the couvrette join the circles together, as shown in illustration, in working the last round. as many circles can be added as may be required for the couvrette. * * * * * 251.--_crochet lace_. materials: messrs. walter evans and co.'s crochet cotton no. 40 or 60. this lace produces a very good effect when worked with fine cotton. make a sufficiently long foundation chain, and work the 1st row entirely in double stitch. 2nd row: * 1 treble in the next stitch, 1 chain, miss 1 stitch under it; repeat from *. 3rd row: 1 long treble in the 3rd stitch of the preceding row, * 3 purl (each consisting of 5 chain, 1 double, in the 1st of the same), 1 long treble in the same stitch of the preceding row, 1 purl, miss 3, 3 double in the 3 following stitches, 1 purl, miss 3 stitches, 1 long treble in the 4th stitch; repeat from *. [illustration: 251.--crochet lace.] 4th row: * 3 double in the middle of the next 3 purl of the preceding row, 1 purl, 2 long treble divided by 3 purl in the middle of the 3 next double in the preceding row, 1 purl; repeat from *. 5th row: * 2 long treble, divided by 3 purl in the middle of the next 3 double of the preceding row, 1 purl, 3 double in the middle of the next 3 purl of the preceding row, 1 purl; repeat from *. repeat the 4th and 5th rows alternately till the border is wide enough. * * * * * 252.--_crochet border_. material: messrs. walter evans and co.'s crochet cotton no. 12, 16, 24, or 40. [illustration: 252.--crochet border.] this border is suitable for a great variety of purposes, according to the size of the cotton employed; in coarse cotton it will make a trimming for couvrettes and berceaunette covers; with fine cotton it can be used for children's clothes, small curtains, &c. make a sufficiently long foundation chain, and work the 1st row: * 2 treble divided by 3 chain in the 1st foundation chain stitch, miss 3; repeat from *. 2nd row: * in the 1st scallop of the preceding row, 1 double, 5 treble, 1 double, then 1 chain, 1 purl (4 chain, 1 slip stitch in the 1st of the four), 1 chain, miss under these the next chain stitch scallop; repeat from *. 3rd row: 1 treble in the chain stitch on either side of the purl in the preceding row, 5 chain. 4th row: * 2 double divided by 7 chain in the two first treble of the preceding row (insert the needle underneath the upper parts of the stitch), 10 chain, 1 slip stitch in the 5th of these 10 stitches so as to form a loop, 4 chain, repeat from *. 5th row: * 1 slip in the middle stitch of the scallop formed by 7 chain in the preceding row, 4 treble, 3 chain, 5 treble, 3 chain, 4 treble, all these 13 stitches in the loop of the preceding row, so as to form a clover-leaf pattern; repeat from *, but fasten the 4th treble with a slip stitch on the 10th treble of the preceding figure. 6th row: in the first and last stitch of the 5 middle treble of the clover-leaf 1 double, 7 chain between, 7th row: * 1 double in the 2nd chain stitch of the scallop which is above the 5 middle treble of the clover-leaf, 2 chain, 1 purl (5 chain, 1 slip stitch in the 1st), 2 chain, 1 double in the next chain stitch of the same scallop, 2 chain, 1 purl, 2 chain, miss one chain of the scallop, 1 double, 2 chain, 1 purl, 2 chain, 1 double in the next chain stitch, 3 chain. 1 double in the middle stitch of the following scallop, 3 chain, repeat from *. * * * * * [illustration: 253.--crochet border.] 253--_crochet border_ materials: messrs. walter evans and co.'s crochet cotton no. 24, 40, or 60, according to the article for which it is required. on a sufficiently long foundation chain work the 1st row: 1 double in each chain stitch. 2nd row: alternately 1 double, 7 chain, miss under the latter 3 stitches of the preceding row. 3rd row: 1 treble in each double of the preceding row, 1 double in the middle stitch of each scallop, 2 chain between. 4th row: 1 double on each double of the preceding row, 1 treble on each treble, 3 chain between. 5th row: 1 double on each treble of the preceding row, 3 chain between. 6th row: 1 double in each stitch of the preceding row. 7th row: * 1 treble in the 1st stitch of the preceding row, 4 chain, miss 1, 3 treble in the following 3 stitches, miss 3 stitches, 3 treble in the following 3 stitches, 4 chain, miss 1 stitch, 1 treble, 3 chain, miss 4; repeat from *. 8th row: repeat regularly 8 treble in the scallop formed of 4 chain in the preceding row, 1 double in the middle of the following 3 chain. 9th row: * 1 double in the 4th treble of the preceding row, 2 treble, 1 long treble in next treble but 2, 2 long treble in each of the 2 following treble, 1 long treble, 2 treble in the next treble, 1 double in the next treble but 2, 3 chain, 1 purl (4 chain, 1 slip), 3 chain stitch; repeat from *. 10th row: * 1 double in the 4th treble of the preceding row, 2 chain, 1 purl, 2 chain, miss 2 under them, 1 double, 2 chain, 1 purl, 2 chain, 1 double in the next chain but 1 of the next scallop, 2 chain, 1 purl, 2 chain, 1 double in the 2 chain stitch after the purl of the preceding row, 2 chain, 1 purl, 2 chain; repeat from *. 11th row: in each scallop of the preceding row 2 double (they must meet on either side of the purl); they are divided alternately by 5 chain, and by a scallop formed of 2 chain, 1 purl, and 2 chain, only in the chain stitch scallops which join the two treble figures work no double, but 2 chain, 1 purl, 2 chain. * * * * * _254 to 257.--wicker arm chair, covered with crochet._ material: berlin wool in two colours. [illustration: 254.--wicker arm chair, covered with crochet.] the seat and back of this arm-chair are covered with two round couvrettes, worked in crochet with berlin wool of two colours. they are fastened on the chair with woollen braid, finishing off with tassels of the same colour. begin each couvrette in the centre with a foundation chain of 6 stitches, with the lightest wool; join them into a circle, and work the 1st round in the following manner:--12 double. 2nd round: * 3 chain, 1 double, in the next stitch of the 1st round, inserting the needle in the upper part of the stitch; repeat from * 11 times more; at the end of this round work 1 slip stitch in the 1st chain of this round. we shall not repeat any more the repetitions from * to the end of the round. 3rd round: * 4 chain, 1 double, in the next scallop of the preceding round; at the end of the round 4 chain. 4th round: 4 double in each scallop of the preceding round. 5th round: begin to work with the darker wool and crochet slip stitch, inserting the needle in the front chain of the stitches of the 4th round. the 6th round is worked once more with light wool, and consists entirely of double stitch, worked by inserting the needle at the back of the stitches of the 4th round, so that the slip stitches appear raised on the right side of the work, and form a round of chain stitches. the middle part of the couvrette is then finished. [illustration: 255.--pattern for arm chair border.] [illustration: 256.--border for arm chair (254).] illustration 257 shows it in full size. 7th round: * 2 chain, missing 1 stitch of the preceding round under them, 1 double. 8th round: * 3 chain, 1 double, in the next scallop of the preceding round. 9th round: 3 double in each scallop. 10th round, like the 5th; 11th round, like the 6th; [illustration: 257.--couvrette for arm chair (254).] 12th, 13th, 14th, 15th, and 16th rounds, like the 7th--11th; 17th--19th rounds like the 7th--9th. 20th round: alternately 1 treble with the light wool, 1 treble with the dark; but every treble stitch must be cast off with the wool of the colour of the next stitch; that is, a light treble stitch with the dark wool, and a dark treble stitch with the light wool. now and then crochet 2 treble stitches in one stitch of the preceding round, so that the couvrette remains perfectly flat. 21st round: 1 double in every stitch. the 22nd--31st rounds consist of a double repetition of the 7th--11th rounds. the 32nd and 33rd rounds are made in open work like the 7th and 8th rounds. the 34th round is worked in treble stitches like the 20th round. then work the outer border. it consists of chain stitch scallops which are worked alternately with dark and light wool. illustration no. 256 shows a part of the border with the treble round in full size. work from it with the light wool 1 double on 1 light treble stitch of the preceding round, 5 chain, 1 double, on the next light treble, throw the wool off the needle and let it hang over the right side of the work; crochet with the dark wool 1 double on the treble stitch between the 2 double of this round, leave the wool on the right side of the work; 5 chain, 1 double, on the next dark treble. take the needle again out of the loop, draw the wool on to the right side, and work the next chain stitch scallop again with the light wool. instead of this border, pattern no. 255 may be worked. it consists of 3 rounds to be worked after the 34th round of the couvrette. 1st round of the border: with dark wool, * 1 double in 1 stitch, of the 34th round; 1 double, 3 treble, 1 double, in the next stitch; repeat from *. 2nd round: with the light wool, * 1 treble, inserting the needle in the next treble stitch of the 34th round, thus working over the double stitch between the spots of the preceding round; 1 chain. 3rd round * 3 double in each chain stitch of the preceding round. to work the 2nd of these 3 double, insert the needle at the same time in the upper part of the middle treble of the 1st round. 4th round: dark wool, * 1 double in each double of the preceding round, miss 1, and work 3 treble in the next stitch but one; the last of these 3 treble is cast off with light wool, miss 1, and continue to work with the light wool 1 double in the next stitch but one, miss 1, 3 treble in the next stitch, cast off the last with the dark wool, miss 1; repeat from *. * * * * * _258 to 260.--crochet insertions._ material: messrs. walter evans and co.'s crochet cotton no. 30, 40, or 60. [illustration: 258.--crochet insertion.] these insertions are worked with crochet cotton of sizes which depend upon the use you wish to make of them. the insertion seen in illustration 258 is worked the long way in 8 rows. make a sufficiently long foundation chain, and work the 1st row as follows:--1 slip stitch in the 1st stitch of the foundation, * 5 chain, miss 3, 1 double in the next stitch but 3, repeat from *. 2nd row: 1 slip stitch in the middle of the 1st 5 chain, * 3 chain, 1 slip stitch in the middle stitch of the next 5 chain, repeat from *. 3rd row: 1 treble in the 1st stitch, * 1 leaf worked as follows: 6 chain, then without noticing the loop left on the needle 1 long treble in the 2nd and 1 in the 1st of the 6 chain; these stitches are not cast off separately, but together with the loop left on the needle. then 5 chain, miss 7, 1 treble in the 8th stitch, repeat from *. 4th row: 1 double in the 1st of the 5 chain, * 8 chain, 1 double in the 1st of the next 5 chain, repeat from *. 5th row: * 1 leaf as in the 3rd row, 1 double in the double stitch of the preceding row, 5 chain, repeat from *. 6th row: 1 treble in the point of the 1st leaf, * 7 chain, 1 treble in the point of the next leaf, repeat from *. 7th and 8th rows: like the 1st and 2nd. [illustration: 259.--crochet insertion.] the insertion seen in illustration 259 is worked in 6 rows, and is begun in the centre on a foundation chain sufficiently long not to be worked too tight. 1st row: 4 double in the 1st 4 stitches, * 4 double divided in the same way on the other side of the foundation chain, inserting the needle in the 1st row into the 2 chain. illustration 260 shows an insertion which imitates darned netting; it is worked on a grounding imitating netting with raised figures. the grounding consists of 9 rows. work on a sufficiently long foundation chain the 1st row as follows: 1 cross treble in the 1st and 3rd stitch, * 2 chain, missing 2 stitches under them, 1 cross treble in the 6th and 8th stitch, repeat from *. 2nd row: 1 double in the 1st stitch, * 9 chain, miss 4 under them, 1 double in the 5th stitch, repeat from *. 3rd to 8th rows: 1 double in the middle stitch of every chain stitch scallop, 4 chain between. 9th row: like the 1st. work from illustration square patterns on this grounding, consisting each of 4 leaves; for these leaves carry on the cotton taken double in double windings from 1 double stitch to another, so as to have 4 threads lying close to each other; darn these as can be seen in illustration, with single cotton. [illustration: 260.--crochet insertion.] * * * * * 261.--_crochet lace_. material: messrs. walter evans and co.'s crochet cotton no. 30. [illustration: 261.--crochet lace.] a particular kind of purl makes this border look very like guipure lace. begin with a foundation chain worked in the following manner:--* 3 chain, the last of them forms 1 purl; this is made by drawing out a long loop on the needle, taking the needle out of the loop, inserting it in the chain stitch before the last one, drawing the cotton through it, and continuing to work so that the loop out of which the needle has been drawn forms 1 purl. all the purl must be equally long; to do this more easily the loop may be kept on the needle till a chain stitch has been worked in that which comes just before the purl, continue the foundation chain, and repeat from *. 1st row: 1 long double in the 1st stitch of the foundation, * 1 chain, 1 slip stitch in the nearest purl of the foundation chain; repeat from *. 2nd row: 1 double in the 1st stitch, * 1 purl, 1 chain, missing 1 stitch under it; 1 slip stitch in the slip stitch of the preceding row; repeat from *. 3rd row: like the 1st. 4th row: 1 double in the 1st stitch, * 1 purl, 5 chain, 1 purl, 1 chain, missing 5 stitches under them; 1 double in the 6th stitch; repeat from *. 5th row: 1 long double in the 1st stitch, 3 chain, 1 purl, 1 chain, * 1 double in the middle of the next 5 chain of the preceding row, 1 purl, 5 chain, 1 purl, 1 chain; repeat from *. 6th to 9th rows: alternately like the 4th and 5th rows. 10th row: 1 double in the 1st stitch, * 6 chain, 1 double long treble (throw the cotton 3 times round the needle) in the 1st of these chain stitches; the stitch is only completed so far as still to leave 2 loops on the needle; 1 double long treble in the same chain stitch. this stitch is cast off so as to leave in all 3 loops, and the cotton over the needle; these loops are cast off together by drawing the cotton once through them. this forms 1 leaf, or one-half of the bell-shaped patterns. 3 purl, 1 chain, 1 leaf like the preceding one, 1 slip stitch in the 1st of the first 6 chain stitches; the other half of the pattern is then completed; 1 purl, 5 chain, 1 purl, 1 chain, 1 double in the middle stitch of the next scallop of the preceding row, 1 purl, 5 chain, 1 purl, 1 chain, 1 double in the middle stitch of the following scallop 11th row: 1 slip stitch in the next purl of the preceding row, 1 purl, 2 chain, 1 slip stitch in the next purl of the preceding row, 1 purl, 2 chain, 1 slip stitch in the following purl, 1 purl (the 3 purl which are worked on the 3 purl of the bell-shaped pattern are made in this row and in the following one as follows:--crochet 1 chain after the slip stitch, leave it for 1 purl, and work the next chain stitch in the slip stitch), 1 purl, 5 chain, 1 purl, 1 chain, 1 double in the middle stitch of the following scallop, 1 purl, 3 chain, 1 purl, 1 chain. 12th row: 3 purl on the next 3 purl of the preceding row, 3 chain between, 1 purl, 3 chain, 1 purl, 1 chain, 1 double in the middle stitch of the next 5 chain stitches, 1 bell-shaped pattern like those of the 10th row, 1 purl, 3 chain, 1 purl, 1 chain. * * * * * crochet d'oyleys in imitation of point lace. 262--_d'oyley no_. 1. material: messrs. walter evans and co.'s boar's head cotton no. 20. pattern no. 1.--make a chain of 8 stitches, unite it. round 1: * 1 double crochet, 9 chain, repeat from * 7 times more, 1 double crochet, unite it to the 1st stitch. round 2: 3 single crochet up the 3 1st of the chain in last row, *, 5 long into the loop of 9 chain, 1 chain, repeat from *. round 3: 1 long into the 1 chain in last round, 9 chain, repeat. round 4: 11 double crochet into the 9 chain in last round, repeat. round 5: 1 double crochet, 5 chain, miss 1 loop, repeat. round 6: 1 double crochet into the 5 chain, 5 chain, repeat. round 7: the same as 6th. no. 2.--make a chain of 6 stitches, and unite it. round 1: * 1 double crochet, 4 chain, repeat from * 5 times more. round 2: into the 4 chain 1 double crochet, 4 long, and 1 double crochet, repeat. round 3: 1 double crochet over the double crochet in 1st round, 6 chain, repeat. round 4: into the 6 chain in last round 1 double crochet, 6 long, 1 double crochet, repeat. round 5: 1 double crochet over the one in 3rd round, 8 chain, repeat. round 6: into the 8 chain 1 double crochet, 8 long, 1 double crochet, repeat. round 7: 1 double crochet over the 1 in 5th round, 10 chain, repeat. round 8: into the 10 chain 1 double crochet, 10 long, 1 double crochet, repeat. round 9: 1 double crochet over the 1 in 7th round, 12 chain, repeat. round 10: into the 12 chain 1 double crochet, 12 long, 1 double crochet, repeat. round 11: 1 double crochet over the 1 in 9th round, 14 chain, repeat. round 12: into the 14 chain 1 double crochet, 14 long, 1 double crochet, repeat. round 13: 1 double crochet over the 1 in 11th round, 14 chain, repeat. work 3 patterns of no. 2 for this d'oyley. no. 3.--make a chain of 12 stitches, and unite it. into the circle 1 double crochet, *, 2 long, 3 chain, repeat from * twice more, 2 double long, 4 chain, 2 double long, * 3 chain, 2 long, repeat from * twice more, 1 double crochet, 7 chain. repeat from the beginning. in working the 2nd pattern, join it to the 1st with the 2nd 3 chain, work 3 leaves in this manner, then make only 3 chain, and work a 4th leaf without joining it to the 3rd, make 3 chain after 4th leaf, and work a stitch of double crochet into last 7 chain, make 3 chain. work a 5th leaf, and join it to the 4th as before, 3 chain, 1 double crochet into the next 7 chain, 3 chain. work a 6th leaf in the same way, and join it; but make no chain stitch after the 6th leaf. work 3 patterns of no. 3 for this d'oyley. no. 4.--the same as no. 3, only work 4 leaves instead of 6, 2 on each side. work 3 patterns of no. 4 for this d'oyley. no. 5.--work the 3 1st leaves of no. 3 this is not repeated in this d'oyley. [illustration: 262.--d'oyley no. 1.] no. 6.--make a chain of 15 stitches, and unite it. work into the circle 1 double crochet, 7 long, 6 double, 6 long, 5 chain, 6 double long, 7 long, 1 double crochet, 7 chain, joining the 7th long stitch to the corresponding stitch in 1st leaf, 3 chain. work the 3rd leaf the same as the 1st without joining it to the 2nd, 3 chain, 1 double crochet into the 7 chain, 3 chain, work a 4th leaf, and join it to the 3rd, 3 chain, and join it to the 1st stitch of double crochet at the beginning of the 1st leaf. this pattern is not repeated in this d'oyley. no. 7.--tie a round of cotton about this size o. round 1: 20 double crochet into the round. round 2: 2 double crochet into successive loops, work 2 into 3rd loop, repeat. round 3: 1 double crochet into every loop. round 4: 1 double crochet, 5 chain, miss 2 loops, repeat. round 5: into the 5 chain in last round 2 long, 5 chain, 2 more long stitches into the same place, 2 chain, repeat. round 6: into the 5 chain 1 double crochet, 6 long, 1 double crochet, 5 chain, repeat. this pattern is not repeated in this d'oyley. no. 8.--make a chain of 10 stitches, and unite it. round i: 28 double long into the circle. round 2: 2 double crochet between each long in last round. round 3: 1 long, 2 chain, miss 1 loop, repeat. round 4: 3 long into the 2 chain, 1 chain, repeat. round 5: 1 double crochet into the 1 chain in last round, 5 chain, repeat. this pattern is not repeated in this d'oyley. no. 9.--1st row: make a chain of 30 stitches, work 1 long stitch into the 6th, *, 3 chain stitches, miss 3 loops, 1 long into the next, repeat from * to the end of the row. 2nd row: 11 chain, *, 1 double crochet on the other side of the chain into the centre one of the 3 between the long stitch, 1 chain, turn, and work into the 11 chain 3 double crochet and 9 long, 11 chain, repeat from * 7 times more, work into the chain stitches at the end 3 loops of 11 chain with the double crochet and long stitch as before, then work the other half of the pattern to correspond. 3rd row: into the space between the long stitches 5 double crochet, 2 chain, repeat. this pattern is not repeated in this d'oyley. no. 10.--make a chain of 8 stitches, and unite it. round 1: into the circle 24 double long, with 1 chain between each. round 2: 2 double crochet into the 1 chain in last round, repeat. round 3: 1 long, 2 chain, miss 1 loop, repeat. round 4: 1 double crochet into the 2 chain in last round, 5 chain, repeat. this pattern is not repeated in this d'oyley. no. 11.--make a chain of 7 stitches, and unite it. round 1: 20 long into the circle. round 2: 1 double crochet into every loop. round 3: 1 double crochet, 6 chain, miss 2 loops, repeat. round 4: 1 double crochet into the 6 chain, 7 chain, repeat. round 5: 10 double crochet into the 7 chain, repeat. round 6: 1 long, 2 long into the next loop, repeat. round 7: 1 double crochet, 5 chain, miss 3 loops, repeat. this pattern is not repeated in this d'oyley. no. 12.--make a chain of 21 stitches, and unite it. round 1: 30 double crochet into the circle. round 2: *, 21 chain, join it to the 18th, work into the circle 1 double crochet, 2 long, 3 chain, 2 long, 5 chain, 2 long, 7 chain, 2 long, 5 chain, 2 long, 3 chain, 2 long and 1 double crochet, 1 single crochet into the 1st double crochet, 3 chain, 4 double crochet into the 3 chain, 2 chain, 6 double crochet into the 5 chain, 2 chain, 4 double crochet into the 7 chain, 3 chain, 4 double crochet into the same place, 2 chain, 6 double crochet into the 5 chain, 2 chain, 4 double crochet into the 3 chain, 3 chain, 1 single crochet into the stitches of double crochet at the end, 3 single crochet down the 3 for the stem, 9 single crochet into successive loops round the circle, repeat from * twice more. this pattern is not repeated in this d'oyley. no. 13.--*, make 9 chain stitches, turn, 1 double crochet into each loop, repeat from * twice more, then work round both sides of these 3 points 1 double crochet, 3 chain, miss 1 loop at the top of each point, work twice into the same loop, then 5 chain, 1 double crochet into each end, unite the 5th to the last of the centre point of 9. this pattern is not repeated in this d'oyley. no. 14.--round 1: * make a chain of 13 stitches, and unite it, repeat from * 4 more times. round 2: 1 double crochet into 6 successive loops, 3 stitches into the 7th, 1 into each of the next 6 loops, repeat. round 3: 1 double crochet, 7 chain, 1 double crochet into the centre 1 of the 3 in last, 7 chain, miss 6, repeat. round 4: 1 double crochet, 3 chain, miss 1 loop, repeat. this pattern is not repeated. no. 15.--*, make a chain of 19 stitches, unite it, 3 long into successive loops, 3 double long, 2 long, 1 double crochet, 5 chain, 1 double crochet into the next loop, 7 chain, 1 double crochet into the same place, 5 chain, work into successive loops 1 double crochet, 2 long, 3 double long, 3 long, unite the last to the first, 9 chain, repeat from * once more, then 5 double crochet into the 5 1st of the 9 chain, 7 chain, 1 double crochet into each, and 1 into each of the 4 remaining of the 9 chain. this pattern is not repeated in this d'oyley. no. 16.--make a chain of 11 stitches, *, work into successive loops 2 double crochet, 7 long, 2 double crochet, 2 more double crochet into the same loop as the last, repeat from * once, make a chain of 24 stitches, unite to the 20th, work into the circle, *, 1 long, 3 chain, 1 long, repeat from * 12 times, work into the 3 chain 1 long, 3 chain, work another long into the same place, repeat, join the last with 1 single crochet to the last of the 24 chain, 2 double crochet over the 2 of the leaf, 7 long into successive loops, 4 double long into successive loops, 4 long into the next loop, and 1 long into the next. this pattern is not repeated. when all these pieces are done, join them as shown in the engraving, sewing them firmly together with the same cotton, then work an edging round in the following manner:--1st row: 1 double long into the 4 chain at the point of the leaf of no. 4 pattern, 7 chain, 1 double long into the 2nd 3 chain in the same leaf, 8 chain, 1 double long into the 1st 3 chain of the 2nd leaf of the same pattern, 15 chain, 1 long into the 4 chain of no. 6 pattern, 15 chain, 1 long into the 4 chain of the next leaf in the same pattern, 12 chain, 1 long into the 3rd 5 chain from the join of the 11th pattern, 6 chain, 1 single crochet into the 2nd 5 chain from the long stitch, 9 chain, 1 single crochet into the 3rd 5 chain from the last, 6 chain, 1 long into the 2nd 5 chain from the last, 12 chain, work into the 2nd 5 chain from the join of the 7th pattern 1 long, 8 chain, 1 double crochet into the next 5 chain, 9 chain, 1 long into the next 5 chain, 8 chain, 1 double crochet in the 1st 3 chain from the join of 4th pattern, 11 chain, 1 double crochet into the 1st 3 chain of the 2nd leaf of the same pattern, 6 chain, 1 double crochet into the last 3 chain of the same leaf, 4 chain, 1 double crochet into the 3 chain of no. 5 pattern, 6 chain, 1 long into the 7 chain between the leaves of the same pattern, 10 chain, 1 long into the next 7 chain, 6 chain, 1 long into the 1st 3 chain of the 3rd leaf of the same pattern, 12 chain, 1 single crochet into the 3rd 5 of double crochet from the join of 9th pattern, 8 chain, 1 single crochet into the centre of the 2nd 5 double crochet from the last, 11 chain, 1 single crochet into the 2nd 5 of double crochet from the last, 12 chain, 1 double crochet into the 7 chain of 15th pattern, 7 chain, 1 double crochet into the 6th long stitch of the same leaf, 11 chain, 1 double crochet into the end of the stem of 15th pattern, 8 chain, 1 double long into the 1st 3 chain of the 4th pattern, 4 chain, 1 double long into the last 3 chain of the same leaf, 9 chain, 1 double long into the 2nd 3 chain of the 2nd leaf, 12 chain, 1 long into the 3rd 3 chain of no. 16 pattern, 8 chain, 1 long into the 2nd 3 chain of the same pattern from the last, 12 chain, 1 long into the 3rd 5 chain from the join of the 10th pattern, 10 chain, 1 long into the 3rd 5 chain from the last, 12 chain, 1 double crochet into the centre of the 7 of double crochet in 12th pattern, 12 chain, 1 long into the 5 double crochet of same pattern, 8 chain, 1 double crochet into the 3 chain in centre of same leaf, 9 chain, 1 long into the 3rd 5 chain from the join of the 8th pattern, 8 chain, 1 single crochet into the 3rd 5 chain from the last, 10 chain, 1 double long into the 3rd 5 chain from the stitch of single, 13 chain, and join it to the double long stitch at the beginning of the row. 2nd row: *, 12 chain, and unite it, 1 chain to cross, and on the other side into the circle 1 double crochet, 2 long, 3 chain, 2 long, 3 chain, 2 double long, 4 chain, then work down the other side to correspond, 8 double crochet into successive loops of the foundation, repeat from *, joining the leaves in the 1st 3 chain. * * * * * _263.--d'oyley no. 2._ material: messrs. walter evans and co.'s boar's head cotton no. 20. pattern no. 1.--make a chain of 4 stitches, and unite it. round 1: 2 double crochet into each loop. round 2: 2 double crochet into each loop. round 3: 1 double crochet, 2 double crochet into the next loop, repeat. round 4: 1 double crochet into each loop. round 5: 1 double crochet, 5 chain, miss 2 loops, repeat. round 6: 9 double crochet into the 5 chain, repeat. round 7: 9 double crochet into successive loops, beginning on the 5th of the 9 in last round, 5 chain, 1 single crochet into the last double crochet, and repeat. round 8: 1 double crochet into the centre one of the 9 in last round, 11 chain, repeat. round 9: 15 double crochet into the 11 chain in last round, repeat. round 10: 15 double crochet into successive loops, beginning on the 8th of the 15 in last round, 5 chain, 1 single crochet into the last double crochet, repeat. round 11: 1 double crochet into the centre one of the 15 in last round, 17 chain, repeat. round 12: 21 double crochet into the 17 chain in last round. [illustration: 263.--d'oyley no. 2.] no. 2.--make a chain of 7 stitches, and unite it. round 1: *, 7 chain, 1 double crochet into the circle, repeat from * twice more. round 2: 12 long into the 7 chain, repeat. round 3: 2 long into each loop. round 4: 1 long, 2 chain, miss 2 loops, repeat. round 5: 2 long into the 2 chain in last round, 1 chain, repeat. round 6: 1 double crochet into the 1 chain, 5 chain, repeat. no. 3.--make a chain of 14 stitches, and unite it. round 1: into the circle 1 double crochet, 7 long, 6 double long, 4 chain, 6 double long, 7 long, 1 double crochet. round 2: 1 double crochet into every loop. round 3: 2 chain, miss 1 loop, 1 long and repeat, 4 long at the point, finish with a single stitch, 3 chain, and repeat this once more. no. 4.--make a chain of 13 stitches, and unite it, chain of 15 and unite it, chain of 13 and unite it, work 6 double crochet into successive loops, beginning on the 1st of the 1st loop of 13, 3 into the next loop, and 1 into each of the 6 next, 1 double crochet into each of the 1st 7 of the loop of 15, 3 into the next, 1 into each of the next 7, 1 double crochet into each of the 6 1st of the next loop of 13, 3 into the next, 1 into each of the next 6. 2nd row: 1 double crochet, 3 chain, miss 1 loop, repeat. no. 5.--make a chain of 13 stitches, and unite it. round 1: into the circle 3 double crochet, 3 long, 3 double long, 5 treble long, 3 double long, 3 long, 3 double crochet. round 2: 1 double crochet into each of the 9 1st loops, 2 into each of the 2 next, and 3 into the next, 2 into each of the 2 next, and 1 into each of the 9 next. round 3: 1 long, *, 3 chain, 1 long into the next loop, repeat from * at the end, unite the last to the 1st stitch, 9 chain, repeat from the beginning; in uniting the last stitch of the 2nd leaf, take up the centre stitch of the 9 chain with it, make 5 chain, and work a 3rd leaf in the same manner; in uniting the last stitch of the 3rd leaf, take up the last of the 5 chain with it, make 9 chain, turn, and work 1 double crochet into each, join the last to the last of the 5 and 9 chain stitch. no. 6.--make a chain of 6 stitches, and unite it. round 1: 1 double crochet into 1 loop, 5 chain, repeat 5 times more. round 2: into the 5 chain 1 double crochet, 3 long, 1 double crochet, repeat. round 3: 1 double crochet over the 1st double crochet in last round, 7 chain, repeat. round 4: into the 7 chain in last round 2 double crochet, 7 long, 2 double crochet, and repeat. round 5: 1 double crochet into the 1st double crochet in last round, 11 chain, repeat. round 6: into the 11 chain in last round 3 double crochet, 9 long, 3 more double crochet, repeat. no. 7.--1st row: make a chain of 20 stitches. 1 long into the 15th, *, 2 chain, miss 2 loops, 1 long into the next, repeat from * to the end of the row. 2nd row: turn, into the 2 chain 1 double crochet, 2 long, 1 double crochet, repeat this to the end, then into the 5 chain 1 double crochet, 2 long, 1 double long, 2 long, 1 double crochet, work the other side to correspond. 3rd row: 1 double crochet into the 1st double crochet in last row, 7 chain, and repeat to the point, 7 chain, 1 double crochet into the double long, work the other side to correspond. 4th row: into the 7 chain 4 double crochet, 3 chain, 1 single into the last double crochet, 4 more double crochet into the same place, repeat. no. 8.--1st row: 1 chain of 7 stitches, 1 double crochet into each of the 6 1st, 3 stitches into the 7th, work on the other side of the chain to correspond. 2nd row: 1 double crochet, 3 chain, miss 1 loop, repeat. 3rd row: 5 double crochet into the 3 chain, repeat. no. 9.--the same as no. 3 in the 1st d'oyley, only 5 leaves instead of 6, 2 on each side, and 1 at the end; 2 of these will be required for this d'oyley. no. 10.--work the 2 1st leaves of no. 4 in the 1st d'oyley; 3 of these will be required for this d'oyley. no. 11.--work only 1 leaf of no. 4 in the 1st d'oyley. this is not to be repeated in this d'oyley. no. 12.--the same as no. 4 in 1st d'oyley. no. 13.--the same as no. 5. no. 14.--the same as no. 8 in 1st d'oyley. no. 15.--the same as no. 10. no. 16.--the same as no. 11 in the 1st d'oyley. no. 17.--the same as no. 2 in 1st d'oyley; 2 of these will be required. no. 18.--the same as no 6 in 1st d'oyley; 2 of these will be required. when all these pieces are done, sew them firmly together, and work the edging round in the following manner:--1 double crochet into the 1st 4 chain of 9th pattern, 9 chain, 1 double crochet into the last 3 chain of same leaf, 4 chain, 1 double crochet into the 1st 3 chain of 2nd leaf, 10 chain, 1 double crochet in the 4 chain of same leaf, 8 chain, 1 long into the 4th of the 5 chain, from the joining of 15th pattern, 4 chain, 1 double crochet into the 2nd 5 chain, 4 chain, 1 long into the 2nd 5 chain from the last, 12 chain, 1 long into the last 3 chain of 10th pattern, 3 chain, 1 double crochet into the 4 chain of same leaf, 9 chain, 1 double crochet into the 4 chain of 2nd leaf, 12 chain, 1 long into the 1st double crochet from the join of no. 6 pattern, 9 chain, 1 long into the next stitch of double crochet after the long stitch, 16 chain, 1 long into the 3rd 5 chain from the join of 14th pattern, 8 chain, 1 double crochet into the 3rd 5 chain from the long stitch, 9 chain, 1 long into the 3rd 5 chain from the stitch of double crochet, 9 chain, 1 long into the 1st 3 chain of 10th pattern, 8 chain, 1 double crochet into the 4 chain of same leaf, 12 chain, 1 double crochet into the 4 chain of 15th pattern, 8 chain, 1 double crochet into the last 3 chain of same leaf, 9 chain, 1 long into the 1st 14 chain from the join of 17th pattern, 10 chain, 1 long into the next 14 chain of same pattern, 14 chain, 1 long into the 4th 5 chain from the join of 16th pattern, 6 chain, 1 double crochet into the 2nd 5 chain from last, 6 chain, 1 long into the 2nd 5 chain from last, 12 chain, 1 double crochet into the 1st 4 chain of 9th pattern, 8 chain, 1 double crochet into the last 3 chain of same leaf, 4 chain, 1 double crochet into the 1st 3 chain of 2nd leaf, 5 chain, 1 double crochet into the last 3 chain of 2nd leaf, 6 chain, 1 double crochet into the last 3 chain of 10th pattern, 8 chain, 1 double crochet into the 7 chain of same pattern, 6 chain, 1 double crochet into the 1st 3 chain of 2nd leaf, 11 chain, 1 double crochet into the 4 chain of 11th pattern, 9 chain, 1 double crochet into the last 3 chain of same pattern, 8 chain, 1 long into the centre 3 chain of 1st leaf of 12th pattern, 7 chain, 1 double crochet into the 1st 3 chain of 2nd leaf same pattern, 7 chain, 1 double crochet into the 4 chain of same leaf, 10 chain, 1 long into the 5th 3 chain from the join of the 3rd pattern, 4 chain, 1 double crochet into the 2nd 3 chain, 4 chain, 1 long into the 2nd 3 chain of same pattern, 8 chain, 1 long into the 1st 14 chain from join of 17th pattern, 12 chain, 1 long into the next 14 chain of same pattern, 10 chain, and unite. 2nd row: the same edging as to 1st d'oyley. * * * * * 264.--_d'oyley no. 3._ material: messrs. walter evans and co.'s boar's head cotton no. 20. work 2 patterns from no. 2 in 1st d'oyley, 2 patterns from no. 3 in same d'oyley, 1 pattern from no. 4 in same d'oyley, and 1 pattern from no. 5, 2 patterns from no. 6 in same d'oyley, 1 pattern from no. 7, 1 pattern from no. 8; and 1 from no. 10 in same d'oyley, 2 patterns from no. 11 in 1st d'oyley, 1 pattern from no. 2 in 2nd d'oyley, 1 pattern from no. 3 in same d'oyley, 1 pattern from no. 9 in same d'oyley, and 2 from no. 10. then 1 pattern in the following manner:--round 1: make a chain stitch of 12 stitches, 1 double crochet, 10 long into successive loops, 1 double crochet, 1 double crochet at the point, and work down the other side to correspond. round 2: 2 long into each loop. round 3: 4 chain, miss 2 loops, 1 double crochet into the next, repeat. round 4: 1 double crochet into the 1st 4 chain of 3rd round, 5 chain, repeat. work 1 pattern in this way, 1 chain of 14, 1 double crochet into each, 5 chain, 1 double crochet into the last double crochet, turn, 6 double crochet into the circle, with 3 chain between each, into each 3 chain, 5 long, turn, 1 double crochet between each of the 5 long, with 6 chain between each double crochet, turn, into the 1st double crochet 1 long, 2 chain, 1 double long, 2 chain, 1 treble long, 2 chain, 1 double long, 2 chain, 1 long all into the same place, 1 double crochet into the 6 chain. repeat this 5 times more, then work down the 7 of 14, 7 long, and 7 of single crochet. the edging to be the same as in the former d'oyleys. the 1st round of the edging takes up so much space to write, that we think it better to leave it to the judgment of the worker. it will be seen by the engraving when it is necessary to work a double long or long stitch, or a stitch of single or double crochet, and the number of chain stitches between must be just sufficient to make the circle perfect. the best way is to cut a round of blue paper and place them on it from the engraving, then sew them together, and tack them to the paper, and work the 1st row of the edging before removing the paper. [illustration: 264.--d'oyley no. 3.] * * * * * 265.--_d'oyley no. 4._ material: messrs. walter evans and co.'s boar's head cotton no. 20. work 3 patterns from no. 2 in 1st d'oyley, and 2 from no. 3, 1 pattern from no. 4, 1 pattern from no. 5 in 1st d'oyley, 2 patterns from no. 6, and 1 from no. 8 in same d'oyley, 1 pattern from no. 2 in 2nd d'oyley, and 1 leaf from no. 3 in 2nd d'oyley, 1 pattern from no. 11 in 2nd d'oyley, and the following pattern. no. 1.--make a chain of 30 stitches, turn, miss 1 loop, 29 double crochet into successive loops, turn, 1 double crochet, 1 long, 2 double long, 8 treble long into 4 loops, 8 double long, 9 long, 4 double crochet, 3 chain, work down the other side to correspond, then 1 double crochet, 3 chain, miss 1 loop, repeat all round. no. 2.--make a chain of 20 stitches, turn, miss 1 loop, 2 double crochet into successive loops, * 2 chain, miss two loops, 1 long into the next, repeat from * 3 times more, 2 chain, miss 2 loops, 3 double crochet into successive loops, 1 double crochet into every loop on both sides. next round: * 5 chain, turn, miss 1 loop, 1 double crochet, 3 long, miss 2 loops of the foundation, 1 double crochet, repeat from * at the point, miss only 1 loop, work 2 patterns of this number. no. 3.--make a chain of 36 stitches, turn, miss 2 loops, 2 long, *, 1 chain, 3 long, repeat from * 3 times, 1 double crochet, turn, *, 4 chain, 1 double crochet into the 1st chain stitch, repeat from * 3 times, at the point make 5 chain instead of 4, work down the other side to correspond, turn, and into each of the 4 chain 1 double crochet, 7 long, and 1 double crochet, at the point 10 long instead of 7, 2 double crochet down the stem, 1 chain of 28, turn, miss 12 loops, 1 single crochet, then into the circle 20 long, turn, 1 double crochet, 5 chain, miss 1 loop, repeat, turn, 1 double crochet into the 5 chain in last row, 5 chain, repeat, turn, into the 5 chain 1 double crochet, 7 chain, repeat, turn, into the 7 chain 1 double crochet, 1 long, 7 double long, 1 long, 1 double crochet, repeat, work down the stem, 1 double crochet, 1 long, 4 double long, 1 long, 4 double crochet, 1 chain of 14, turn, miss 3 loops, 10 long, 1 double crochet, 1 double crochet, turn, 1 double crochet, 3 chain, miss 1 loop, repeat, turn, into the 3 chain 1 double crochet, 5 long, 1 double crochet, repeat, work down the stem in double crochet. [illustration: 165.--d'oyley no. 4.] no. 4.--make a chain of 6 stitches, and unite it. round 1: into the circle 16 long. round 2: 1 double crochet into each loop, 3 chain after each. round 3: 1 double crochet into the 3 chain, 3 chain, repeat. round 4: 4 long into the 3 chain, repeat. round 5: 1 double crochet, make 3 chain, miss 1 loop, repeat. *, for the leaves, 1 chain of 22, turn, 4 double crochet, 1 long, 9 double long, 1 long, 1 double crochet, 1 chain to cross the stem, on the other side 1 double crochet, 1 long, 9 double long, 1 long, 4 double crochet, 2 double crochet at the point, work down the other side to correspond, 2 double crochet down the stem, 1 chain of 8, repeat from *, 1 chain of 12, and unite it to the 3 chain of the round, turn, 12 double crochet down the stem, work another leaf in the same manner, then work a stem of 8, and make another leaf the same as before, finish with a stem of 8. no. 5.--round 1: make a chain of 12 stitches, and unite it, 1 double crochet, miss 3 loops, 12 chain, repeat twice more. round 2: into the 12 chain 2 double crochet, 13 long, 2 double crochet, repeat. round 3: 2 double crochet into successive loops, 13 long into successive loops, 2 double crochet into successive loops, repeat. round 4: 1 long, 5 chain, miss 3 loops, repeat. round 5: into the 5 chain 2 double crochet, 5 long, 2 double crochet, repeat. no. 6.--make a chain of 11 stitches, and unite it. round 1: 2 double crochet into each loop. round 2: 1 double crochet into each loop. round 3: 2 double crochet into 1 loop, 1 into the next, repeat. round 4: 1 long, 5 chain, miss 2 loops, repeat. round 5: into the 5 chain 3 double crochet, 3 chain, 1 single crochet into the last double crochet, 3 more of double crochet into the same place, 4 chain, repeat. round 6: 1 long into the 4 chain, 7 chain, repeat. round 7: into the 7 chain 4 double crochet, 3 chain, 1 single crochet into the last double crochet, 4 more double crochet into the same place, 4 chain, repeat. when all these pieces are done sew them together, as shown in the engraving, and work the edging to correspond with the other d'oyleys. * * * * * 266.--_d'oyley no. 5._ materials: messrs. walter evans and co.'s boar's head cotton no. 20; and 1 skein of fine embroidery cotton, by the same makers. pattern no. 1.--make a chain of 8 stitches, and unite it. round 1: 1 double crochet, 7 chain, miss 1 loop, repeat 5 times more. round 2: into the 7 chain 11 stitches of double crochet, repeat. round 3: 1 double crochet into the 1st of the 11, 9 chain, miss 5 loops, 1 double crochet into the next, 9 chain, repeat. round 4: into the 9 chain 13 double crochet, repeat. round 5: 1 double crochet into the 1st of the 13, 7 chain, miss 3 loops, repeat. round 6: 5 double crochet into the 7 chain, and repeat. no. 2.--make a chain of 8 stitches, and unite it. round 1: 1 double crochet, 5 chain, repeat 7 times more. round 2: 6 chain, miss the 1st, then work into successive loops 2 double crochet and 3 long, 1 double crochet into the 1 double crochet in 1st round, repeat. round 3: 1 double crochet into the 1 in 1st round, 5 chain, and repeat. round 4: 7 chain, miss the 1st, and work into successive loops 2 double crochet, 3 long, 1 double long, 1 double crochet into the 5 chain, repeat. round 5: 1 double crochet into the 1 in the 3rd round, 5 chain, repeat. round 6: same as 4th. round 7: 1 double crochet into the 1 in 5th round, 6 chain, repeat. round 8: 8 chain, miss the 1st, and work into successive loops 2 double crochet, 3 long, 2 double long. round 9: same as 7th. round 10: same as 8th. two of these patterns will be required for this d'oyley. [illustration: 266.--d'oyley no. 5.] no. 3.--make a chain of 16, and unite it. round 1: 2 double crochet into 1 loop, 1 double crochet into the next, repeat. round 2: 6 double crochet into successive loops, 5 chain, 1 single crochet into the last double crochet, repeat. round 3: 1 double crochet into the 3rd of the 6, 13 chain, repeat. round 4: 17 double crochet into the 13 chain, repeat. round 5: 1 long and 1 chain alternately, missing 1 loop between each. round 6: 1 double crochet into the 1 chain, 1 chain, 1 double crochet into the next chain, 5 chain, work another double crochet into the same place, 1 chain, repeat. no. 4.--make a chain of 14 stitches, and unite it. round 1: 1 double crochet, 7 chain, miss 1 loop, repeat 6 times more. round 2: 5 double crochet into the 7 chain, repeat. round 3: 8 chain, miss the 1st, and work into successive loops 2 double crochet, 3 long, and 2 double long, 1 double crochet into the last of the 5 double crochet, repeat. round 4: 1 double crochet at the top of the point, 4 chain, miss 1 loop, 1 double crochet into the next, 4 chain, miss 2 loops, 1 double crochet into the next, 4 chain, 1 double crochet into the 1 in last round. work the other side of the point to correspond. two of these patterns will be required for this d'oyley. no. 5.--make a chain of 8 stitches, and unite it. round 1: 2 double crochet into each loop. round 2: 2 double crochet into 1 loop, 1 into the next, repeat. round 3: 8 chain, miss the 1st, and work into successive loops, 5 double crochet and 2 long, miss 1 of the last round, work 4 double crochet into successive loops, repeat 3 times more, at the end of the round work 4 more double crochet. round 4: 1 double crochet, 3 chain, miss 1 loop, repeat all, round the 4 points and 2 stitches beyond the 4th, 7 chain, 1 double crochet into each of the 7, finish the round with 3 chain and 1 double crochet as before. no. 6.--make a chain of 5 stitches, and unite it. round 1: 1 double crochet, 5 chain, repeat 4 times more. round 2: into the 5 chain 1 double crochet, 3 chain, repeat till 5 double crochet are done, repeat. round 3: 1 double crochet into the 1 in 1st round, 7 chain, repeat. round 4: same as 2nd. round 5: 1 double crochet into the 1 in 3rd round, 7 chain, repeat. round 6: same as 2nd. round 7: same as 5th. round 8: same as 2nd, only 4 chain instead of 3. round 9: 1 double crochet into the 1 in 7th round, 8 chain, repeat. round 10: the same as 8th, only making 5 chain instead of 4. four of these patterns will be required for this d'oyley. no. 7.--make a chain of 6 stitches, and unite it. round 1: 1 double crochet, 7 chain, miss 1 loop, repeat twice more. round 2: into the 7 chain 2 double crochet, 7 long, 2 double crochet, repeat. round 3: 1 double crochet, 3 chain, miss 1 loop, repeat, 11 chain, work 2 more leaves in the same way, 1 double crochet into the 3 chain, 4 chain, repeat round 2 sides of the leaf, 3 chain, repeat the stitch of double crochet and 4 chain round 2 sides of each leaf, joining them with 3 chain. two of these patterns will be required for this d'oyley. no. 8.--1st row: make a chain of 14 stitches, miss the 1st, and work into successive loops 5 double crochet, 5 long, 3 double long, turn. 2nd row: 2 double long into each of the 3, 9 long into successive loops, 5 long into the double crochet at the point of the leaf, 9 long into successive loops, 6 double long into the next 2 loops, 9 double long into the end of the 1st row, unite the last to the first double long in 2nd row. 3rd row: 1 double crochet, 3 chain, miss 1 loop, repeat. no loop to be missed at the point, then work with the embroidery cotton a smaller leaf on it in satin stitch, raising it first with the cotton. no. 9.--make a chain of 10 stitches, and unite it. round 1: 20 long into the circle. round 2: 1 double crochet, taking both sides of the loop, 9 chain, miss 1 loop, repeat. round 3: double crochet into the centre of the 9 chain, 7 chain, repeat. round 4: into the 7 chain of last row 1 double crochet, 1 long, 3 double long, 1 long, 1 double crochet, repeat, then work 2 patterns from no. 2 in 1st d'oyley, 1 pattern from no. 3, 2 patterns with 3 leaves from no. 3 in 1st d'oyley, 2 patterns with 2 leaves, and 1 pattern with 1 leaf, work 3 patterns from no. 6 in 1st d'oyley. when all these patterns are done join them as shown in the engraving, and work the edging as directed in the former d'oyleys. * * * * * 267.--_d'oyley no. 6_. material: messrs. walter evans and co.'s boar's head cotton no. 20. pattern no. 1.--make a chain of 7 stitches, and unite it. round 1: 2 double crochet into each loop. round 2: 2 double crochet into 1 loop, and 1 into the next, repeat. round 3: increase to 30 double crochet. round 4: 4 chain, 1 single crochet into the 1st chain, 5 double crochet, and repeat 5 times more. round 5: 1 double crochet into the centre one of the 5 in last round, 11 chain, repeat. round 6: 1 double crochet into every loop. round 7: 5 chain, 1 single crochet into the 1st, 12 double crochet, and repeat. round 8: 1 double crochet into the 6th of the 12, 15 chain, repeat. round 9: 1 double crochet into every loop. round 10: 7 chain, miss the 1st, and work into successive loops 1 double crochet, 2 long, and 3 double long, miss 5 loops of the last round, work 1 double crochet, repeat. round 11: 1 double crochet over the 1 in last round, miss 1 loop, 1 double crochet into the next, *, 3 chain, miss 1 loop, repeat from * 4 times more, repeat from the beginning of the row. no. 2.--make a chain of 20 stitches, and unite it. round 1: 30 double crochet into the circle. round 2: 1 double crochet, 13 chain, miss 5 loops, repeat. round 3: 17 double crochet into the 13 chain, repeat. round 4: 1 long, 5 chain, 1 single crochet into the 2nd of the 5 chain, miss 1 loop, repeat. four patterns of this number will be required for this d'oyley. [illustration: 267.--d'oyley no. 6.] no. 3.--make a chain of 8 stitches, and unite it. round 1: 1 double crochet, 11 chain, miss 1 loop, repeat 3 times more. round 2: into the 11 chain, *, 3 double crochet, 5 chain, 1 single crochet into the 1st chain, repeat from * twice more, 3 more double crochet, repeat from the beginning of the row. no. 4.--make a chain of 6, and unite it. round 1: 1 long, 4 chain, repeat 5 times more. round 2: into the 4 chain in last row 1 long, 4 chain, work another long into the same place, 2 chain, repeat. round 3: into the 2 chain 3 double crochet, into the 4 chain 1 double crochet, 11 chain, work another double crochet into the same place, repeat. round 4: into the 11 chain 3 double crochet, 5 chain, 1 single crochet into the 1st of the 5 chain, 3 double crochet, 7 chain, 1 single crochet into the 1st of the 7, 3 double crochet, 5 chain, 1 single crochet into the 1st of the 5 chain, 3 double crochet, 2 chain, 1 double crochet into the centre one of the 3 in last round, 2 chain, repeat; then work 2 patterns from no. 2 in 1st d'oyley, 1 pattern from no. 3, 2 patterns from no. 4, 3 from no. 6, and 1 each from nos. 11, 13, and 14 in 1st d'oyley, 1 pattern from each of nos. 3 and 4 in 2nd d'oyley, 2 patterns from no. 2 in 5th d'oyley, and 1 pattern each from nos. 4 and 6 in the 5th d'oyley. sew these pieces firmly together as shown in the engraving, and add the edging as before. * * * * * 268.--_d'oyley no. 7._ materials: messrs. walter evans and co.'s boar's head cotton no. 20; and 1 skein of their fine embroidery cotton. pattern no. 1.--make a chain of 16 stitches and unite it. 1st round: 2 double crochet into each loop. 2nd round: 1 double crochet into each loop. 3rd round: 1 double crochet, 9 chain, miss 3 loops, repeat. 4th round: into the 9 chain 11 double crochet. 5th round: 1 long, 2 chain, miss 2 loops, repeat. 6th round: into the 2 chain 1 double crochet, 3 chain, 1 single crochet into the one double crochet, work another double crochet into the 2 chain, 2 double crochet into the next 2 chain, repeat. 7th round: 1 double crochet into the 1st of the 2 in last round, 13 chain, repeat. 8th round: into the 13 chain 11 double crochet, repeat. no. 2.--make a chain of 13 stitches, work 1 double crochet into each, make a chain of 15 stitches, work 1 double crochet into each, make a chain of 13 stitches, 1 double crochet into each. 2nd row: 1 double crochet into the end of each of these points, then work round _both_ sides of these points in double crochet, working twice into the end of each point. 3rd row: 3 double crochet over the 3 at the beginning of last row, *, 4 chain, single crochet into the 1st of the 4 chain, miss 1 loop, work a long stitch into the next, repeat from * all round, at the beginning and end of the 3rd point miss 2 loops instead of 1, then work a stitch of double crochet into the 1st of the 3, 6 chain, miss the 1st, work into successive loops 2 long and 3 double crochet, 1 double crochet into the last of the 3. this completes the pattern. no. 3.--make a chain of 8 stitches, and unite it. 1st round: 2 double crochet into each loop. 2nd round: 1 double crochet into 1 loop, 2 double crochet into the next, repeat. 3rd round: 2 double crochet into successive loops, 2 double crochet into the next, repeat. 4th round: 11 double crochet into successive loops, *, 9 chain, miss 2 loops, 1 double crochet into the next, repeat from *. 5th round: 11 double crochet over the 11 in last round, work into the 9 chain 5 double crochet, 5 chain, 1 single crochet into the 1st of the chain, 5 more double crochet into the same place, repeat. 6th round: 13 double crochet over the 11 in last round, *, 15 chain, 1 double crochet over the 1st of the 5 in last round, repeat from *. 7th round: 13 double crochet over the 13 in last round, *, work into the 15 chain 8 double crochet, 5 chain, work a stitch of single crochet into the 1st of the 5, 8 double crochet into the same place, repeat from *. this completes the pattern. then work a circle in satin stitch on the plain part of the pattern with the fine embroidery cotton. two of these patterns will be required for this d'oyley. [illustration: 268.--d'oyley no. 7.] no. 4.--make a chain of 16 stitches, and unite it. * make a chain of 10 stitches, miss the 1st, and work into successive loops 3 double crochet, 3 long, and 3 double long, unite the last double long to the 4th of the 16 chain in the circle, repeat from * 3 times more, *, work in single crochet to the top of the point and down 6 stitches of the other side, then make a chain of 8 stitches, miss the 1st, work into successive loops 3 stitches of double crochet, 2 long, and 2 double long, unite the last to the 3rd of the next point, and repeat from * 3 times more. three of these patterns will be required for this d'oyley. work 2 patterns from no. 2 in the 1st d'oyley, work 2 patterns from no. 3 in the same d'oyley, work 1 pattern from no. 5, and 1 from no. 6 in 1st d'oyley, work 2 patterns with 1 leaf from no. 3 in 1st d'oyley, and 1 pattern with 2 leaves, work 2 patterns from no. 3 in the 5th d'oyley, and 1 pattern from no. 4 in the same d'oyley, and 1 from no. 6, work 6 patterns from no. 3 in the 6th d'oyley, and 1 pattern from no. 4 in the same d'oyley, work 1 pattern from no. 2 in 6th d'oyley. join these pieces as before, and add the same edging. * * * * * 269.--_d'oyley no. 8_ materials: messrs. walter evans and co.'s boar's head cotton no. 20; and 1 skein of their fine embroidery cotton. pattern no. 1.--make a chain of 9 stitches, work a stitch of double crochet into each of the 8 1st, work 2 into the 9th, work down the other side of the chain to correspond, and unite it. 2nd round: *, work 1 long, make 4 chain, 1 single crochet into the 1st of the 4 chain, miss 1 loop, and repeat from *. no loop to be missed at the point. when this round is finished, make 10 chain, miss the 1st, and work into successive loops 2 long, and 7 of double crochet, then make 15 chain, unite to the 7th, and work into the circle 1 double crochet, make 5 chain, repeat 5 times more. 2nd round: work into the 5 chain 1 double crochet, 3 long, and 1 of double crochet, repeat. 3rd round: work 1 double crochet, make 3 chain, miss 1 loop, and repeat. three of these patterns are required for this d'oyley. [illustration: 269.--d'oyley no. 8.] no. 2.--make a chain of 6 stitches. 1st round: work 2 double crochet into each loop. 2nd round: work 1 double crochet, make 9 chain, miss 1 loop, repeat. 3rd round: work into the 9 chain 1 long, make 1 chain, work another 1 long into the same place, make 1 chain, work a third 1 long into the same place, make 7 chain, and repeat. 4th round: work into the centre of 3 long 2 long, make 5 chain, work 2 more long into the same place, make 5 chain, work into the centre of the 7 chain 1 double crochet, make 3 chain, work another of double crochet into the same place, make 5 chain, and repeat. two of these patterns will be required for this d'oyley. work 1 pattern from no. 2 in 1st d'oyley, work 1 pattern from nos. 3, 4, and 6, work 1 pattern with 3 leaves from no. 3 in 1st d'oyley, and 2 with only 1 leaf, work 1 pattern from each of nos. 13 and 14 in 1st d'oyley, work 1 pattern from 2 in 5th d'oyley, and 1 from no. 4 in the same d'oyley, work 2 patterns from no. 6 in 5th d'oyley, work 3 patterns from no. 3 in 6th d'oyley, and 2 from no. 4 in the same d'oyley, work 1 pattern from no. 1 in 7th d'oyley, work 2 patterns from no. 3, and 1 pattern from no. 4 in 7th d'oyley, then sew them together as before. * * * * * 270.--_d'oyley no. 9_. material: messrs. walter evans and co.'s boar's head cotton no. 20. pattern no. 1--make a chain of 10 stitches, and unite ir. 1st round: work into the circle 1 long, make 3 chain, repeat 11 times more. 2nd round: work 1 double crochet into every loop. 3rd round: *, make 11 chain, turn, miss 1 loop, work 10 double crochet down the chain, miss 1 loop, work 7 double crochet and repeat from * 5 times more. 4th round: work 1 double crochet, beginning on the 1st of the 10, make 5 chain, miss 3 loops, work 1 double crochet, make 5 chain, miss 3 loops, work 1 double crochet, make 5 chain, work 1 double crochet into the point, work down the other side to correspond, make 2 chain, miss 3 loops, work 1 double crochet, make 2 chain, miss 3 loops, and repeat. 5th round: work into each of the 5 chain 1 double crochet, 5 long stitches, and 1 double crochet. no. 2.--make a chain of 20 stitches, and unite it. 1st round: work a stitch of double crochet into 1 loop, work 2 double crochet into the next, repeat. 2nd round: * work 3 double crochet, make 5 chain, work 1 single crochet into the 1st of the 5 chain, repeat from * 9 times more, work 2 double crochet. 3rd round: * make 21 chain stitches, work 1 double crochet in the centre one of the 3, turn, work 7 double crochet into the 21 chain, make 5 chain, work 1 single crochet into the 1st of the 5 chain, work 7 double crochet into the 21 chain, repeat from * 8 times more. 4th round: work 15 double crochet into each loop of 21 chain, above the last 7 work 20 double crochet into the last loop of 21, make 5 chain, turn, work 1 single crochet into the last of the 5 chain, 7 double crochet, make 4 chain. 5th round: work 19 double crochet, beginning on the 1st of the 7 in the 1st loop of 21 chain, * make 6 chain, turn, miss 1 loop, work into successive loops a stitch of double, 3 long, 1 double long, then miss 4 double crochet stitches, work 5 double crochet into successive loops, make 5 chain, 1 single crochet into the 1st of the 5 chain, miss 1 loop, 5 double crochet into successive loops, repeat from * 8 times more, then work 12 double crochet. two of these patterns will be required for this d'oyley. [illustration: 270.--d'oyley no. 9.] no. 3.--make a chain of 8 stitches, and unite it. 1st round: work into the circle 1 long, make 3 chain, repeat 9 times more. 2nd round: work into the 3 chain 1 double crochet, make 17 chain, work another stitch of double crochet into the same place, make 1 chain, work 1 double crochet into the next 3 chain, make 1 chain, and repeat. 3rd round: work into the 17 chain 20 double crochet, work 1 double crochet into the 1 chain, make 1 chain, work 1 double crochet into the next 1 chain, and repeat. 4th round: work a stitch of double crochet into the 1 chain in last round, * work 5 double crochet into successive loops, beginning on the 1st of the 20, make 5 chain, work 1 single crochet into the 1st of the 5, repeat from * twice more, then work 5 double crochet into successive loops, and repeat from the beginning of the round. two of these patterns will be required for this d'oyley. no. 4.--make 21 chain and unite it, make a chain of 27 and unite it, make a chain of 21 and unite it. 1st round: work in the 21 chain 25 stitches of double crochet, work into the 27 chain 31 double crochet, work into the 21 chain 25 double crochet. 2nd round: work 3 stitches of double crochet into successive loops, make 5 chain, work 1 single crochet into the 1st of the 5 chain, repeat this 6 times more, then work 3 double crochet and repeat from the beginning in the centre loop, repeat this 9 times instead of 7. two of these are required for this d'oyley. no. 5.--make a chain of 44 stitches, work 1 double crochet into each, turn, make 21 chain, work 1 double crochet into the 4th chain on the other side, * make 21 chain, miss 3 loops, work 1 double crochet into the next, repeat from * 9 times more, work 1 single crochet into the end loop, work 44 double crochet into successive loops, work 15 double into the 1st loop of 21, work 4 double crochet into each loop of 21, and 15 into the end one, then * work 2 double crochet, make 3 chain, work 1 single crochet into the 1st of the 3, repeat from * all round. work 2 patterns from no. 2 in 1st d'oyley, 1 from no. 3, 2 with 3 leaves, and 2 with 2 leaves, from no. 3 in 1st d'oyley, 2 patterns from no. 6 in same d'oyley, and 3 patterns from no. 3 in 6th d'oyley, sew them together as shown in the engraving, and add the edging as before. * * * * * 271.--_d'oyley no. 10_. material: messrs. walter evans and co.'s boar's head cotton no. 20. pattern no. 1.--make a chain of 19 stitches, turn, miss 5 loops, work 10 double crochet, make 3 chain, miss 3 loops, work 1 long, make 3 chain stitches, miss 3 loops, work 1 long stitch, make 3 chain stitches, work a stitch of double crochet into the last loop, then work into the 1st 3 chain on the other side, 1 double crochet, 5 long, work into the next 3 chain 4 long stitches, work 4 long stitches into the next 3 chain stitches, then work into the 5 chain at the point 8 long stitches, then work down the other side to correspond, * make 3 chain, miss 1 loop, work 1 long, make 1 chain, work 1 long stitch into the same place, make 1 chain, work another long stitch into the same place, miss 1 loop, work 1 double crochet, repeat from * 7 times more, then work into the 1st 3 chain 1 double crochet, make 1 chain, work 1 long stitch, * make 1, work 1 double long stitch, repeat from * twice more, make 1 chain, work 1 long; all these stitches are worked into the same 3 chain, then work 1 double crochet into the chain stitch between the 2nd and 3rd long stitches, repeat this 7 times more; this finishes the leaf; then make 16 chain, and work a second leaf the same as 1st, then work 2 double crochet down, then make 12 chain, and work a third leaf the same as 1st, work 14 stitches down the stem, and work a 4th leaf the same as 1st, work 8 double crochet down the stem, work a 5th leaf the same as 1st, make a chain of 40 stitches, turn, and work back in double crochet. [illustration: 271.--d'oyley no. 10.] no. 2.--make a chain of 10 stitches, and unite it, *, work a stitch of double crochet into the circle, make 13 chain, and repeat from * five times more, then work 17 stitches into each of the 13 chain, then work 2 stitches of double crochet, beginning on the second of the 13, *, make 5 chain stitches, and work a stitch of single crochet into the 1st of the 5 chain, then work 2 stitches of double crochet, and repeat from * 5 times more; for the stem make a chain of 30 stitches, turn, * work 5 stitches of double crochet, make 5 chain, turn, and work a stitch of single crochet into the 1st, repeat from * 4 times more, then work down the other side to correspond; then work 1 pattern from no. 2 in 1st d'oyley, and 2 from no. 3, 2 with only two leaves, and 2 from no. 6 in the same d'oyley; work 1 pattern from no. 6 in 5th d'oyley, and 3 from no. 3 in 6th d'oyley; work 1 pattern from no. 2 in 9th d'oyley, and 1 from no. 3; work 3 patterns from no. 4 in the same d'oyley, sew the pieces together as before, and work the edging. * * * * * 272 _and_ 273.--_work-basket in straw and silk crochet-work_. materials: straw; brown floss silk; brown ribbon, 1-1/4 inch wide; small glass beads; a piece of bamboo cane. this basket has a cover formed of two pieces. it can be employed for many things, and is formed entirely of crochet-work with brown silk over straw. a ruche trimmed with beads and bows of brown silk ribbon form the trimming of the basket. the straws over which you crochet must be damp, so as not to be stiff. they should be of unequal length, and when you join the two ends of two straws together, try to hide the beginning with the other straws. begin the basket in the centre of the bottom part with 46 stitches; then work 9 rounds on either side of this first row, working alternately 1 double stitch, 1 or 2 chain stitches, the double stitch in the chain stitch of the preceding round, the last round over wire. [illustration: 273.--bottom of work basket (272).] it is necessary to increase regularly in all the rounds to keep the work flat. when you have finished the bottom begin the border of the basket, which is worked of the same piece with it, and consists of 11 rounds. it is worked in the same way as the bottom, the first 2 rounds without increasing the number of stitches, but in the following 9 rounds increase 2 double stitches at both ends, in order that the edge may be a little wider in the upper part. in the last round add a piece of wire to the straws. [illustration: 272.--work basket in straw and crochet.] the cover of the basket is formed of two pieces. begin in the middle with 28 stitches; crochet each half in rows forming a half circle, working backwards and forwards; at the beginning of each row turn the straws, and take care that the rows which are finished form a straight line. each half of the cover requires 9 rows; the last one is worked over wire. the two halves are united at the straight sides by a brown silk ribbon 1-1/4 inch wide, which is sewed on underneath, and which forms a sort of hinge; sew on also a piece of wire covered with brown silk, so as to make the hinge stronger. form the handle with a piece of bamboo cane 23 inches long, and covered with straws; work over it in long stitches of brown silk, and let it go down to the bottom of the basket; then sew the cover on the handle with the brown ribbon, which forms the two parts. trim the basket with a ruche of double box pleats, ornamented with glass beads and with bows of brown silk ribbon. * * * * * 274 _and_ 275.--_two crochet borders_. materials: messrs. walter evans and co.'s crochet cotton nos. 30 and 80. no. 274.--crochet cotton of two sizes is used for this border (no. 30 and no. 80); it is begun in the centre by a chain of stitches of the length required. [illustration: 274.--crochet border.] 1st row: 1 double in each stitch of the chain. 2nd row: turn and work on the opposite side of the chain, * 1 double, 11 chain, miss 7. repeat from *. 3rd row: * 1 double on the 1st loop of chain, 2 chain, 1 double in the centre of the 7 stitches which are under the 1st loop of chain, 2 chain, 1 double on the same loop, 5 chain. repeat from *. 4th row: * 1 double in the centre of the 1st loop of chain, 3 chain, 1 treble in the 1st, but before you complete the treble stitch make 1 chain. repeat from *. this row completes the upper half of the border. the lower half is worked over the 1st row of plain double crochet. 5th row: 1 double in each of the first 5 stitches, 15 chain, miss 9, 1 double, come back over the loop of chain and work 1 double in each stitch, come back again and work 6 small points, each made thus: 5 chain, 1 double in the 4th, and 1 treble in each of the 3 others, 1 double over the round scallop. when you have worked the 6 small points repeat from *, but always join the 1st point of one scallop to the last point of the next scallop. the pattern inside the scallops is worked in 2 rows with fine cotton. (see illustration.) * * * * * [illustration: 275.--crochet border.] no. 275.--the border is begun above the pointed scallops, filled up with lace stitches, by making alternately 3 chain, 1 purl (_i.e._, 5 chain and 1 slip stitch in the 1st). when the chain is long enough, turn and work the 1st row: alternately 7 chain, 1 double in the centre stitch between the 2 purl. 2nd row: turn, work 1 double in the centre of the 1st loop of 7 chain, 1 chain, 1 purl, 1 chain, 1 double in the centre of next loop, and so on. the 3rd row (which is the last) is worked on the opposite side of the chain with purl. * in each of the 8 first stitches work 1 double, make 12 chain, miss the 4 last of the 8 double just worked, and work 1 double in the 5th, come back over the loop of chain, and work 7 small points over it. for each point make 3 chain, work 1 double in the 2nd, 1 treble in the 1st of the 3 chain, 1 double upon the loop of chain. repeat from * 6 times more. in the following scallops always fasten the first point of one scallop to the last point of the preceding scallop. when this row is completed fill up the inner part of each scallop with a network of fine thread, joining the threads at all the places where they cross each other by 2 or 3 stitches with a sewing needle. [illustration: 275.--crochet border.] * * * * * 276.--_crochet antimacassar_. materials: 18 reels of messrs. walter evans and co.'s boar's head cotton no. 10. [illustration: 276.--crochet antimacassar.] this pattern can be adapted for a round couvrette or a square one, and is also pretty done in silk for a sofa cushion. make a chain of 4 stitches, and unite it. 1st round: work into 1 loop a long stitch, make 1 chain stitch, work another long stitch into the same place, make 1 chain, repeat. 2nd round: 3 long stitches into 1 loop, make 2 chain stitches, miss 1 loop, and repeat. 3rd round: 1 double crochet into the 2 chain in last round, make 7 chain, and repeat. 4th round: into the 7 chain 2 double crochet, 5 long stitches, and 2 more double crochet, and repeat. 5th round: 1 long stitch into the 1st double crochet in last round, make 9 chain, and repeat. 6th round: into the 9 chain 2 double crochet, * make 4 chain, work 2 double crochet, repeat from * 3 times more, make 5 chain, work a stitch of single crochet into the 2nd of the 5, make 1 chain stitch, and repeat from the beginning of the round. 7th round: 1 long stitch into the loop formed with the 5 chain, make 12 chain, and repeat. 8th round: into the 12 chain 2 double crochet into successive loops, make 4 chain, work 1 double crochet into each of the 2 next loops, make 1 chain, work into the 6th loop 1 double crochet, 5 long stitches, and another double crochet, make 1 chain, miss 1 loop, work 2 double crochet into successive loops, make 4 chain, work 1 double crochet into each of the 2 next, make 5 chain, and repeat. this completes the circle. 120 circles sewn together like the engraving will make a good-sized couvrette, 12 in the length, and 10 in the width. if a round couvrette is wished, work 1 circle for the centre larger than the others; this can be done by repeating the 5th and 6th rounds, then sew 8 circles round the centre one, and increase the number of circles in each row till you have made it the size you wish. for the square one, tassels are required for the end and sides; these are made by winding the cotton over a cardboard 4 inches deep about 80 times, then twist 8 threads of the cotton into a cord, cut the cotton wound on the cardboard at one end, make 2 inches of the cord into a loop and tie it firmly with the middle of the tassel, then turn it, tie a thread tightly round, about an inch below the cord, and net over the head; 40 of these tassels will be sufficient. * * * * * 277.--_crochet insertion_. material: messrs. walter evans and co.'s crochet cotton no. 40. [illustration: 277.--crochet insertion.] the patterns of this insertion are worked in a row, and always two opposite circles at a time. make a foundation chain of 16 stitches, join them into a circle, then work a 2nd circle consisting again of 16 chain stitches. work round this circle 24 double stitches, and 24 double round the 1st circle; after the last stitch begin again at the 2nd circle, and work 10 chain scallops as follows:--3 double in the next 3 stitches, * 5 chain, 2 double in the next 2 stitches, repeat 8 times more, 3 double in the last 3 stitches; work in the same manner round the other circle. to get to the next pattern, work 4 slip stitches between the 2 circles in the middle of the just-completed pattern, leaving the cotton under the work and drawing it through the stitch upwards through the loop on the needle; 7 chain stitches, and then 2 circles like those just described, and so on. * * * * * 278 _and_ 279.--_tobacco pouch in crochet work_. materials: black purse silk; crimson ditto; gold thread. the pouch is begun at the bottom, in the centre of the star. with crimson silk make a chain of 3 stitches, and join it into a circle. work 4 rounds of double crochet, 2 stitches in each stitch. 5th round: 2 crimson stitches, 1 gold stitch, and so on. 6th round: all gold stitches. 7th round: 2 crimson stitches, 2 gold, and so on. 8th round: all crimson stitches. 9th round: 3 crimson stitches, 2 gold, &c. 10th round: similar to the preceding. [illustration: 278.--star for tobacco pouch, no. 279.] 11th round: 4 gold stitches, 3 crimson, &c. 12th round: 4 gold stitches, 2 black stitches over the 2 centre gold stitches of preceding round, &c. 13th round: 3 gold stitches, 4 black stitches, &c. 14th round: 1 gold stitch, 6 black stitches, &c. 15th round: 3 gold stitches, 4 black stitches, &c. 16th round: 4 gold stitches, 2 black stitches, &c. 17th round: 4 gold stitches, 2 over the black stitches of preceding round, and 1 on either side, 4 crimson stitches, &c. 18th round: 2 gold stitches over the centre ones of preceding round, 7 crimson stitches, &c. now work 4 plain crimson rounds, and begin the pattern from no. 279. the centre is crimson, and the pattern is black and gold. the border round the top is of the same colours. [illustration: 279.--tobacco pouch.] complete the work by 2 rounds of open treble crochet, and 1 round of gold scallops. in the open rounds pass a double cord of black silk, finished off with small balls of black silk gimp and gold; and on either side of the pouch fasten one of these same balls with two tassels, one crimson and one black. the pouch is lined with white kid. * * * * * 280 _and_ 281.--_crochet rosettes_. material: messrs. walter evans and co.'s crochet cotton no. 4, 24, or 40. these rosettes are suitable for trimming cuffs, collars, and bodices, or for making couvrettes, according to the size of the cotton with which they are worked. [illustration: 280.--crochet rosette.] 280.--make a foundation chain of 22 chain; join them into a circle and work the 1st round; 44 double. 2nd round: * 7 chain, missing 3 stitches of the preceding round under them, 1 double; repeat 10 times more from *. 3rd round: 1 slip stitch in the first 4 stitches of the next scallop, * 5 chain, miss the last and work back on the other 4, 1 double, 1 treble, 1 long treble, 1 double long treble (throw the cotton 3 times round the needle), 1 slip stitch in the middle stitch of the next scallop; repeat 10 times more from *. work a wheel in the centre of the rosette, which is ornamented with a circle of chain stitch, as can be seen in illustration; take up one thread of the wheel with every other chain stitch. * * * * * [illustration: 281.--crochet rosette.] 281.--begin the rosette with a leaf-like pattern in the centre, and work the 1st row: * 11 chain, miss the last, work back over the following 8 stitches, 1 double, 1 treble, 2 long treble, 1 double long treble, 2 long treble, 1 treble, 1 double in the upper part of the chain stitch before the last, 1 slip stitch in the lower part of the same stitch. the first leaf of the middle pattern is then completed; repeat 6 times more from *. join the first and last leaves together by working 1 slip stitch in the 1st of the 11 chain stitch. 2nd round: (fasten on the cotton afresh), 1 slip stitch in the point of each leaf, 12 chain between. 3rd round: 24 double in each scallop. the rosette is then completed. * * * * * 282.--_crochet trimming, with embroidered flowers worked in appliqué, and velvet ribbon_. [illustration: 282.--crochet trimming, with embroidered flowers worked in appliqué and velvet ribbon.] this trimming consists of 2 strips of crochet insertion, ornamented with embroidery patterns worked in appliqué, and velvet ribbon drawn through. they are worked the long way with fine crochet cotton. begin on a sufficiently long foundation chain of stitches which can be divided by 20, and work the 1st row: 1 chain, * 5 double, on the first 5 stitches of the foundation, 1 leaf, as follows:--10 chain, without reckoning the loop left on the needle, 1 extra long treble (for which the cotton is wound 5 times round the needle) in the second of the 10 chain, a similar treble in the first, then cast off the 2 treble stitches together, wind the cotton once round the needle, and cast off the last loop with the loop left on the needle. miss under the leaf 15 stitches of the foundation, and repeat from *. 2nd row: 5 double on the 5 double of the preceding row, inserting the needle in the whole stitches, 15 chain stitches between. 3rd row: * 5 double in the first 5 double of the preceding row, 7 chain, 1 slip stitch in every other stitch of the next scallop of the preceding row, 7 chain between, 7 chain stitches; repeat from *. 4th row: * 1 double in the middle of the 5 double of the preceding row, 3 chain, 1 slip stitch in the middle stitch of each of the 8 scallops, consisting of 7 chain in the preceding row, 3 chain between, 3 chain; repeat from *. these 2 last rows (the third and fourth) are repeated on the other side of the foundation chain. when the 2 strips of insertion are completed, sew them together so that 2 opposite scallops meet, and ornament them with the embroidery patterns and velvet ribbon. * * * * * 283.--_crochet insertion_. this pretty insertion is very suitable for cerceaunette covers or pillow-cases, and should be worked with middle-sized cotton. if the insertion is used for anything but a pillowcase, omit the lower border on which the button-holes are made. begin the insertion in the middle of one of the star-like figures, with a foundation chain of 9 stitches; join them into a circle by making 1 slip stitch, and crochet thus:--* 10 chain, 1 slip stitch in the 5th of these chain; this forms 1 purl; 4 chain, 1 slip stitch in the circle, repeat from * 5 times more. work 4 slip stitches in the next 4 chain, then crochet * in the next purl; 5 double divided by 5 chain, 4 chain, repeat 5 times from *. fasten the thread after having fastened the last 4 chain-stitches with a slip stitch to the 1st double stitch of this round. this completes the star-like figure. work on one side of these figures the following rows:-1st row: * 1 treble in the 2nd scallop of the four placed together, 3 chain, 1 double in the next scallop, 3 chain, 1 treble in the last of the 4 scallops, 3 chain, 1 treble in the 1st scallop of the following 4 placed together, 3 chain, 1 double in the next 2nd scallop, 3 chain, 1 treble in the 3rd scallop, 3 chain. repeat from *. 2nd row: 3 treble in the 1st stitch of the preceding row, * miss 3 stitches, 3 treble in the 4th following stitch. repeat from *. 3rd row: * 3 treble cast off together as one stitch on the next 3 stitches of the preceding row, 2 chain. repeat from *. 4th row: 1 double on the next stitch of the preceding row, * 4 chain, 1 slip stitch in the 3 double; this forms 1 purl; 3 double on the next 3 stitches of the preceding row. repeat from *. after having worked these four rows likewise on the other side of the star figures, work over the last the following 5 rows for the button-holes:-1st row: 1 double in the next purl, * 2 chain, 1 double in the next purl. repeat from *. 2nd row: 1 double in each stitch of the preceding row. 3rd row: alternately 11 double, 7 chain, under which miss 7 stitches. 4th row: like the 2nd row. 5th row; * 3 double on the next 3 double of the preceding row, 1 purl (4 chain, 1 slip stitch in the last double stitch). repeat from *. [illustration: 283.--crochet insertion.] * * * * * 284.--_crochet insertion_. material: messrs. walter evans and co.'s crochet cotton no. 30. this insertion is worked in our pattern with fine crochet cotton on a double foundation chain. for the outer edge work a row of purl stitches as follows:--1 double in the 1st stitch, * 1 chain, 1 purl, consisting of 5 chain, 1 slip stitch in the 1st 2 chain, 1 double in the next stitch but 2; repeat from *. the open-work centre consists of 6 rows of scallops; the 1st of these rows is worked on the other side of the foundation chain; 1 double in the middle stitch of every scallop, 5 chain between, then 1 row of slip stitches, and finally a row of purl stitches like the 1st row of the insertion. for the raised flowers, which are fastened over the grounding at unequal distances, * make a foundation chain of 10 stitches, fasten it on over the grounding from illustration by taking the needle out of the loop, inserting it into the 1 chain of the grounding, and drawing the loop through; miss the last of the 10 chain, and work back over the others; 1 slip stitch, 1 double, 1 long double, 3 treble, 1 long double, 1 double, 1 slip stitch, then 1 slip stitch in the 1st stitch, * 9 chain, missing 5 stitches under them, 1 double in the 6th stitch; repeat from *. each following row consists of 1 double in the middle stitch of every scallop of the preceding row, 9 chain between. then work the 1st row of the border on the other side of the insertion; 1 double in the 1st stitch of the foundation, inserting the needle into the back part of the stitch; repeat 8 times more from *, and the flower is completed. [illustration: 284.--crochet insertion.] * * * * * 285.--_crochet garter_. materials: grey thread of medium size; fine red wool; fine round white elastic cord; a pearl button. this garter is worked in close double crochet, over fine elastic cord; the border and pattern in red wool, the centre in grey thread. [illustration: 285.--crochet garter.] begin in the middle by a chain of 98 stitches, with red wool; take the elastic cord, which must always be stretched out a little, and work over it. work on both sides of the foundation chain; the pattern is completed in the course of the two first rounds; the button-hole is made at the beginning of the first round; make a loop of 21 stitches, and, when you come to it, work over this loop instead of over the foundation chain. increase the number of stitches at either end of the garter, to round it off. when the second round is completed work two plain grey rounds, then a plain red one. the last round (grey thread) is composed of alternately 1 double, 1 purl formed of 3 chain, 1 slip stitch in the first, missing 1 stitch under the 1 purl. sew on a pearl button to correspond with the button-hole. the garter would be both more elegant and more elastic if worked entirely in silk. * * * * * 286.--_crochet trimming for a lady's chemise_. materials: messrs. walter evans and co.'s crochet cotton, and a needle to match. this pattern, as can be seen in illustration, is an imitation of old guipure lace; it is worked all in one piece for the bosom and sleeves, and is part of one of the shoulder-pieces in full size. both strips of rosettes join at that place, and one is continued for the part round the bosom and the other for the sleeve. in the pattern there are 42 rosettes round the bosom, and 14 round each sleeve. these rosettes are fastened one to another in the course of the work. they are made in the following manner:--make a chain of 6 stitches, and join it into a ring. 1st round: 8 chain, 1 slip stitch in the 4th chain, which forms a purl (the 3 first chain are reckoned as 1 treble), 1 chain, 1 treble in the ring, * 5 chain, 1 slip stitch in the 1st to form a purl, 1 chain, 1 treble in the ring. repeat 6 times from *. instead of the last treble, work a slip stitch to fasten the end of the round to the 3 chain of the beginning, which thus form 1 treble. 2nd round: 9 chain (the 3 first to be reckoned as 1 treble), * 1 treble on the 1st treble of last round, 6 chain. repeat 6 times from *. 1 slip stitch in the treble at the beginning. 3rd round: on each scallop of preceding round work 2 double, 1 purl, 2 double, 1 purl, 2 double, 1 purl, 2 double. this completes the rosette. each rosette is fastened to the last by joining the 2 middle purl of both. in the illustration, which is full-size, the purl that are to be joined to those of another rosette are marked by a cross. the joining between the part round the bosom and the sleeve is made in the same manner. the space left between 4 rosettes is filled up with a star formed of chain stitches, marked in our illustration with an asterisk. for this star make a chain of 5 stitches, the 1st of which forms the centre; slip the loop you have on the needle through one of the 8 purl that are free, make 5 chain, 1 double in the centre stitch. repeat 7 times from *; then tie the two ends tightly, or sew them together 3 of these stars are required for each shoulder. [illustration: 286.--crochet trimming for a lady's chemise.] for the border.--it is worked at the same time both round the bosom and sleeves. 1st round: * 1 double in the centre purl of the 1st scallop of the rosette, which we will call the _first rosette_; 5 chain, 1 double in the centre purl of the 2nd scallop of the same rosette, 4 chain; then work the kind of cross which comes between each rosette (see illustration). to make this cross throw the cotton 3 times round the needle, work 1 double treble in the last purl left free of the 1st rosette, keep the last loop on the needle, throw the cotton twice round it, and work a double treble in the 1st purl left free in the 2nd rosette, throw the thread twice round the needle, work 1 treble with the loop left on the needle, make 2 chain, and work 1 treble in the last double treble, which completes the cross; make 4 chain. repeat from * at each slit on the shoulders; after the last cross make 6 chain, 1 slip stitch in the 2 purl at the end of the slit, 6 chain to come to the next space, where a cross is to be made. 2nd round: work alternately 1 treble, 2 chain, miss 2; at the slit on the shoulders work 6 double over the 6 chain. the two rounds just explained are also worked round the upper edge, and finished round the sleeves by the following round:--1 double in one of the spaces in last round, * 6 chain, 1 double in the 2nd of the 6 chain, which forms a purl, 1 chain, 1 double on the next but one of the last round, 6 chain, 1 double in the 2nd of the 6 chain, 1 chain, 1 double in the next space. repeat from *. on the upper edge of the bosom, between the 1st and 2nd rounds of the border, work 1 round of crosses, but throwing the cotton twice only round the needle, so that the treble stitches are not double; make 3 chain between each cross. * * * * * knitting. 287.--knitting, though considered to be an old-fashioned art, is by no means so ancient as lacemaking. knitting has never entirely quitted the hands of english and german ladies; indeed, among all good housewives of any civilised country, it is reckoned an indispensable accomplishment. knitting schools have been established of late years both in ireland and scotland, and her majesty the queen has herself set an example of this industry, as well as largely patronised the industrial knitters of scotland. of the rudiments of this useful art many ladies are at present ignorant; it is in the hope of being useful to these that the following instructions are offered. to knit, two, three, four, or five needles, and either thread, cotton, silk, or wool are required. knitting needles are made of steel, of ivory, or of wood; the size to be used depends entirely upon the material employed, whether thread, cotton, silk, single or double wool, for knitting. as the size of the needles depends upon that of the cotton, a knitting gauge is used (see no. 287). the gauge (page 290) is the exact size of messrs. h. walker and co.'s knitting gauge. our readers will remark that english and foreign gauges differ very essentially; the finest size of german needles, for example, is no. 1, which is the size of the coarsest english wooden or ivory needle. straight knitting is usually done with two needles only for round knitting for socks, stockings, &c., three, four, and five needles are employed. [illustration: 287.--knitting gauge.] * * * * * 288.--_casting on_. this term is used for placing the first row or round of knitting stitches on the needles--"casting them on"--and is done in two ways--by "knitting on" the stitches, or as follows:-hold the thread between the first and second finger of the left hand, throw it over the thumb and first finger so as to form a loop, and pass the needle in the loop; throw the thread lightly round the needle, pass it through the loop, and draw up the thread; this forms the first stitch (see no. 288). [illustration: 288.--casting on.] 289.--_to knit on_. [illustration: 289.--knitting on.] take the needle on which the stitches are cast in the left hand, and another needle in the right hand--observe the position of the hands (no. 289). hold the left-hand needle between the thumb and third finger, leaving the first finger free to move the points of the needles. (the wonderful sense of touch in the first or index finger is so delicate, that an experienced knitter can work without ever looking at her fingers, by the help of this touch only--in fact, knitting becomes a purely mechanical labour, and as such is most useful.) insert the point of the right-hand needle in the loop or stitch formed on the left-hand needle, bring the thread once round, turning the point of the needle in front under the stitch, bringing up the thread thrown over, which in its turn becomes a stitch, and is placed on the left-hand needle. 290.--_simple knitting (plain)_. [illustration: 290.--plain knitting.] pass the right-hand needle into the 1st stitch of the left-hand needle, at the back throw the thread forward, and with the first finger pass the point of the needle under the stitch in forming a fresh stitch with the thread already thrown over, as in "knitting on," only, instead of placing the newly-formed stitch on the left-hand needle, leave it on the right-hand needle, and let the stitch drop off the point of the left-hand needle. continue thus until all the stitches are taken from the left to the right-hand needle, and the row is then complete. 291.--_to purl, pearl, or seam_. seaming or purling a stitch is done by taking up the stitch _in front_ instead of at the back, throwing the thread over and knitting the stitch as in plain knitting; but before beginning to purl, the thread must be brought in front of the needle, and if a plain stitch follows, the thread is passed back after the purl stitch is made (see no. 291). [illustration: 291.--purling.] 292.--_to increase_. increasing or making a stitch is done by throwing the thread once round the needle and in the next row knitting it as an ordinary stitch. [illustration: 292.--increasing.] 293.--_to decrease_. this is done in two ways: _firstly_, taking up two stitches and knitting them together as one; _secondly_, by taking up a stitch without knitting it, called slipping, then by knitting the following stitch in the usual way, and then slipping the 1st (unknitted) over the 2nd (knitted) (see no. 293). when it is necessary to decrease two stitches at once, proceed thus:--slip one, knit two stitches together, then slip the unknitted stitch over the two knitted together. [illustration: 293.--decreasing.] 294.--_round knitting_. to knit a round four or five needles are used; it is thus that stockings, socks, cuffs, mittens, &c., are made. to knit with four needles, cast on, say, 32 stitches upon one needle, insert a second needle in the last stitch of the first, and cast on 30 stitches; proceed in a similar way with a third needle, but casting on 28 only; when this is done, knit the two extra stitches on the first needle on to the last; this makes 30 stitches upon each needle, and completes the round. 295.--_casting off_. knit two stitches, and with the left-hand needle slip the first stitch over the second; continue this to the end of the row. _note_.--the last knitted row, before casting off, should be knitted loosely. 296.--_to pick up a stitch_. this is done by taking up the thread between two stitches and forming a stitch with it. * * * * * the following designs of new stitches can be used for a variety of work:-297.--_peacock's tail pattern_. needles, wood or ivory; messrs. walter evans and co.'s knitting cotton. [illustration: 297.--peacock's tail pattern.] cast on a number of stitches divisible by nine, as it takes nine stitches for each pattern, and two for each border; the border, which is in plain knitting, will not be mentioned after the first row. 1_st row_.--2 plain for border; 2 plain *, make 1, 1 plain, repeat this four times from *, make 1, 2 plain; repeat from the beginning--then 2 plain for border. 2_nd row_.--2 purl, 11 plain, 2 purl; repeat. [illustration: 298.--spiral stitch.] 3_rd row_.--take 2 together, 11 plain, take 2 together; repeat. 4_th row_.--purl 2 together, purl 9, purl 2 together; repeat. 5_th row_.--take 2 together, 7 plain, take 2 together. begin from the 1st row. thirteen stitches are large enough for a stripe for a sofa-cover. these stripes should be sewn together after all are finished. * * * * * 298.--_spiral stitch_. materials: needles, thick steel or bone; double wool. this stitch is far more effective worked in thick wool than in cotton. it is done in stripes alternately wide and narrow. for wide stripes cast on twenty-one stitches, for narrow fifteen; this without counting the first and last stitch, the first being slipped, the last always plainly knitted. 1_st row_.--purl 3 together to end of row. 2_nd row_.--make 1, * 1 plain, make 2, repeat from * end by making the last stitch before the plain knitted one at end of row. * * * * * [illustration 299.--knotted stitch.] 299.--_knotted stitch_. materials: needles, wood or ivory; double wool. cast on 11 stitches. 1_st row_.--all plain, throwing the wool twice round the needle before each stitch. 2_nd row_.--each stitch on the needle is now composed of 3 threads of wool: knit the first plain, the second purl, the third plain; cast off the second over the third, and the first over the second; this leaves but one stitch; repeat from first row until a sufficient length is obtained. this pattern makes very pretty borders. * * * * * 300.--_knitted moss borders_. materials: steel needles; moss wool of several shades of green. cast on enough stitches for double the width required, say twenty, and knit very tightly in plain knitting, row by row, until a sufficient length has been obtained. cut off and place the strip on a sieve over a basin of boiling water, and cover it over. when it has absorbed the steam, and while wet, iron it with a box-iron. then cut the strip down the centre, and unravel the wool on each side. the threads of wool all curling, resemble moss. they are held firmly by the selvedge of the knitting. * * * * * 301.--_german brioche stitch_ materials: wood or ivory needles; wool. cast on an even number of stitches. all the rows are knitted as follows:--slip 1, taken as for purling, make 1, take 2 together. in the following rows the made stitch must always be slipped, the decreased stitch and the slipped stitch of the previous row knitted together. [illustration: 301.--german brioche stitch.] ordinary brioche stitch is made by casting on an even number of stitches, and working the rows as follows:-make 1, slip 1, take 2 together; repeat. _note_.--the made stitch and the slipped stitch of the previous row must always be knitted together, and the decreased stitch of that row slipped. * * * * * netting. 302.--netting is one of the prettiest and one of the easiest accomplishments of a lady. the materials are simple, while the effects produced by good netting are most elegant and of great durability. one great advantage of netting is that each stitch is finished and independent of the next, so that if an accident happens to one stitch it does not, as in crochet or knitting, spoil the whole work. netting, so easy to do, is most difficult to describe. the materials required are--a netting-needle and mesh (see illustration no. 302). these are made of bone, of wood, of ivory, and most commonly of steel. the wood, bone, and ivory are only used for netting wool, the steel for silk, cotton, &c. the needle is filled by passing the end of the thread through the little hole at the left-hand point, and tying it; then the thread is wound on the needle as on a tatting shuttle. the needles are numbered from 12 to 24; these last are extremely fine. the meshes correspond to the sizes of the needles, and are made of the same materials. the larger the size of the stitch required the thicker the mesh must be selected; indeed, large hat meshes are often used for some patterns. a stirrup to slip over the foot to which the foundation is attached is required by those who do not use a netting cushion, placed before them on the table and heavily weighted; to this the foundation is fastened. the stirrup is made of a loop of ribbon, to which the foundation is tied. some ladies work a pretty stirrup of the exact shape of a horseman's stirrup; a loop of ribbon is passed through this, and the foundation fixed as before. [illustration 302.--needle and mesh.] 303.--_to net_. place the mesh under the thread, between the thumb and finger of the left hand; it must rest on the middle of the finger and be held only by the thumb (see illustration no. 303). take the needle in the right hand, pass the thread over the middle and ring finger and over the mesh, pass the needle upwards and behind the mesh in the large loop which forms the thread round the fingers, and at the same time through the first stitch or loop of the foundation. draw the needle out, retaining the loops on the fingers and dropping them off, the little finger being the last to release the thread. as the thread tightens and the knot is firm, the loop on the little finger should be drawn up quickly and smartly. the next stitches are precisely similar, and row upon row is formed in the same manner. having learnt the stitch, the next task is to make a foundation. tie a large loop of strong thread on the stirrup ribbon, and net fifty stitches into this loop, then net four or five rows, and the foundation is ready. [illustration: 303.--netting.] simple netting as above explained forms diamonds or lozenges. when a piece of netting is finished it is cut off the foundation, and the little ends of thread that held the stitches are drawn out. 304.--_square netting_. is done precisely in the same manner as plain netting, only begin from one stitch, then net two stitches into this first, and increase by making two in the last loop of every row. as soon as the right number of stitches is complete diminish exactly in the same way by netting two stitches as one at the end of each row until one stitch alone remains. these squares are used for guipure d'art and for darning on. 305.--_round netting_ is nearly similar to plain netting. a little difference exists in the way of passing the needle through the stitch; this is shown in no. 305. after having passed the needle through the stitch it is drawn out and passed from above into the loop just made. this stitch is very effective for purses. [illustration: 305.--round netting.] 306.--_diamond netting_ is often called "pointed netting," and is made by netting from one stitch, increasing one stitch at the end of each row, and decreasing in the same way, as described at page 303. 307.--_to net rounds_. to form a circle, as for a purse, the needle must pass through the first stitch, keeping the last three or four on the mesh and removing this when required by the work. 308.--_"english" netting_ is made as follows:--net a row of plain netting, begin the second row by netting the second stitch, then net the first; repeat, always passing by one stitch and taking it up. _3rd row_.--plain. _4th row_.--begin by a plain stitch, then continue as in the 2nd row. _5th row_.--plain. [illustration: 308.--"english" netting.] 309.--_lace edging_. begin by one stitch and net two in one at the end of each row until as many stitches are required for the narrowest part of the edge. * increase one then in the two loops until the point of the edge or scallop is reached; at the next row leave the squares which form the point, and begin from *. 310.--_open lace_. this kind of edging is made with two meshes of different sizes and extremely fine crochet cotton. tie the thread to the foundation, net 3 rows with the small mesh of the required length. _4th row_.--on the large mesh, one stitch in each stitch. _5th row_.--on the small mesh take 3 stitches together to form 1 loop; repeat to end of row. _6th row_.--on the large mesh make 5 loops in each stitch; repeat to end of row. [illustration: 310.--open lace.] _7th row_.--on the small mesh, one loop in each of the 4 first stitches, pass over the 5th, repeat to end. _8th row_.--on the small mesh make a loop in each of the two first stitches, pass over the 4th; repeat. _9th row_.--on the small mesh make a loop in each of the two first stitches, pass over the 3rd; repeat. this lace is often used in fine wool of two colours to trim opera-caps, children's hoods, &c. 311.--_shell border_. this border is intended as an edging for square netting for couvrettes, d'oyleys, &c. the mesh must be three times as long as that employed for the square netting. make 12 stitches in the first stitch of the edge, pass over 8, make 12 in the ninth, and repeat. then take the mesh used for the square netting, and net one stitch in each stitch, take a still smaller mesh, and complete by adding another row of one stitch in each stitch. this border forms a very appropriate edging for all articles in square netting, as couvrettes, mats, also for trimming guipure d'art work, and should be netted in the row of holes edging the work; two sets of shells must be worked at the corners when a little fulness is required. [illustration: 311.--shell border.] * * * * * knitting and netting patterns 312.--_knitted sock for a child._ materials for 1 pair: 1 ounce of single berlin wool; 1 yard of narrow pink or blue ribbon; 2 fine steel pins. this sock fits well, and is easy to make. it is knitted upon two pins, backwards and forwards. cast on 22 stitches and knit 22 rows, but increase once at the end of every other row on the right side of the work, so that there are 33 stitches in the 22nd row. now cast off 28 stitches and knit 12 rows, increasing 1 stitch at the end of every other row. now 12 more rows, decreasing 1 stitch at the end of every other row; this forms the toe. cast on 28 stitches on the same needle, and knit 22 rows, decreasing 1 stitch at the end of every other row, and cast off. pick up the 68 stitches on the upper part of shoe, and knit 20 rows, alternately 2 plain and 2 purl rows, decreasing 1 stitch on each side of the 12 stitches in every other row, which forms the toe and front of sock. knit 14 rows of 2 plain, 2 purl stitches alternately, then 3 open rows with 1 plain row between. the open rows are worked as follows:--* purl 2 together, purl 1, make 1, repeat *, 3 plain rows, 1 open row, 1 plain row, and cast off. the sock is sewn together down the back of leg, centre of sole, and the point joined like a gusset to form the toe. [illustration: 312.--knitted sock.] * * * * * 313.--_knitted pattern for counterpanes, berceaunette covers, couvrettes, antimacassars, &c._ materials: messrs. walter evans and co.'s knitting cotton; 5 steel knitting-needles of a corresponding size. [illustration: 313.--knitted pattern for counterpanes, berceaunette covers, &c.] according to the size of the cotton employed, this beautiful square makes different articles, such as counterpanes, couvrettes, &c. &c. if worked with evans's cotton no. 10, it will be suitable for the first-mentioned purpose. begin the square in the centre, cast on 8 stitches, 2 on each needle; join them into a circle, and knit plain the 1st round. 2nd round: * knit 1, throw the cotton forward, knit 1; repeat 3 times more from *. 3rd round: plain knitting. this knitted round is repeated after every pattern round. we shall not mention this again, nor the repetition from *. 4th round: * knit 1, throw the cotton forward, knit 1, throw the cotton forward, knit 1. 6th round: * knit 1, throw the cotton forward, knit 3, throw the cotton forward, knit 1. 8th round: * knit 1, throw the cotton forward, knit 5, throw the cotton forward, knit 1. the 9th to 18th rounds are knitted in the same manner, only in every other round the number of stitches between the 2 stitches formed by throwing the cotton forward increases by 2, so that in the 18th round 15 stitches are knitted between. 20th round: * knit 1, throw the cotton forward, knit 1, throw the cotton forward, knit 5, slip 1, knit 1, draw the slipped over the knitted stitch, knit 1, knit 2 together, knit 5, throw the cotton forward, knit 1, throw the cotton forward, knit 1. 22nd round: * knit 1, throw the cotton forward, knit 1, throw the cotton forward, slip 1, knit 1, draw the slipped over the knitted stitch, throw the cotton forward, knit 4, slip 1, knit 1, draw the slipped over the knitted stitch, knit 1, knit 2 together, knit 4, throw the cotton forward, knit 2 together, throw the cotton forward, knit 1, throw the cotton forward, knit 1. 24th round: * knit 1, throw the cotton forward, knit 1, throw the cotton forward, slip 1, knit 1, draw the slipped over the knitted stitch; throw the cotton forward, slip 1, knit 1, draw the slipped over the knitted stitch, throw the cotton forward, knit 3, slip 1, knit 1, draw the slipped over the knitted stitch, knit 1, knit 2 together, knit 3, throw the cotton forward, knit 2 together, throw the cotton forward, knit 2 together, throw the cotton forward, knit 1, throw the cotton forward, knit 1. 26th round: * knit 1, throw the cotton forward, knit 1, throw the cotton forward 3 times alternately, slip 1, knit 1, draw the first over the last, throw the cotton forward; knit 2, slip 1, knit 1, draw the first over the last, knit 1, knit 2 together, knit 2, three times alternately, throw the cotton forward, knit 2 together, throw the cotton forward, knit 1, throw the cotton forward, knit 1. 28th round: * knit 1, throw the cotton forward, knit 1, four times alternately, throw the cotton forward, slip 1, knit 1, draw the slipped over the knitted stitch; throw the cotton forward, knit 1, slip 1, knit 1, draw the slipped over the knitted stitch; knit 1, knit 2 together, knit 1, four times alternately throw the cotton forward, knit 2 together, throw the cotton forward, knit 1, throw the cotton forward, knit 1. 30th round: * knit 1, throw the cotton forward, knit 1, six times alternately throw the cotton forward, slip 1, knit 1, draw the slipped over the knitted stitch, knit 1 six times alternately, knit 2 together, throw the cotton forward, knit 1, throw the cotton forward, knit 1. 32nd round: knit 1, throw the cotton forward, knit 1, 6 times alternately throw the cotton forward, slip 1, knit 1, draw the slipped over the knitted stitch, throw the cotton forward, knit 3 stitches together, 6 times alternately throw the cotton forward, knit 2 together, throw the cotton forward, knit 1, throw the cotton forward, knit 1. 34th round: * knit 1, throw the cotton forward, knit 1, 7 times alternately throw the cotton forward, slip 1, knit 1, draw the slipped over the knitted stitch, knit 1, 7 times alternately knit 2 together, throw the cotton forward, knit 1, throw the cotton forward, knit 1. 36th round: * knit 1, throw the cotton forward, knit 1, 7 times alternately throw the cotton forward, slip 1, knit 1, draw the slipped over the knitted stitch, throw the cotton forward, knit 4 stitches together, 7 times alternately throw the cotton forward, knit 2 together, throw the cotton forward, knit 1, throw the cotton forward, knit 1. 38th round: * knit 1, throw the cotton forward, knit 1, 8 times alternately throw the cotton forward, slip 1, knit 1, draw the, slipped over the knitted stitch, 8 times alternately knit 2 together, throw the cotton forward, knit 1, throw the cotton forward, knit 1. 40th round: * knit 1, throw the cotton forward, knit 1, 8 times alternately throw the cotton forward, slip 1, knit 1, draw the slipped over the knitted stitch, throw the cotton forward, knit 3 stitches together as 1 stitch, 8 times alternately throw the cotton forward, knit 2 together, throw the cotton torward, knit 1, throw the cotton forward, knit 1. you now have 41 stitches on each needle; knit 1 round, and cast off. when completed, the squares are joined together on the wrong side. * * * * * 314.--_knitted sleeping sock._ materials for one pair: 4 ounces white fleecy, 3 ply; 1 ounces light blue fleecy. [illustration: 314.--knitted sleeping sock.] these socks are knitted with white and blue wool in a diamond pattern, and in rounds like a stocking. begin at the upper part of the sock; cast on 103 stitches with blue wool on pretty thick steel knitting-needles, and knit 20 rounds of the diamond pattern as follows:-1st round: quite plain. 2nd round: purled; both these rounds are worked with blue wool. 3rd to 6th rounds: knitted plain with white wool. 7th round: with blue wool; knit 3, draw the wool through the next stitch of the 2nd round worked with blue wool, draw it out as a loop, keep it on the needle, knit again 3 stitches, and so on. 8th round: with blue wool; the loop which has been taken up on the preceding round is purled off together with the preceding stitch. repeat the 3rd and 8th rounds twice more; the loop of one round must be placed between those of the preceding one. then knit with white wool 31 rounds, alternately 2 stitches knitted, 2 stitches purled, then work the foot in the diamond pattern in the same way as usual for a stocking. the heel is formed by leaving 23 stitches on each side the seam stitch, and knitted backwards and forwards in the diamond pattern. at the toe decrease so that the decreasings form a seam on both sides of the toe. this is obtained by knitting the 3rd and 4th stitches of the 1st needle together; on the 2nd needle slip the 4th stitch before the last, knit the next stitch and draw the slipped stitch over the knitted one; decrease in the same manner on the other 2 needles of this round. repeat these decreasings exactly in the same direction and at the same places, so that there are always 4 stitches between the 2 decreasings at the end and at the beginning of 2 needles; they always take place after 3 or 2 plain rounds, and at last after 1 plain round. the remaining stitches are knitted off 2 and 2 together. to complete the sock, the outline of the sole is marked by working slip stitches with blue wool in crochet all round it; work also slip stitches on the selvedge stitch of the heel. the stocking is finished off at the top with a double round of loops in blue wool, worked over a mesh four-fifths of an inch wide. * * * * * _315 and 316.--netted fichu or cape._ material: fine wool, or white and blue silk; netting needle and meshes. this fichu or cape is made either with fine wool or with silk used three or four times double. it may be worn as an evening wrap, either over a cap or on the hair, or as a necktie. the ground in our pattern is white, the border blue. the illustration of the ground and of the border, in full size, will serve as a guide for the size of the meshes to be used. for the ground cast on the first mesh, with white silk, 56 stitches; work 2 rows on the 56 stitches. from the 3rd row, always miss the last stitch, so that each row is decreased 1 stitch. continue in this manner till the 39th row, when there will be but 19 stitches left. from the 40th row, miss 2 stitches at the end of each row. the ground is completed with the 46th row. the 1st row of the work is the _cross-way side_; the last, the _point at the bottom_; fasten on the blue silk to the 1st stitch of the 1st row, and on a larger mesh work 1 row round the ground of the fichu, not forgetting that the stitch on the outer edge at the sides must always be taken, and 2 stitches made in the 5th, 10th, 14th, [illustration: 315.--netted fichu, or cape, for evening dress.] 18th, 21st, 23rd, and 25th stitches at the sides, as well as in each of the 2 middle stitches of the last row; in each of the other stitches 1 stitch should be made. on the corners of the sides increase _once_, on the cross-way side, seven times in all. this forms the 1st round of the edging or lace. [illustration: 316.--showing the netting full size for border of fichu.] 2nd round of the lace: in each stitch make 2 stitches--still on the larger mesh. 3rd round: always miss the small flat scallop formed in last row, and work 2 stitches in the stitch which forms a tight loop. keep thus the same number of stitches, with which work 6 more rounds. for the last round, work 1 stitch in each _tight_ loop. * * * * * _317.--lady's knitted purse._ materials: 2 skeins of black purse silk; 2 skeins of scarlet ditto; black jet beads; a steel clasp with chain; a tassel of black beads; 5 steel knitting-needles. [illustration: 317.--lady's knitted purse.] this purse is knitted with black and scarlet purse silk, and ornamented with black beads and a black bead tassel. begin the purse with the black silk in the centre of the bottom part, and cast on for one part of it 7 stitches. knit 14 rows on these backwards and forwards, in such a manner that the work is knitted on one side and purled on the other. the 1st stitch of every row is slipped, the 1st row of this part is purled. * on that side where hangs the thread with which you work take the back chain of the 7 selvedge stitches of the part you have just knitted on a separate needle, and knit another part, which must have 15 rows, and the 1st row of which is knitted. repeat 10 times more from *. the stitches of several parts can be taken on the same needle, so as not to be hindered in working by too many needles. when the 12th part is completed, take the selvedge stitches on the left hand on another needle, cast them off together with the cast on stitches of the 1st part, and fasten the silk thread. then take the 7 right-hand selvedge stitches of one black part on a needle, take the red silk on which the beads have been strung and work 15 rows on these stitches, the 1st row from the wrong side, and therefore purled; in the 1st, as well as in all the other purled rows, the last stitch must be purled together with the next stitch of the next black part. in the purled rows, moreover, excepting in the first and last one, a bead must be worked in after casting off the 2nd, 4th, and 6th stitches. the stitch must be worked by inserting the needle into the back part, and in drawing through the silk which has been thrown forward, let the bead slide through the stitch so that it is on the right side of the work. in the following knitted row, the needle must also be inserted into the back part of the bead stitch. when 12 such red parts have been completed, work again 12 black parts on the selvedge stitch of the same, in which the beads are not knitted in, but sewn on afterwards, when the purse is completed. then work 3 times more alternately 12 red and 12 black parts; when the last 12 black parts have been completed cast off the stitches of the last black part together with the selvedge stitches, the 1st on the wrong side; the stitches of the 6th part are cast off in the same manner together with the selvedge stitches of the 7th. the red parts which remain to be worked on the black part are thus lessened by 2; the 2nd, 3rd, and 4th, and the 7th, 8th, and 9th of these parts must be by 6 rows longer. then gather all the stitches and selvedge stitches of the 10 parts on 2 needles, in such a manner that the 2 black parts, the stitches and selvedge stitches of which have been cast off together, are placed on the sides of the purse, and knit as follows with black silk, first on the stitches of the one needle, and then on those of the other:--1 row knitted, knitting together every 3rd and 4th stitch; then work 3 rows backwards and forwards on the same number of stitches, which must be knitted on the right side; then work 8 rows more in the same manner, casting off the 2 first stitches of the 8 rows. then cast off all the remaining stitches, sew the beads on the black parts from illustration; also the clasp and bead tassel. * * * * * 318 to 320.--_knitted antimacassar or berceaunelle cover._ materials: grey and violot fleecy wool. [illustration: 318.--square for antimacassar.] this antimacassar, part of which is seen on no. 320, smaller than full size, is made of rosettes and small squares, which are knitted separately with violet and grey fleecy wool with fine knitting-needles. in the middle of each rosette sew on a tatted circle of grey wool. the edge of the antimacassar is ornamented with a grey woollen fringe. for each rosette cast on 6 stitches with violet wool, and knit 12 rows backwards and forwards in such a manner that the work is knitted on one side and purled on the other: the first of these 12 rows is purled, the first stitch of every row is slipped; * then take the first five selvedge stitches of the knitted part on a separate needle (on the side where the end of wool hangs down, leaving it unnoticed for the present), inserting the needle into the back chain of the stitch (the selvedge stitch which is next to the cast-on stitch remains, therefore, unworked upon), and knit on these a new part, which must have 13 rows; the first row is knitted, and in this row work 2 stitches in the first stitch, one purled and one knitted, so that this new part is equally six stitches wide. repeat 8 times more from *. after having worked several parts, the stitches can, of course, be taken on the same needle, so as not to increase the number of needles. when the 10th part is com-* *pleted, take the selvedge stitches of the left-hand side of the same on a separate needle, cast them off with the cast-on stitches of the first part, and fasten the wool. then take the 6 selvedge stitches on the right hand of one part on a separate needle; take the grey wool, and work on these stitches 13 rows backwards and forwards; the first row is knitted; it is worked on the right side of the work; in this, and in every following _knitted_ row, knit the last stitch together with the next stitch of the next violet part. when 10 such grey parts are completed (each of the remaining 9 parts consists of 13 rows, and begins with one knitted row), take all the stitches and the selvedge stitches of these parts on four needles and knit with these stitches, also with grey wool 1 row knitted, in which the 6 selvedge stitches must be decreased to 3 by knitting always 2 stitches together as 1 stitch; each of the other stitches is knitted as usual. then purl 2 rows with violet wool, and cast off. [illustration: 319.--rosette for antimacassar.] [illustration: 320.--part of antimacassar.] for the tatted circle in the centre of the rosette, work with grey wool a circle consisting of 1 double, and 11 times alternately 1 purl 3-10ths of an inch long, 2 double, then 1 purl and 1 double. the circle is sewn on the rosette, from illustration, with grey wool. no. 319 shows such a rosette full size. the small squares (_see_ no. 318) are worked with grey wool; cast on 36 stitches, join the stitches into a circle, and purl 2 rows. to form the corners, knit together 4 times 2 stitches after every 7 stitches in the first of these two rounds, in the second round knit together 2 stitches after every 6 stitches; these decreasings and those of the other rounds must always take place, at the same places as in the preceding round. then take the violet wool, and knit 7 rows; in the first of these knit 4 times 2 stitches together after intervals of 5 stitches; no decreasings take place in the 2nd, 4th, and 6th rows; in the 3rd row knit together 4 times 3 stitches as 1 stitch, and in the 5th and 7th rows 4 times 2 stitches as 1 stitch. after the 7th round, the remaining stitches are cast off together as 1 stitch. then fasten the wool and cut it off. lastly, sew the rosettes and squares together from no. 320 for a cover, and edge it round the border with a fringe of grey wool. * * * * * [illustration: 321.--knitted border.] 321.--_knitted border._ material: messrs. walter evans and co.'s no. 10 or no. 50 knitting cotton. if knitted with thick cotton, this border will be suitable for trimming a quilt or berceaunette cover; if, on the contrary, fine cotton is used, the pattern will form a very pretty collar for a little boy or girl. to make a collar, begin by a chain of 220 stitches, and work 6 rows backwards and forwards alternately, knitting 4 stitches and purling 2. in the 2nd, 4th, and 6th rows the 4 stitches are purled, and the 2 are knitted. 7th row: * purl 2, make 1, knit 2, purl 2. repeat from *. 8th row: alternately purl 5, knit 2. all the rows with _even_ numbers are knitted like this, except that the number of the knitted stitches are increased by 2 in each of them. we will not, therefore, henceforth mention these rows. 9th row: * knit 2, make 1, knit 1, make 1, knit 2, purl 2. repeat from *. 11th row: * knit 2, make 1, knit 3, make 1, knit 2, purl 2. repeat from *. 13th row: * knit 2, make 1, knit 5, make 1, knit 2, purl 2. repeat from *. the pattern is continued in the same manner. the small gores formed between the ribs are increased by 2 stitches in every second row. each of these gores has 13 stitches in the 21st row, which is the last. cast off all the stitches after this row. take a crochet needle, and with the same cotton as that used for the knitting work 1 stitch of double crochet in every stitch of the selvedge, then the 2 following rows for the edging. 1st row: alternately 1 treble, 1 chain, under which miss 1. 2nd row: alternately 1 double over 1 treble of preceding row, 1 purl (that is, 5 chain and 1 slip stitch in the first), under which miss 1. over the first row of the knitting work 1 row of close double crochet. the border is now completed. * * * * * 322.--_knee-cap in knitting._ materials: for 1 pair, 4 oz. pink 4-thread fleecy wool, and a small quantity of white ditto. begin each knee-cap by casting on with pink wool 114 stitches, equally divided upon 4 needles, and joining them into a circle. upon this number of stitches work 47 rounds, alternately knitting and purling 2 stitches. in the 48th round begin the gore which covers the knee; it is worked separately backward and forwards, always alternately knitting and purling 2 stitches. [illustration: 322.--knee-cap in knitting.] after 2 rows change the pattern, so as to form small squares knit the first row of this gore upon 26 stitches slipped off from the last row on to a separate needle. at the end of each following row knit the nearest stitch of the nearest needle, so as to increase 1 stitch in each row of the gore. continue in this way until only 42 stitches remain of the ribbed part. after this work the remainder of the gore separately, decreasing once at the beginning and end of each row till only 26 stitches remain; then take up 23 stitches of the selvedge on each side of these 26 stitches, and work 47 rounds, alternately knitting and purling 2 stitches. the edging at the top and bottom of the knee-cap is worked in crochet. with white wool make a chain of 50 stitches; turn and work 1 row of crochet _à tricoter_; then work a second row thus: the first part, as usual, with white, but coming back, with pink make 4 chain between each stitch, work in the same way on the other side of the foundation chain, thus forming a small ruche, and sew it on to the edge of the knitting. * * * * * 323.--_knitted neckerchief in black shetland wool._ material: black shetland wool. this three-cornered neckerchief is knitted in the following pattern (commencing at the corner). 1st row: slip 1, make 1, knit 2 together, inserting the needle into the back part of the stitch, slip 1, make 1, knit 2 together. 2nd row: knit 1, purl 1 in the stitch formed by throwing the wool forward in the preceding row; the other stitches are purled. in the next row the holes are alternated; the neckerchief must of course be increased at the beginning and end of every other row. it measures at the upper edge 1 yard 16 inches across from one corner to the other; the lower corner is rounded off. the neckerchief is edged with a knitted lace. [illustration: 323.--knitted neckerchief in shetland wool.] the lace is worked in rows backwards and forwards, the cross way. cast on 22 stitches and work the 1st row as follows:--slip 1, knit 11, knit 2 together, throw the wool forward, knit 2 together, knit 6. 2nd row: slip 1, purl 18, knit 1 and purl 1 with the stitch formed in the preceding row by throwing the wool forward. 3rd row; slip 1, knit 2 together, knit 9, knit 2 together, throw the wool forward, knit 2 together, throw the wool forward, knit 2 together, knit 5. 4th row: slip 1, purl 5, knit 1, purl 1, knit 1 in the stitch formed in the preceding row by throwing the wool forward, purl 13. 5th row: slip 1, knit 2 together, knit 6, knit 2 together, throw the wool forward, knit 2 together, throw the wool forward, knit 2 together, throw the wool forward, knit 2 together, knit 4. 6th row: slip 1, purl 8, knit 1, purl 1 in the stitch formed by throwing the wool forward in preceding row, purl 9. 7th row: slip 1, knit 2 together, knit 4, knit 2 together, throw the wool forward 4 times alternately, knit 2 together, knit 4. 8th row: slip 1, purl 3, knit 1, purl 1 in the stitch formed by throwing the wool forward in the preceding row, purl 13. 9th row: slip 1, knit 2 together, knit 2, 5 times alternately; knit 2 together, throw the wool forward, knit 2 together, knit 2. 10th row: slip 1, knit 1, purl 1 in the stitch formed by throwing the wool forward in preceding row, purl 5. 11th row: slip 1, knit 2 together, 6 times alternately knit 2 together, throw the wool forward, knit 2 together, knit 1. 12th row: slip 1, knit 1 in the stitch formed by throwing the wool forward in preceding row, purl 13. 13th row: slip 1, throw the wool forward, knit 2, knit 2 together, 5 times alternately throw the wool forward, knit 2 together, knit 2. 14th row: slip 1, purl 10, knit 1, purl 1 in the stitch formed by throwing the wool forward in preceding row, purl 5. 15th row: slip 1, throw the wool forward, knit 4, knit 2 together, 4 times alternately throw the wool forward, knit 2 together, knit 3. 16th row: slip 1, purl 3, knit 1, purl 1 in the stitch formed by throwing the wool forward in preceding row, purl 13. 17th row: slip 1, throw the wool forward, knit 6, knit 2 together, 3 times alternately throw the wool forward, knit 2 together, knit 4. 18th row: slip 1, purl 8, knit 1, purl 1 in the stitch formed by throwing the wool forward in preceding row, purl 9. 19th row: slip 1, throw the wool forward, knit 8, knit 2 together, twice alternately throw the wool forward, knit 2 together, knit 5. 20th row: slip 1, purl 5, knit 1, purl 1 in the stitch formed by throwing the wool forward in preceding row, purl 13. 21st row: slip 1, throw the wool forward, knit 10, knit 2 together, throw the wool forward, knit 2 together, knit 6. 22nd row: slip 1, purl 6, knit 1, purl 1 in the stitch formed by throwing the wool forward in preceding row. 23rd row: slip 1, throw the wool forward, knit 12, knit 2 together, knit 7. 24th row: purled. repeat from the 1st row till the lace is sufficiently long. then sew on the lace round the edge; the lace can be knitted somewhat narrower for the upper edge. one of the ends of the neckerchief is knotted, as seen in the illustration, and the other end is drawn through the knot. * * * * * _324 and 325.--knitted bodice without sleeves._ materials: 4 ounces black, 3-1/2 ounces purple fleecy; black silk elastic; a steel buckle; 9 black bone buttons. this bodice is knitted in brioche stitch with black and purple wool, so that the raised ribs appear black on one side and purple on the other. the bodice fits quite close. it is fastened in front with black bone buttons and a steel buckle. two strips of silk elastic are knitted in at the bottom. begin at the bottom of the bodice with black wool, and cast on 170 stitches. the needles must be rather fine, and the knitting not too loose. work backwards and forwards 24 rows as follows:--slip the 1st stitch, alternately throw the wool forward, slip 1 as if you were going to purl it, and knit 1. in the next row knit together the stitch which has been slipped and the stitch formed by throwing the wool forward, slip the knitted stitch, after having thrown the wool forward. in the 25th row take the purple wool and work 1 row as before. [illustration: 324.--knitted bodice without sleeves (back).] [illustration: 325.--knitted bodice without sleeves (front).] now work alternately 1 row with black wool and 1 row with purple, but as the wool is not cut off, the brioche stitch must be alternately knitted and purled. work always 2 rows on the same side from right to left. the following 26th row is worked with black wool in common brioche stitch, only the slipped stitch of the preceding row is purled together with the stitch formed by throwing the wool forward. 27th row: turn the work, with purple wool purled brioche stitch. 28th row: on the same side with black wool knitted brioche stitch. after having worked 40 rows all in the same manner, begin the front gore. divide the stitches upon three needles, 82 stitches on one needle for the back, and 44 stitches for each front part on the two other needles. then work the first 11 stitches of the left front part (this row must be worked on that side of the work upon which the ribs appear purple) in knitted brioche stitch; the 11th stitch must have a slipped stitch, with the wool thrown forward, therefore it is a purple rib. after this stitch begin the gore with the following 13 stitches. the ribs are then worked so that a purple one comes over a black one, and a black one over a purple one. do not work upon the following black stitch; knit the following stitch with the one formed by throwing the wool forward. throw the wool forward, and then only slip the black stitch which had been left, so that it comes behind the stitch which has just been knitted. this crossing of the stitch is repeated once more, then knit the following stitch together with the one formed by throwing the wool forward, throw the wool forward, slip the crossed black stitch and the two following single black stitches. the slipped stitch and the stitch formed by throwing the wool forward before the 3rd single black stitch are then knitted together, so that the crossed stitches are placed in opposite directions. the three black stitches which are knitted off together as 1 stitch in the next row form the middle line of the front gore, and are continued in a straight line to the point of the gore. the crossing takes place twice in this row, but now the black stitch is slipped first. after the 24th stitch knit together the following stitch with the stitch formed by throwing the wool forward. then continue to work in common brioche stitch to the other front part, where the gore begins before the 24th stitch from the end. in the next row, which is worked in purled brioche stitch with black wool, take up the black loop between two purple ribs after the 11th stitch; purl it so as to form the stitch which is missing at that place. the 3 slipped stitches in the preceding row are purled together as one stitch with the stitch formed by throwing the wool forward between the ribs. the loop is also taken up on the other side of the front gore in the same manner, as well as on the other front part. then work 6 rows without increasing or decreasing. the crossing of the stitch is repeated after every 7 rows, always on the knitted brioche stitch side, with purple wool. in the 18th row of the gore the 3 middle stitches are not knitted together, but separately, so that the pattern must be decreased in 26 rows. in the back 30 stitches only must be decreased, two in every 6th row. after the 60th row another decreasing takes place on the outer edges of the front parts for the neck; they decrease 2 stitches (1st rib) after the 5th stitch from the front edge in every 3rd row. the 5 stitches which close to the neck are cast off together with the 5 stitches on the shoulders. then cast off loosely the stitches of the back; take all the selvedge stitches of the front on the needles, and knit 24 rows of brioche stitch with black wool, making 9 button-holes on the right front part. on the wrong side of this part sew on a strip of black silk, with slits worked round in button-hole stitch, stitching at the same time into the knitting. the following scallops are knitted round the top of the jacket and round the armholes with black wool:--take the selvedge stitches on the needles, work 4 rows alternately, 1 stitch knitted, 1 stitch purled, thread the wool into a berlin wool-work needle, * cast off 3 stitches together, draw the wool through the needle, and take the 2 following stitches on the wool in the worsted-needle; repeat from *. sew on the buttons the strips of silk elastic on either side of the black stripe at the bottom, and fasten the ends of the latter with the steel buckle. _326.--baby's boot._ materials for one pair: 1/2 ounce red, 1/2 ounce white, berlin wool; steel knitting-needles. this pretty boot consists of a shoe knitted in red wool, and a sock in white wool ornamented with red. begin the knitting with the upper scalloped edge of the latter. cast on 96 stitches with red wool, divide them on four needles, and knit in rounds as follows:--1st and 2nd rounds: with red wool, purled. 3rd to 8th round: with white wool. 3rd round: knitted. 4th round: * knit 4, throw the wool forward, knit 1, throw the wool forward, knit 4, knit 3 together. repeat 7 times more from *. 5th round: knitted; the stitches formed by throwing the wool forward are knitted as one stitch. knit 3 stitches together at the place where 3 stitches were knitted together in the 4th round, so that the decreasing of the preceding round forms the middle stitch of the 3 stitches to be decreased in this round. 6th and 7th rounds: like the 5th. 8th round: knitted; you must have 48 stitches left. 9th to 11th round: with red wool. 9th round: knitted. 10th and 11th rounds: purled. 12th to 30th round: with white wool. 12th round: knitted. 13th round to 30th round: alternately purl 1, knit 1, inserting the needle in the back part of the stitch. 31st to 33rd round: with red wool. 31st round: knitted. 32nd round and 33rd round: purled. 34th and 35th rounds: with white wool. 34th round: knitted. 35th round: alternately throw the wool forward, knit 2 together. each stitch formed by throwing the wool forward is knitted as one stitch in the next round. 36th to 38th round: with red wool. 36th round: knitted. 37th and 38th rounds: purled. 39th to 47th round: with white wool. alternately purl 1, slip 1, as if you were going to purl it; the wool must lie in front of the slipped stitch; in the following rounds take care to purl the slipped stitches. [illustration 326.--baby's boot.] take now 18 stitches for the front gored sock part (leave 30 stitches untouched), and work backwards and forwards with red wool. 48th to 50th row: with red wool. 48th row: knitted. 49th row: purled. 50th row: knitted. 51st to 85th row: with white wool in the pattern described in the 39th round. but as you work backwards and forwards you must alternately knit and purl the stitches. decrease 1 stitch at the beginning and at the end of the 84th and 85th rows; decrease 1 stitch in the middle of the 85th row, so that the 85th row has 13 stitches left. after this work with red wool. 86th row: knitted. 87th row: knit 1, purl 2, knit 1, purl 2, knit 1, purl 2, knit 1, purl 2, knit 1. repeat these last 2 rows 3 times more and knit plain to the 94th, decreasing one, however, on each side. now work with the whole number of stitches, taking up the selvedge stitches of the gored part and dividing them with the 30 other stitches on four needles. knit once more in rounds; the next 20 rounds are alternately 1 round knitted, 1 round purled. in the 2 last knitted rounds decrease twice close together in the middle of the back part of the shoe. knit 8 rounds; in every other round decrease twice in the middle of the front of the shoe, leaving 9 stitches between the two decreasings. the number of stitches between the decreasings decreases with every round, so that the decreasings form slanting lines meeting in a point. cast off after these 8 rounds, by knitting together 2 opposite stitches on the wrong side. the sock part is edged with a raised red border, which is worked by taking all the red stitches of the 1st round of the shoe on the needle and knitting 4 rounds, so as to leave the purled side of the stitch always outside; then cast off very tight. draw a piece of braid through the open-work row in the sock part, and finish it off at either end with tassels to match. * * * * * 327.--_knitted border for a bedquilt_. materials: messrs. walter evans and co.'s no. 8 white knitting cotton; thick steel pins. cast on a sufficient number of stitches for the length of the border, which must be able to be divided by 31; knit 4 plain rows: 5th row: alternately make 1, knit 2 together. then 5 more plain rows. [illustration 327.--knitted border for a bedquilt.] now begin the pattern:--1st row: * make 1, knit 1 _slantways_ (to knit a stitch slantways, insert the needle from the front to the back and from right to left); # purl 5; knit 1 slantways. repeat from # 4 times more than from * to the end of the row. 2nd row: purled. 3rd row: knit 2, * make 1; knit 1 slantways; # purl 5; knit 1 slantways. repeat from # four times more. repeat from * to the end of the row. 4th row: the same as the second. the continuation of the work is clearly shown in our illustration. the increasing caused by knitting the _made_ stitches is regularly repeated in each second row, so that the stitches between the striped divisions increase, and form large triangles; the striped divisions, on the other hand, are narrowed so as to form the point of the triangles. to obtain this result, decrease five times in the 6th, 12th, 18th, and 24th rows, by purling together the two last stitches of one purled division, so that each division has but eleven stitches left in the 25th row. in the 28th row knit together one purled stitch with one knitted slantways, so that there will be only 6 stitches left for each division; these stitches are knitted slantways in the 29th and 30th rows. in the 31st row they are knitted together, two and two. there remain in each division three more stitches, which are knitted together in the 34th row. two rows entirely purled completethe upper edge of the border. * * * * * 328.--_knitted quilt._ materials: 8-thread fleecy wool; wooden needles. this pattern may be worked in narrow strips of different colours, and in that case each strip should contain 1 row of patterns; or the quilt may be composed of wide strips with several rows of patterns, those of one row being placed between those of the preceding. in the first case, that is if you work narrow strips, you may use several colours; but if wide strips are preferred, they should be of two colours only. our pattern was worked in wide strips, alternately grey and red. each strip is knitted the short way. [illustration: 318.--knitted quilt.] for a strip with five raised patterns in the width cast on 20 stitches. 2nd row: right side of the work. slip 1, purl 1, * make 1, purl 4. repeat from * 3 times more; make 1, purl 2. 3rd row: slip 1, knit all the stitches that were purled in the preceding row, and purl all those that were made. 4th row: slip 1, purl 1, * knit 1, make 1, purl 4. repeat from * 3 times more; knit 1, make 1, purl 2. 5th row: slip 1, knit all the purled stitches, purl all the rest. 6th row: slip 1, purl 1, * knit 2, make 1, purl 4. repeat from * 3 times more; knit 2, make 1, purl 2. 7th row: the same as the 5th. 8th row: slip 1, purl 1, * knit 3, make 1, purl 4, and so on. 9th row: the same as the 5th row. 10th row: slip 1, purl 1, * slip 1, knit 1, pass the slipped stitch over the knitted one, knit 2, purl 4, repeat from *. 11th row: knit all the purled stitches, purl all the rest. 12th row: slip 1, purl 1, * slip 1, knit 1, pass the slipped stitch over, knit 1, purl 4, and repeat from *. 13th row: the same as the 11th. 14th row: slip 1, purl 1, * slip 1, knit 1, pass the slipped stitch over, purl 4, and repeat. 15th row: slip 1, * knit 2 together, knit 3. repeat from * 3 times more; knit 2 together, knit 2. the second row of patterns begins with the 16th row. there are only 4 in this 2nd row, so that after the 1st slipped stitch you purl 3 stitches instead of 1, and in the 2nd row, after the 4th made stitch, you purl 4 more stitches. repeat alternately these 2 rows of raised patterns, and when you have a sufficient number of strips sew them together. trim the quilt all round with a knotted fringe. * * * * * 329.--_stitch in knitting, for couvrettes, comforters, opera caps, carriage shawls, jackets, &c._ materials: messrs. walter evans and co.'s knitting cotton no. 20, or fine wool. cast on an uneven number of stitches. 1st row: slip 1, * make 1, knit 1, make 1, knit 1. repeat from *. 2nd row: slip 1, * knit 2 together, and repeat from * to the end of the row. [illustration: 329.--stitch for couvrettes, comforters, &c.] * * * * * 330 _and_ 331.--_knitted veil._ material: fine shetland wool. [illustration: 330.--knitted veil.] illustration 330 represents a knitted veil in reduced size. the original was worked with fine shetland wool in an open pattern; it is edged with a knitted lace. its length is 24 inches, its width 18 inches. work the veil from a paper pattern of a shape corresponding to that of illustration 330. compare the paper shape often with the knitting in the course of the work, and try to keep them alike. knit the veil in the pattern of the original, or in the pattern of illustration 331. for the former one begin at the lower edge of the veil, cast on 45 stitches upon thick wooden needles, and work the 1st row: * knit 2, throw the wool forward, knit 2 together twice, repeat from *. 2nd row: purled. 3rd row: knit 1, throw the wool forward, knit 2 together, * throw the wool forward, knit 2 together twice, and repeat from *. 4th row: purled. 5th row: like the 2nd row. the pattern must be reversed. the pattern figures increase with the increasings at the beginning and at the end of each row. the pattern of illustration 331 consists of the 2 following rows:--1st row: slip 1, then alternately throw the wool forward, and knit 2 together. 2nd row: entirely knitted; make 1 stitch of the wool thrown forward in the last row. when the veil is finished, wet it, and stretch it over paper or pasteboard; let it dry, and then edge it with the following lace:--cast on 10, knit the 1st. 2nd row: knit 1, throw the wool forward, knit 9. 3rd row: knitted. 4th row: knit 1, throw the wool forward, knit 2, throw the wool forward, knit 2 together twice, knit 4. 5th row: knitted. 6th row: knit 1, throw the wool forward, knit 2, throw the wool forward, knit 2 together 3 times, knit 3. 7th row: cast off 3 stitches, knit 10. 8th row: knitted. [illustration: 331. pattern of veil.] [illustration: 332.--knitted pattern with embroidery.] * * * * * 332.--_knitted pattern with raised embroidery_. materials: messrs. walter evans and co.'s knitting cotton no. 8 or 20. this pattern is worked in rows going backwards and forwards with thick or fine cotton according to the use you wish to make of it. the star-like figures on the knitted squares are worked with soft cotton in _point de poste_. cast on a number of stitches long enough (19 stitches are necessary for the two squares), work the 1st row: * knit 11 stitches, alternately 4 times knit 2 together, throw the cotton forward. repeat from *, the 2nd row is worked like the 1st, only purled, in this row, as well as in the following ones, the stitch must be knitted with the cotton thrown forward _after_ the stitch, the last stitch of a plain square with the first cotton thrown forward of the open-work figure. the number of stitches in the last must always be 8. the pattern consists alternately of these two rows. each pattern contains 12 rows, with the 13th the squares are reversed. the star figures are embroidered with double cotton by working 5 chain stitch in the middle of each square; draw the needle underneath the knitting to the next centre of a square. * * * * * 333 _and_ 334.--_knitted table cover, (see page 578.)_ materials: messrs. walter evans and co.'s coarse knitting cotton; thick steel knitting-needles. [illustration: 333.--table-cover border.] this cover is suitable for either a large or a small table, as the pattern may be increased as much as required. it is suitable for antimacassars. cast on 4 stitches, join them into a circle, and work the 1st round four times alternately. throw the cotton forward, knit 1. 2nd round: entirely knitted. 3rd round: * throw the cotton forward, knit 1. repeat 7 times more from *. after every pattern round knit 1 round plain. until after the 21st round, we shall not mention this any more. 5th round: * throw the cotton forward, knit 2 *. from the 7th to the 12th round the knitted stitches in every other round increase by 1 stitch, so that in the 12th round there are 7 stitches between those formed by throwing the cotton forward. 13th round: * throw the cotton forward, knit 2 together, knit 4, knit 2 together *. 15th round: * throw the cotton forward, knit 1, throw the cotton forward, knit 2 together, knit 2, knit 2 together *. 17th round: * throw the cotton forward, knit 3, throw the cotton forward, knit 2 together, knit 2 together *. 19th round: * throw the cotton forward, knit 5, throw the cotton forward, knit 2 together, *. 21st round: * knit 1, throw the cotton forward, knit 5, throw the cotton forward, knit 2 *. 22nd round: * knit 2, knit 2 together, knit 1, knit 2 together, knit 3 *. 23rd round: * knit 2, throw the cotton forward, knit 3, throw the cotton forward, knit 3 *. 24th round: * knit 3, knit 2 together, knit 5 *. 25th round: * knit 3, throw the cotton forward, knit 2 together, throw the cotton forward, knit 4. 26th round: entirely knitted *. 27th round: * throw the cotton forward, knit 9, throw the cotton forward, knit 1 *. 28th round: entirely knitted. 29th round: * knit 1, throw the cotton forward, knit 9, throw the cotton forward, knit 2 *. 30th round: entirely knitted. 31st round: * knit 2, throw the cotton forward, knit 9, throw the cotton forward, knit 3 *. 32nd round: entirely knitted. 33rd round: * knit 3, throw the cotton forward, knit 9, throw the cotton forward, knit 4 *. 34th round: * knit 4, knit 2 together, knit 5, knit 2 together, knit 5 *. 35th round: * knit 4, throw the cotton forward, knit 7, throw the cotton forward, knit 5 *. 36th round: * knit 5, knit 2 together, knit 3, knit 2 together, knit 6 *. 37th round: * throw the cotton forward, knit 5 three times, throw the cotton forward, knit 1 *. 38th round: * knit 7, knit 2 together, knit 1, knit 2 together, knit 8 *. 39th round: * knit 1, throw the cotton forward, knit 6, throw the cotton forward, knit 3. throw the cotton forward, knit 6, throw the cotton forward, knit 2 *. 40th round: * knit 9, knit 3 together, knit 10*. 41st round: * knit 2, throw the cotton forward, knit 15, throw the cotton forward, knit 3 *. 42nd round: * knit 3, knit 2 together, knit 11, knit 2 together, knit 4 *. 43rd round: * knit 3, throw the cotton forward, knit 13, throw the cotton forward, knit 4 *. 44th round: * knit 4, knit 2 together, knit 9, knit 2 together, knit 5 *. when the cover is completed, edge it all round, with the following border worked the short way:--cast on 5 stitches and knit the 1st row, slip 1, throw the cotton forward, knit 2 together, throw the cotton forward, knit 2. 2nd row: slip 1, knit the rest. repeat this row after every pattern row. 3rd row: slip 1, throw the cotton forward, knit 2 together, throw the cotton forward, knit 2 together, throw the cotton forward, knit 1. 5th row: slip 1, throw the cotton forward, knit 2 together, throw the cotton forward, knit 2 together, throw the cotton forward, knit 2. 7th row: slip 1, throw the cotton forward, knit 2 together, throw the cotton forward, knit 2 together, throw the cotton forward, knit 2 together, throw the cotton forward, knit 1. 9th row: slip 1, throw the cotton forward, knit 2 together, throw the cotton forward, knit 2 together, throw the cotton forward, knit 2 together, throw the cotton forward, knit 2. 11th row: slip 1, throw the cotton forward, knit 2 together, throw the cotton forward, knit 2 together, throw the cotton forward, knit 2 together, throw the cotton forward, knit 2 together, knit 1. 13th row: slip 1, throw the cotton forward, knit 2 together, throw the cotton forward, knit 2 together, throw the cotton forward, knit 2 together, throw the cotton forward, knit 2 together, throw the cotton forward, knit 2. 15th round: cast off 8 stitches, throw the cotton forward, knit 2 together, throw the cotton forward, knit 1. 16th round: entirely knitted. begin again at the 1st row, knit a sufficient length of the border, and then trim the cover with it on the outer edge. [illustration: 335.--looped knitting.] * * * * * 335.--_looped knitting._ materials: 4-thread fleecy wool; 2 wooden knitting-needles; 1 flat wooden mesh. cast on a sufficient number of stitches, and knit the 1st row plain. 2_nd row_.--slip the 1st stitch; insert the needle into the next stitch, and throw the cotton forward as if you were going to knit the stitch; place the mesh behind the needle in the right hand, and turn the wool which is on this needle upwards, bring it back again on the needle so that it is wound once round the mesh, and twice round the needle. then only the double stitch through the second stitch, knit it, and insert the needle into the next stitch, and repeat what has been explained. knit the last stitch without a loop. 3_rd row_.--before drawing out the mesh, turn the work and knit one plain row. every double stitch is knitted as one stitch, so as to attain the same number of stitches as in the 1st row. 4_th row_.--like the 2nd row. repeat these rows as often as required. this knitting is chiefly used for borders of mats. * * * * * [illustration: 336.--pattern for comforters.] 336.--_knitted pattern for comforters._ materials: 4-thread fleecy; 2 wooden knitting-needles. cast on a sufficient number of stitches. 1st row: * 3 stitches in the first stitch, knit 1, purl 1, knit 1, knit 3 stitches together, repeat from *. 2nd row: plain knitting. 3rd row: purled. 4th row: knitted. repeat these four rows, only in the next row the 3 stitches knitted together are worked on the 3 stitches worked in 1 stitch, and the 3 stitches to be worked in 1 stitch are to be placed on the one formed by knitting 3 stitches together. * * * * * 337.--_knitted d'oyley. (see page 579.)_ materials: messrs. walter evans and co.'s crochet cotton no. 36; glazed embroidery cotton no. 10; steel knitting-needles. this pattern is knitted with very fine crochet cotton. the middle part as well as the lace border are worked separately; the latter is sewn on to the middle part. the spots in the thick parts are worked in afterwards with coarser cotton. commence the pattern in the centre, cast on 6 stitches, join them into a circle, and knit 2 plain rounds. 3rd round: alternately knit 1, throw the cotton forward. 4th and 5th rounds: plain. 6th round: alternately knit 1, throw the cotton forward. 7th round: plain. every other round is plain. we shall not mention these plain rounds any more. 8th round: knit 2, * throw the cotton forward, knit 1, throw the cotton forward, knit 3; repeat from * to the end of the round; lastly, throw the cotton forward, knit 1, throw the cotton forward, knit 1. 10th round: * throw the cotton forward, knit 1, throw the cotton forward, knit 2 together. 12th round: * throw the cotton forward, knit 3, throw the cotton forward, knit 2 together, throw the cotton forward, knit 1, throw the cotton forward, knit 2 together. 14th round: * throw the cotton forward, knit 5, throw the cotton forward, knit 2 together, throw the cotton forward, knit 1, throw the cotton forward, knit 2 together. 16th round: * throw the cotton forward, knit 7, throw the cotton forward, knit 2 together, throw the cotton forward, knit 1, throw the cotton forward, knit 2 together. the 18th, 20th, 22nd, and 24th rounds are worked like the 16th round; only the middle plain part of the pattern figures increases by 2 stitches in every pattern round, so that there are 15 plain stitches in the 24th round between the 2 stitches formed on either side of the same by throwing the cotton forward. 26th round: * throw the cotton forward, knit 6, knit 2 together, throw the cotton forward, knit 1, throw the cotton forward, knit 2 together, knit 6, throw the cotton forward, knit 2 together, knit 1, knit 2 together. 28th round: * throw the cotton forward, knit 6, knit 2 together, throw the cotton forward, knit 3, throw the cotton forward, knit 2 together, knit 6, throw the cotton forward, knit 2 together, knit 1. 30th round: * knit 1, throw the cotton forward, knit 2 together, knit 6, throw the cotton forward knit 3 together, throw the cotton forward, knit 6, knit 2 together, throw the cotton forward, knit 1, throw the cotton forward, knit 2 together, throw the cotton forward. 32nd round: * knit 2 together, throw the cotton forward, knit 2 together, knit 13, knit 2 together, throw the cotton forward, knit 2 together, throw the cotton forward, knit 3, throw the cotton forward. 34th round: * knit 2 together, throw the cotton forward, knit 2 together, knit 11, knit 2 together, throw the cotton forward, knit 2 together, throw the cotton forward, knit 5, throw the cotton forward. 36th round: * knit 2 together, throw the cotton forward, knit 2 together, knit 9, knit 2 together, throw the cotton forward, knit 2 together, throw the cotton forward, knit 1, throw the cotton forward, knit 2 together, knit 1, knit 2 together, throw the cotton forward, knit 1, throw the cotton forward. 38th round: * knit 2 together, throw the cotton forward, knit 2 together, knit 7, knit 2 together, throw the cotton forward, knit 2 together, throw the cotton forward, knit 3, throw the cotton forward, knit 3 together, throw the cotton forward, knit 3, throw the cotton forward. 40th round: * knit 2 together, throw the cotton forward, knit 2 together, knit 5, knit 2 together, throw the cotton forward, knit 2 together, throw the cotton forward, knit 1, throw the cotton forward, knit 2, knit 2 together, throw the cotton forward, knit 1, throw the cotton forward, knit 2 together, knit 2, throw the cotton forward, knit 1, throw the cotton forward. 42nd round: * knit 2 together, throw the cotton forward, knit 2 together, knit 3, knit 2 together, throw the cotton forward, knit 2 together, throw the cotton forward, knit 3, throw the cotton forward, knit 3 together, throw the cotton forward, knit 3, throw the cotton forward, knit 3 together, throw the cotton forward, knit 3, throw the cotton forward. 44th round: * knit 2 together, throw the cotton forward, knit 2 together, knit 1, knit 2 together, throw the cotton forward, knit 2 together, throw the cotton forward, knit 3, knit 2 together, throw the cotton forward, knit 1, throw the cotton forward, knit 2 together, knit 3, throw the cotton forward, knit 1, throw the cotton forward, knit 5, throw the cotton forward. 45th and 46th rounds: plain, then cast off loosely. for the lace border, which is worked in the short way backwards and forwards, cast on 22 stitches and knit as follows:--1st row: slip 1, knit 1, throw the cotton forward, knit 2 together, throw the cotton forward, knit 2 together, throw the cotton forward, knit 2 together, knit 4, knit 2 together, throw the cotton forward, knit 2, knit 2 together, throw the cotton forward, knit 1, throw the cotton forward, knit 2 together. 2nd row: slip 1, throw the cotton forward, knit 3, throw the cotton forward, knit 2 together, knit 2, throw the cotton forward, knit 2 together, knit 11. 3rd row: slip 1, knit 9, knit 2 together, throw the cotton forward, knit 2, knit 2 together, throw the cotton forward, knit 5, throw the cotton forward, knit 1. 4th row: slip 1, throw the cotton forward, knit 7, throw the cotton forward, knit 2 together, knit 2, throw the cotton forward, knit 2 together, knit 9. 5th row: slip 1, knit 1, throw the cotton forward, knit 2 together, throw the cotton forward, knit 2 together, throw the cotton forward, knit 2 together, knit 2 together, throw the cotton forward, knit 2, knit 2 together, throw the cotton forward, knit 9, throw the cotton forward, knit 1. 6th row: knit 2 together (knit together the stitch and the next stitch formed by throwing the cotton forward), throw the cotton forward, knit 2 together, knit 5, knit 2 together, throw the cotton forward, knit 2, knit 2 together, throw the cotton forward, knit 10. 7th row: slip 1, knit 10, throw the cotton forward, knit 2 together, knit 2, throw the cotton forward, knit 2 together, knit 3, knit 2 together, throw the cotton forward, knit 2 together (stitch formed by throwing the cotton forward and the next stitch). 8th row: knit 2 together, throw the cotton forward, knit 2 together, knit 1, knit 2 together, throw the cotton forward, knit 2, knit 2 together, throw the cotton forward, knit 12. 9th row: slip 1, knit 1, throw the cotton forward, knit 2 together, throw the cotton forward, knit 2 together, throw the cotton forward, knit 2 together, knit 5, throw the cotton forward, knit 2 together, knit 2, throw the cotton forward, knit 3 together, throw the cotton forward, knit 2 together. 10th row: knit 2 together, throw the cotton forward, knit 1, throw the cotton forward, knit 2, knit 2 together, throw the cotton forward, knit 14. 11th row: slip 1, knit 11, knit 2 together, throw the cotton forward, knit 2, knit 2 together, throw the cotton forward, knit 1, throw the cotton forward, knit 3 together. then begin again on the 2nd row, and work on till the border is long enough; sew the lace on to the centre, slightly gathering the former. lastly, work in the spots with glazed or coarse embroidery cotton. * * * * * _338.--knitted braces_. material: messrs. walter evans and co.'s knitting cotton no. 8 or 12. these braces are knitted with coarse white cotton, taken double; the braces themselves are worked in brioche stitch, the lappets are knitted plain. begin at the bottom of the front lappet, make a foundation chain of 14 stitches, knit 5 rows plain backwards and forwards, then divide the stitches into two halves to form the button-hole; knit 15 rows on each of the halves consisting of 7 stitches; then take the 14 stitches again on one needle and work 17 rows on them. then work a second button-hole like the first one; knit 6 more rows plain, increasing 1 at the end of every row, so that the number of stitches at the end of the lappet is 20. then begin the pattern in brioche stitch; it is worked as follows:--knit first 1 row, then slip the first stitch of the first following pattern row, * throw the cotton forward, slip the next stitch (slip the stitches always as if you were going to purl them), knit 2 together; repeat 5 times more from *; the last stitch is knitted. 2nd row of the pattern: slip the 1st stitch, * knit 2; the stitch which has been formed in the preceding row by throwing the cotton forward is slipped after the 2nd knitted stitch; repeat 5 times more from *; knit the last stitch. 3rd row: slip the 1st stitch, * decrease 1 (here, and in all the following rows, knit the next stitch together with the stitch before it, which has been formed in the preceding row by throwing the cotton forward), throw the cotton forward, slip 1; repeat from *; knit the last stitch. 4th row: slip the 1st stitch, * knit 1, slip the stitch which has been formed in the preceding row by throwing the cotton forward, knit 1, knit the last stitch. repeat these 4 rows till the braces are long enough. the pattern is 19 inches long. then knit 6 rows plain, decreasing 1 at the end of every row, then work each lappet separately, dividing the stitches so that each lappet is 7 stitches wide. each lappet has 72 rows; after the first 18 rows make a button-hole as described for the preceding one. work 18 rows between the 1st and 2nd button-hole. the lappets are rounded off by decreasing after the 2nd button-hole. [illustration: 338.--knitted braces.] * * * * * 339.--_pattern for knitted curtains, &c._ material: messrs. walter evans and co.'s knitting cotton no. 8. this pattern is suitable for knitting different articles, according to the thickness of the cotton used. the number of stitches must be divided by ten. the pattern is knitted backwards and forwards. [illustration: 339.--pattern for knitted curtains.] 1st row: all plain. 2nd row: * knit 1, make 2, slip 1, knit 1, pass the slipped stitch over the knitted one, knit 5, knit 2 together, make 2. repeat from *. 3rd row: purl the long stitch formed by making 2 in preceding row, * make 2, purl 2 together, purl 3, purl 2 together, make 2, purl 3. repeat from *. (by _make_ 2 is meant twist the cotton twice round the needle, which forms one long stitch, and is knitted or purled as such in next row.) 4th row: knit 3, * make 2, slip 1, knit 1, and pass the slipped stitch over, knit 1, knit 2 together, make 2, knit 5. repeat from *. 5th row: purl 3, * make 2, purl 3 together, make 2, purl 7. repeat from*. 6th row: knit 3, * knit 2 together (1 stitch and 1 long stitch), make 2, knit 1, make 2, slip 1, knit 1, pass the slipped stitch over (the knitted stitch is a _long stitch_), knit 5. repeat from *. continue the pattern by repeating always from the 2nd to the 5th row; the 6th row is the repetition of the 2nd row, but it is begun (compare the two rows) about the middle of the 2nd row, so as to change the places of the thick diamonds in the following pattern. this will be easily understood in the course of the work. * * * * * _340.--knitted insertion._ material: messrs. walter evans and co.'s knitting cotton no. 20 or 30. cast on 14 stitches, and knit in rows, backwards and forwards, as follows:--1st row: slip 1, knit 2 together, throw cotton forward, knit 2, knit 2 together, throw cotton forward, knit 2, knit 2 together, throw cotton forward, knit 3. this row is repeated 18 times more; the stitch formed by throwing the cotton forward is knitted as 1 stitch. 20th row: slip 1, knit 2 together, make 1, knit 1; place next 3 stitches upon another needle behind the cotton, and leave them alone; knit 1, knit 2 together, throw cotton forward, now knit the first 2 of the 3 stitches which have been left; knit the last of the 3 together with the next stitch on the needle, throw cotton forward, knit 3. repeat these 20 rows till strip is long enough. [illustration: 340.--knitted insertion.] * * * * * 341 _and_ 342.--_knitted cover for sofa cushion._ materials: messrs. walter evans and co.'s knitting cotton no. 12; eight ply fleecy wool. [illustration: 341.--stitch for sofa cover.] this cushion (15 inches wide, 12 inches high) is made of grey calico; it is covered on one side with knitting, worked with grey crochet cotton. the knitted cover has an open-work pattern, worked backwards and forwards on a number of stitches which can be divided by 2, and which must suit the width of the cushion, in the following manner:--1st row: alternately throw the cotton forward, knit 2 together. 2nd row: slip 1, knit the other stitches. the stitch formed by throwing the cotton forward is knitted as 1 stitch. 3rd row: knit 1, * throw the cotton forward, knit 2 together. repeat from *; after the last decreasing knit 1. 4th row: like the 2nd row. these four rows are repeated till the cover is sufficiently large. draw a narrow piece of red worsted braid through every other open-work row of the pattern, as can be seen in illustration 341. when the cushion has been covered with the knitting, it is edged all round with a border knitted the long way, in the above-mentioned open-work pattern; it is 14 rows wide, and also trimmed with worsted braid: a fringe of grey cotton and red wool, 3 1/4 inches wide, is sewn on underneath the border at the bottom of the cushion; to this is added a thick red worsted cord, by which the cushion is hung on over the back of an arm-chair. the cushion, on account of its simplicity, is especially suitable for garden chairs. [illustration: 342.--sofa cushion.] * * * * * 343.--netted nightcap. material: messrs. walter evans and co.'s crochet cotton no. 12. this cap is netted with crochet cotton over a mesh measuring three-quarters of an inch round; work first a long square for the centre of the crown, cast on 28 stitches, and work backwards and forwards 27 rows with the same number of stitches. then work 34 rounds round this square, and fasten the cotton. then count 43 stitches for the front border, and 24 stitches for the back border, and leave them for the edge of the cap. on the remaining stitches on each side work the strings in 95 rows backwards and forwards on the same number of stitches; each string is pointed off at the lower end by decreasing 1 stitch in every row. sew in a narrow piece of tape in the back border of the cap; the remaining part of the border, as well as the strings, are trimmed with crochet lace or with netted edging, no. 311. [illustration: 343.--netted nightcap.] * * * * * 344.--_netted nightcap_. material: messrs. walter evans and co.'s knitting cotton, 3-thread, no. 30. [illustration: 344.--netted nightcap.] this nightcap is very simple and practical. it consists of two similar three-cornered pieces, sewn together so as to form a double triangle; the point of the triangle is turned back, as seen in illustration, and fastened on the lower half of the same. the cap is edged with a lace; a similar lace covers the seam between both parts of the cap. the pattern is worked with crochet cotton over a mesh measuring three-quarters of an inch round. begin each half in the corner; cast on 2 stitches, and work backwards and forwards, increasing 1 stitch at the end of every row, till the number of stitches is 60. then sew both halves together, and trim the cap and strings (the latter are worked as on the cap no. 343) with the following lace: work 2 rows of open-work treble stitches--the treble stitches are divided by 1 chain--then work 1 row of double, always working 4 double round the chain stitches which divide 2 treble in the preceding row, or with netted edging no. 311. * * * * * 345.--_knitted pattern_. materials: messrs. walter evans and co.'s knitting cotton no. 20 for couvrettes, or berlin wool for sofa quilts. this pattern can be worked either in wool or cotton, and is suitable for many purposes. cast on a sufficient number of stitches, divided by 18, for the 1st row: knit 4, throw the cotton forward, knit 2 together, throw the cotton forward knit 2 together, knit 4, purl 6, repeat from *. 2nd row: the stitches knitted in the 1st row are purled as well as the stitches formed by throwing the cotton forward; the purled stitches are knitted. this row is repeated alternately, therefore we shall not mention it again. 3rd row: * knit 6, throw the cotton forward, knit 2 together, throw the cotton forward, knit 2 together, knit 6, purl 2. 5th row: purl 4, * knit 4, throw the cotton forward, knit 2 together, throw the cotton forward, knit 2 together, knit 4, purl 6. 7th row: knit 2, * purl 2, knit 6, throw the cotton forward, knit 2 together, throw the cotton forward, knit 2 together, knit 6. 9th row: knit 2, * purl 6, knit 4, throw the cotton forward, knit 2 together, throw the cotton forward, knit 2 together, knit 4. 11th row: * knit 6, purl 2, knit 6, throw the cotton forward, knit 2 together, throw the cotton forward, knit 2 together. 13th row: throw the cotton forward, knit 2 together, * knit 4, purl 6, knit 4, throw the cotton forward, knit 2 together, throw the cotton forward, knit 2 together. 15th row: * throw the cotton forward, knit 2 together, throw the cotton forward, knit 2 together, knit 6, purl 2, knit 6. the knitting can now be easily continued from illustration. [illustration: 345.--knitted pattern.] * * * * * 346 _to_ 348.--knitted shawl. materials: shetland wool, white and scarlet; steel needles. [illustration: 346.--pattern for shawl (348).] [illustration: 347.--pattern for shawl (348).] this shawl is knitted in the patterns given on nos. 346 and 347. both illustrations show the patterns worked in coarse wool, so as to be clearer. begin the shawl, which is square, on one side, cast on a sufficient number of stitches (on our pattern 290); the needles must not be too fine, as the work should be loose and elastic. knit first 2 rows plain, then 3 of the open-work row of pattern no. 346, which is worked in the following manner:--1st row: slip the first stitch, * knit 2 together, inserting the needle into the back part of the stitch, slip 1, knit 2 together, throw the wool twice forward; repeat from *. 2nd row: knit 1 and purl 1 in the stitch formed by throwing the wool forward in the preceding row; the other stitches are purled. in the next row the holes are alternated--that is, after the 1st slipped stitch knit 1, throw the wool forward, and then knit twice 2 together. when 3 such open-work rows are completed, knit 1 row plain, and then work the pattern seen on no. 347, which forms the ground, and is worked in the following way:--1st row: slip the 1st stitch, alternately throw the wool forward, and decrease by slipping 1 stitch, knitting the next, and drawing the slip stitch over the knitted one. 2nd row, entirely purled. when 6 such rows have been worked in this pattern, work again 9 rows of the open-work pattern, but work on each side of the 2 stripes, each 6 stitches wide, in the pattern of the ground (no. 347); each first stripe is at a distance of 4 stitches from the edge, and each second stripe at a distance of 20 stitches. after the 9th open-work row, work again 6 rows in the pattern of the ground, then again 8 open-work rows, and then begin the ground, only continue to work on both sides of the shawl the narrow stripes of the ground pattern, the narrow outer and the two wide inner stripes of the border in the open-work pattern. when the ground (pattern no. 347) is square, finish the shawl at the top with two wide and one narrow open-work row, as at the bottom, divided by stripes in the ground pattern. knot in, all round the shawl, a fringe of scarlet wool; the fringe must be 3-1/2 inches deep. [illustration: 348.--knitted shawl.] * * * * * table of sizes of messrs. walter evans & co.'s knitting cotton, 3 threads. |------------------|-----------------------------| | | no. | |------------------|-----------------------------| |borders | 20, 80 | |couvrettes | 8 | |d'oyleys | 80, 100 | |edgings | 16, 30 | |insertions | 30, 50 | |nightcaps | 20 | |quilts | 4, 8, 12 | |socks | 20 | |table covers | 16 | |------------------------------------------------| monograms and initials. alphabets. * * * * * 349.--_alphabet_. material: messrs. walter evans and co.'s embroidery cotton no. 18. these letters are embroidered in overcast stitch and in satin stitch, and are the capitals for the alphabet no. 350. stars ornament this very effective alphabet. [illustration: 349.--alphabet (capitals).] 350.--_alphabet (small letters)_. material: messrs. walter evans and co.'s embroidery cotton no. 20. this alphabet will be found useful for marking linen as well as pocket-handkerchiefs. it is worked in satin stitch, the stars in fine overcast; an eyelet-hole occupies the centre of each star. [illustration: 350.--alphabets (small letters)] 351.--_alphabet of small capitals_. materials: messrs. walter evans and co.'s embroidery cotton no. 12 for linen. no. 18 for handkerchiefs. these letters will be found useful for marking table-linen; they may be worked either in green, red, or white cotton. the letters are worked in raised satin stitch with raised dots and open eyelet-holes. [illustration: 351.--alphabet of small capitals.] 352.--_alphabet_. material: messrs. walter evans and co.'s embroidery cotton no. 12. this pretty alphabet is worked in satin stitch, both raised and veined; the design is composed of forget-me-not blossoms and leaves. raised dots worked in satin stitch form all the fine lines. [illustration: 352.--alphabet in satin stitch.] 353.--alphabet in coral stitch. material: coloured ingrain marking cotton, or black sewing silk, or filoselle. the letters of this alphabet are particularly suitable for pocket-handkerchiefs. the embroidery is worked either with marking cotton, or coloured or black sewing silk; the long white lines are worked in overcast stitch, the small white spots in satin stitch, the remaining parts of the letters in coral stitch, as can be distinctly seen in illustration. [illustration: 353.--alphabet in coral stitch.] 354--small alphabet. material: messrs. walter evans and co.'s embroidery cotton no. 16. this useful alphabet is worked in satin stitch, veined in parts and ornamented with tendrils. as the alphabet of capitals (page 377, no. 351) and that of these small letters correspond, any name may be worked from them. [illustration: 354.--alphabet of small letters.] 355.--alphabet (capitals). materials: messrs. walter evans and co.'s embroidery cotton nos. 12 and 20. this alphabet is worked in raised satin stitch, the outlines being partly scalloped; for the fine lines, which should be worked in overcast, embroidery cotton no. 20 should be employed. [illustration: 355.--alphabet in satin stitch.] 356. alphabet (capitals). material: messrs. walter evans and co.'s embroidery cotton no. 16. the alphabet here illustrated is in the florid style; the graceful flowing lines are worked in raised satin stitch, as well as the variously-sized dots which ornament the letters. [illustration: 356.--alphabet (florid capitals).] 357--alphabet. materials: messrs. walter evans and co.'s embroidery cotton nos. 12 and 16. the letters are worked in point d'or, or dotted stitch, with an outline in fine overcast, and large raised spots in satin stitch. the ornamental wreaths round the first five letters can of course be worked round any of the others. it is very fashionable to work one letter only upon handkerchief corners. [illustration: 357.--alphabet in paint d'or.] 358.--_alphabet in white embroidery_. material: messrs. walter evans and co.'s embroidery cotton no. 16 this alphabet is worked in appliqué; the ears of corn only are worked in overcast, satin, and knotted stitch. these letters look particularly well on transparent materials. the ears may be omitted by beginners, though they add much to the beauty of the alphabet. to this alphabet are added the ten numerals, which will be found exceedingly useful. by means of the whole alphabet and all these figures, any combination of initials and numbers can be made. [illustration: 358.--alphabets and numerals in white embroidery.] 359.--_alphabet (see page_ 402). materials: messrs. walter evans and co.'s embroidery cotton no. 20; very fine black silk. the vine-leaves and grapes of this graceful and fanciful alphabet are worked in veined and slightly raised satin stitch, the tendrils in point russe; for these the fine black silk is employed. * * * * * 360.--_sampler (frontispiece_). materials: cambric muslin or fine linen; messrs. walter evans and co.'s embroidery cotton nos. 16, 18, and 20; red cotton and black silk. this illustration shows a sampler which will be found useful for learning to embroider letters for marking linen. the material used is cambric muslin or fine linen. work the embroidery with white embroidery cotton, red cotton, or black silk. the thick parts of the letters are worked in slanting satin stitch and back stitch; the outlines of the stitched parts are worked in overcast, as well as the fine outlines of the letters and all the fine outlines of the patterns. the monograms and crowns are worked in a similar manner. work button-hole stitch round the outside of the sampler. the letters and crowns may, of course, be employed for other purposes. * * * * * 361.--_alphabet (capitals)_. material: messrs. walter evans and co.'s embroidery cotton no. 20 this effective alphabet is very easily worked, the stitches employed being raised and veined satin stitch, and overcast. the raised dots are worked in satin stitch, care being taken to preserve their position in the _centre_ of each open space. [illustration: 361.--alphabet (capitals).] * * * * * monograms and initials. * * * * * [illustration: 362.--alice.] 362.--_alice_. material: messrs. walter evans and co.'s embroidery cotton no. 20. the letters of this name, except the initial letter, are very simple, being worked in plain satin stitch, while the initial letter is worked in raised satin stitch, point de poste, and overcast. 363.--_amalie_. materials: messrs. walter evans and co.'s embroidery cotton nos. 16 and 20. [illustration: 363.--amalie.] the highly-ornate initial of this name is not difficult to work, requiring only great regularity and evenness in embroidering the tendrils and eyelet-holes. the veinings of the letter must be carefully defined. the remainder of the name is executed in plain satin stitch, a few eyelet-holes being introduced. "amalie" can easily be altered into "amelia" by changing the place of the _a_ and _e_. in the centre of each letter a large eyelet-hole is placed; smaller eyelet-holes of graduated sizes occupy parts of the overcast scrolls, which should be worked with no. 20 cotton. the initial letter is worked in raised satin stitch. [illustration: 364.--amy.] 364.--_amy_. material: messrs. walter evans and co.'s embroidery cotton no. 16. this pretty name is worked in delicately raised satin stitch and point de pois; the dots in dotted satin stitch, and the elegant little design beneath is worked in point russe. 365.--_annie_. material: messrs. walter evans and co.'s embroidery cotton no. 16. [illustration: 365.--annie.] the letter _a_ of this name is rather elaborate, and is worked in point de pois or back stitching, the outlines in fine overcast, the letters in satin stitch. the ornaments surrounding the word "annie" are worked in overcast. 366.--_a.m.k._ material: messrs. walter evans and co.'s embroidery cotton no. 16. this name is worked in satin stitch, with small dots of raised satin stitch. the eyelet-holes in the middle letter to be worked in overcast. [illustration: 366.--a.m.k.] 367.--_b.r._ material: messrs. walter evans and co.'s embroidery cotton no. 16. [illustration: 367.--b.r.] these initials are worked in appliqué in the centre of a medallion in satin stitch, overcast, and lace stitches. 368.--_carrie_. material: messrs. walter evans and co.'s embroidery cotton no. 20. [illustration: 368.--carrie.] this name is very easy to work, being very clearly and simply embroidered in overcast and satin stitch. the thick dots may be worked without the eyelet-holes if preferred. [illustration: 359.--caroline.] 369.--_caroline_. material: messrs. walter evans and co.'s embroidery cotton no. 18. this pretty name requires care in working; the leaves which adorn the letters must be very well defined; they, as well as the letters, are embroidered in satin stitch, the initial letter being veined, and the ornaments worked in overcast and eyelet-holes. 370.--_charlotte_. material: messrs. walter evans and co.'s embroidery cotton no. 16. [illustration: 370.--charlotte.] this name is worked in satin stitch and overcast, the small and elegant dots in point de russe and graduated satin stitch; the large ones are worked in raised satin stitch. 371.--_cornelie_. material: messrs. walter evans and co.'s embroidery cotton no. 18. this word is worked in plain satin stitch, the ornamentation in overcast stitch. [illustration: 371.--cornelie.] 372.--_c.m._ material: messrs. walter evans and co.'s embroidery cotton no. 18. this design is simple, is worked in graduated satin stitch, and is most elegant. [illustration: 372--c.m.] [illustration: 373.--dora.] 373.--_dora_. material: messrs. walter evans and co.'s embroidery cotton no. 30. this elaborate design should not be attempted by beginners in the art of embroidery; it is worked in overcast stitch, raised and veined satin stitch; the tendrils are entirely worked in graduated overcast; the name is placed over a graceful spray of wild flowers worked in the above-named stitches. this pattern, although originally designed to be worked on net or fine muslin, is far more effective when worked on cambric or fine lawn. 374.--_d.c._ [illustration: 374.--d.c.] material: messrs. walter evans and co.'s embroidery cotton no. 16. these letters are worked in satin stitch and veined satin stitch; the forget-me-nots are worked in raised satin stitch with a small eyelet-hole in the middle worked in overcast stitch. 375.--_emily_. material: messrs. walter evans and co.'s embroidery cotton no. 16. this name is worked in satin stitch, the dots in the middle in point de poste, the rest of the letters in satin stitch and in dotted satin stitch. [illustration: 375.--emily.] 376.--_ernestine_. material: messrs. walter evans and co.'s embroidery cotton no. 16. this elegant design is most effective; the first letter very elaborate; the rest of the letters simply worked in satin stitch. the small stars are worked in overcast stitch, and the initial letter itself in veined satin stitch. [illustration: 376.--ernestine.] 377.--_etta_. material: messrs. walter evans and co.'s embroidery cotton no. 10. the letters which compose this name are formed entirely of leaves, flowers, and tendrils, worked entirely in satin stitch and overcast; the tendrils which surround the name are worked in overcast, and have a few eyelet-holes placed among them. [illustration: 377.--etta.] 378.--_eva_. materials: messrs. walter evans and co.'s embroidery cotton nos. 16 and 20. this name is worked in satin stitch, the leaf in point de sable; the veinings are worked in raised satin stitch. [illustration: 378.--eva.] 379.--_e.a._ material: messrs. walter evans and co.'s white and red embroidery cotton no. 30. this very pretty monogram is worked quite in a new style of embroidery. the design represents the emblems of faith, hope, and charity. the outlines of the shield and cross are worked in overcast, the initials "e.a.," the torch, and the anchor in satin stitch with white cotton, the leaves partly in satin stitch with white and partly in point d'or with red cotton, with only a fine outline in overcast. the cross and the flames of the torch are embroidered in the same manner. [illustration: 379--e.a.] 380.--_e.a.p._ material: messrs. walter evans and co.'s embroidery cotton no. 18. these pretty initials are worked in satin stitch, the middle letter in point russe and point de poste. [illustration: 380.--e.a.p.] 381.--_e.p._ material: messrs. walter evans and co.'s embroidery cotton no. 16. these elegant letters are worked in veined and raised satin stitch. [illustration: 381.--e.p.] [illustration: 382.--e.r.] 382.--_e.r._ material: messrs. walter evans and co.'s embroidery cotton no. 30. the ovals are worked in overcast and point de pois, the letters in satin stitch, the ornamentation in satin stitch and overcast. [illustration: 383.--e.a.] 383.--_e.a._ materials: messrs. walter evans and co.'s embroidery cotton no. 16. these initials are placed in a medallion; they are worked in satin stitch and overcast, and in appliqué on muslin. for that part of the pattern in which the name is to be embroidered the material is taken double. 384.--_elisabeth_. material: messrs. walter evans and co.'s embroidery cotton no. 20. this word is embroidered in satin stitch and overcast. a few small eyelet-holes break the monotony of the outlines, and give lightness to this name. [illustration: 384.--elisabeth.] 385.--_elise_. materials: messrs. walter evans and co.'s embroidery cotton nos. 12 and 16. the open part of these letters is ornamented by one or more dots; the thick work is raised over chain stitches worked in no. 12, a rather coarser cotton. [illustration: 385.--elise.] 386.--_emma_. material: messrs. walter evans and co.'s embroidery cotton no. 16. this name is worked in satin stitch; the large dots may be worked with the eyelet-holes in fine overcast, the smaller dots in satin stitch. the remaining letters in raised satin stitch and point de sable. [illustration: 386.--emma.] 387.--_f.b._ material: messrs. walter evans and co.'s embroidery cotton no. 18. this elegant monogram is worked in raised satin stitch, the inside embroidered with lace. the leaves and tendrils are worked in satin stitch and point de sable. [illustration: 387.--f.b.] 388.--_f.s._ materials: messrs. walter evans and co.'s embroidery cotton nos. 16 and 20. the initials "f.s." are placed in the pages of an open book, the outlines of which are worked in overcast, the sides in point de pois. the wreath of flowers which surrounds the book is embroidered in satin stitch, the tendrils and veinings are in overcast. the initials are worked in fine satin stitch. [illustration: 388.--f.s.] 389.--_fanny._ material: messrs. walter evans and co.'s embroidery cotton no. 16. this name is simply worked in satin stitch and overcast. [illustration: 389.--fanny.] 390.--_francis._ material: messrs. walter evans and co.'s embroidery cotton no. 16. the initial letter of this elegant design is worked in fine over-casting; the centre star in raised satin stitch with lace in the middle; the leaves surrounding it in veined satin stitch; the other letters are worked in plain satin stitch; and the dots of the line in point de poste. [illustration: 390.--francis.] 391.--_e.c._ material: messrs. walter evans and co.'s embroidery cotton no. 20. the initials "e.c." are worked within a frame of overcast outlines and satin stitch dots. vine-leaves and grapes worked in point de pois and eyelet-holes are placed as ornaments around the frame. [illustration: 391.--e.c.] 392.--_gordon_. material: messrs. walter evans and co.'s embroidery cotton no. 16. this pretty name being worked in raised satin stitch, is very suitable for gentlemen's handkerchiefs. [illustration: 391.--gordon.] 393.--_helene_. material: messrs. walter evans and co.'s embroidery cotton no. 16. we give the french version of this pretty name, it being easily changed to english "helen" by omitting the final _e_ in working. the name is worked in plain satin stitch, slightly raised at the thickest parts of the letters. [illustration: 393.--helene.] 394.--_h.d.g._ material: messrs. walter evans and co.'s embroidery cotton no. 18. this elegant design is worked in fine overcast and satin stitch, and point de russe. [illustration: 394--h.d.g.] 395--_jessie._ material: messrs. walter evans and co.'s embroidery cotton no. 16. this design is very simple to work, the letters being so clear and well defined. the thick satin stitch is scalloped in parts. [illustration: 395.--jessie.] 396.--_j.c._ material: messrs. walter evans and co.'s embroidery cotton no. 12. the letters "j.c." are worked in raised satin and overcast stitch, the thickest part of each letter being worked in scallops. [illustration: 396.--j.c.] 397.--_lina_. material: messrs. walter evans and co.'s embroidery cotton no. 18. this name is worked in raised veined satin stitch; the small stars are worked in point russe round eyelet-holes. [illustration: 397. lina.] 398.--_lizzie_. material: messrs. walter evans and co.'s embroidery cotton no. 16. this name is worked partly in satin stitch, partly in raised dots and fine overcast; the letters are in the greek style, and have an excellent effect if well worked. [illustration: 398.--lizzie.] 399.--_l.g.a._ materials: messrs. walter evans and co.'s embroidery cotton no. 20, and linen thread no. 16. lace stitches are introduced in the medallion which incloses these letters, the outlines being worked in overcast and point de pois, the pens and initials in raised satin stitch, as also the flowers. the open portion is filled in with mechlin wheels, which are thus worked: a number of single threads cross each other in the space to be filled up; these are placed about a quarter of an inch from each other. all the bars in one direction must now be worked in fine button-hole stitch, then the opposite bars must be worked, and the button-hole stitch must be continued about six inches past the point where the two lines cross. the thread must be slipped loosely round the cross twice, running over and under alternately, so as to form a circle; then work in button-hole to the centre of a quarter of the circle; make a dot by inserting a pin in the next button-hole and working three stitches in the loop thus formed by the pin. these dots may be omitted from these wheels. [illustration: 399.--l.g.a.] 400.--_l.c._ material: messrs. walter evans and co.'s embroidery cotton no. 16. the effect of this design when well worked is excellent, for, although simple, the contrast between the letters and stars throws each into relief. veined and raised satin stitch, with very small eyelet-holes, are the stitches used here. [illustration: 400.--l.c.] 401.--_marie_. materials: messrs. walter evans and co.'s embroidery cotton nos. 20 and 36. this name is embroidered in satin stitch; the veinings are well defined, and the tendrils should be worked with no. 30 cotton, as they require very fine work. stars of overcast and eyelet-holes are the only ornaments. [illustration: 401--marie.] 402.--_maria_. material: messrs. walter evans and co.'s embroidery cotton no. 30. the initial letter of this name is worked in overcast and point de pois, the remaining letters in satin stitch, the ornamentation in satin stitch and overcast. [illustration: 402.--maria.] 403.--_maude_. material: messrs. walter evans and co.'s embroidery cotton no. 18. this name is worked in veined satin stitch; the small stars in raised satin stitch, and the elegant tendrils are worked in overcast. this work is peculiarly adapted for the marking of a trousseau. [illustration: 403.--maude.] 404.--_m._ material: messrs. walter evans and co.'s embroidery cotton no. 16. this elegant design can be worked in coloured silk if preferred, or the coronet omitted at will. the letter "m" is worked in raised and veined satin stitch; the centre stars are worked in fine overcast round an eyelet-hole; the coronet is worked in very fine satin stitch and point de pois, and stars to correspond with those worked in the letter and in the wreath below, the leaves of which are worked in satin stitch and overcast stitch. [illustration: 404.--m.--handkerchief corner.] 405.--_m.b.d._ material: messrs. walter evans and co.'s embroidery cotton no. 20. these initials are worked in satin stitch and overcast, the open work in fine overcast round eyelet-holes. [illustration: 405.--m.b.d.] [illustration: 406.--m.b.g.] 406.--_m.b.g._ material: messrs. walter evans and co.'s embroidery cotton no. 16. these elegant letters are simply worked in graduated satin stitch and fine overcast with eyelet-holes. [illustration: 407.--m.h.e.] 407.--_m.h.e._ material: messrs. walter evans and co.'s embroidery cotton no. 18. this elegant design is worked in graduated satin stitch, the middle letter is done in point croisé. this stitch is only worked on very thin and transparent materials. insert the needle into the material as for the common back stitch, draw it out underneath the needle on the opposite outline of the pattern so as to form on the wrong side a slanting line. insert the needle again as for common back stitch. 408.--_natalie._ material: messrs. walter evans and co.'s embroidery cotton no. 30. the initial letter of this word contains all those following, and is surrounded by a wreath of roses and other flowers; these are worked in satin stitch, the leaves in point de pois, the letters in raised satin stitch. the dots which are represented on the groundwork of the initial are worked in back stitching; these may be worked in scarlet ingrain cotton if desired for morning handkerchiefs. [illustration: 408.--natalie.] 409.--_o.r._ material: messrs. walter evans and co.'s embroidery cotton no. 18. this monogram is worked in satin stitch, and the oval is worked in eyelet-holes of graduated sizes. [illustration: 409.--o.r.] 410.--_phoebe_. material: messrs. walter evans and co.'s embroidery cotton no. 20. the first letter of this word is very elaborate; it is worked in satin stitch, point de sable, and point de pois, the rest of the letters in satin stitch. [illustration: 410.--phoebe.] 411.--_monogram for pocket handkerchiefs_. material: messrs. walter evans and co.'s embroidery cotton perfectionné no. 20. [illustration: 411.--monogram for marking handkerchiefs] this monogram is worked partly in appliqué, partly in satin stitch. for the middle part of the medallion sew on the pattern in appliqué of cambric with button-hole stitch; the remaining part of the embroidery is worked in satin stitch and point russe. 412.--_monogram for pocket handkerchiefs_. materials: messrs. walter evans and co.'s embroidery cotton no. 20, and linen thread no. 20. this monogram is also worked in appliqué and satin stitch. the circle all round the medallion is worked in appliqué; in the middle work lace stitches from illustration. the edge of the medallion is worked round with button-hole stitch. [illustration: 412.--monogram for marking handkerchiefs.] 413.--_rosa_. material: messrs. walter evans and co.'s embroidery cotton no. 20. here the name is inclosed in a medallion of overcast and back stitching, the lower part having a graceful wreath of leaves worked in satin stitch. the letters which form the name are worked in raised and scalloped satin stitch and point de pois. [illustration: 413. rosa.] 414.--_rosina_. material: messrs. walter evans and co.'s embroidery cotton no. 20. the stars round this graceful initial letter are worked in raised satin stitch round an eyelet-hole, the leaves in graduated satin stitch, the stems overcast, the wreaths of flowers worked in satin stitch and open eyelet-holes, the stems and veinings in overcast, and the stars on the stems to correspond with those worked in the letter: the rest of the letters in simple satin stitch rather thickly raised. [illustration: 414.--rosina.] 415.--_r.s._ materials: black china silk; messrs. walter evans and co.'s embroidery cotton no. 16. these letters are worked in raised satin stitch with a design of point russe worked in black silk. [illustration: 415.--r.s.] 416.--_s.e.b._ material: messrs. walter evans and co.'s embroidery cotton no. 16. these letters are worked in graduated satin stitch, the centre star is worked in raised satin stitch, and the four surrounding it as eyelet-holes. [illustration: 416.--s.e.b.] 417.--_l.e.p._ material: messrs. walter evans and co.'s embroidery cotton no. 18. these initials are worked in plain satin stitch, and the elegant stars are worked in point russe worked round an eyelet-hole. [illustration: 417.--l.e.p.] 418.--_victoria_. material: messrs. walter evans and co.'s embroidery cotton no. 20. this name is most elaborately worked in satin stitch, over-casting and eyelet-holes. the initial letter is worked in satin stitch, and the stars in fine overcast round an eyelet-hole. [illustration: 418.--victoria.] * * * * * point lace work. lace is of two kinds--pillow lace, which is made upon a cushion or pillow, and point lace, which is made of stitches or _points_ worked in patterns by hand, which are joined by various stitches forming a groundwork, also the result of the needle above. pillow lace is entirely worked on the pillow or cushion, the pattern and ground being produced at the same time. pillow lace is sometimes correctly called bone or bobbin lace, but it appears that the distinction has never been very nicely observed either by lace-workers or lace-traders, many sorts which are really pillow lace being called point, on account of some peculiarity in the stitch or pattern. the requisites for producing lace in perfection are the dexterity and taste of the workers, and the goodness of the material. to produce many beautiful fabrics a mechanical dexterity alone suffices, but in lace-making the worker must have some artistic talent, even when supplied with designs, for any one can perceive that deviations from the design are easily made, and that the slightest alteration by a worker wanting in taste will spoil the whole piece of workmanship. the following illustrations are specimens of ancient and modern laces from mrs. bury palliser's collection:-[illustration: 419.--dalecarlian lace.] [illustration: 420.--old mechlin.] [illustration: 421.--mechlin lace (queen charlotte's).] no. 419 shows dalecarlian lace, made by the women of dalecarlia. this is a coarse kind of lace, and is sewn on caps, &c., and, although highly starched, is never washed, for fear of destroying its coffee-coloured tint, which, it appears, is as much prized now by the swedish rustics as it was by english ladies in the last century. [illustration: 422.--buckingham point trolly, 1851 (black lace).] both these specimens of mechlin belonged to queen charlotte, who much admired this elegant lace. no. 423.--the bedford plaited lace is an improvement on the old maltese. honiton guipure lace is distinguished by the groundwork being of various stitches, in place of being sewn upon a net ground. the application of honiton sprigs upon bobbin net has been of late years almost superseded by this modern guipure. the sprigs, when made, are sewn upon a piece of blue paper and united on the pillow with "cutworks" or "purlings," or else joined with the needle by various stitches--lacet, point, réseau, cutwork, button-hole, and purling. [illustration: 423.--bedford plaited lace (1851).] those who wish to study lace and lace-making should read mrs. bury palliser's _history of lace_ (sampson low and marston). [illustration: 424.--honiton guipure lace.] point lace. the materials required for this elegant branch of needlework are neither numerous nor expensive. tracing cloth, leather, or toile cirée, various braids and cords, linen thread and two or three sizes of needles, scissors and thimble. tracing cloth is required when ladies copy point lace patterns, and is the most convenient mode of taking them, as the design can be worked upon the tracing cloth, which, though transparent, is very strong; the price is 1s. 6d. per yard. fine leather is the material upon which bought patterns are usually traced, and is decidedly more pleasant to work on than is any other material. in selecting patterns ladies should choose those traced upon green leather in preference to scarlet or buff, as green is better for the eyesight than any other colour. [illustration: 425.--point lace scissors.] toile cirée is only a substitute for leather, and is not as pleasant to work upon in warm weather. the needles employed are usually messrs. walker's needles, nos. 9 and 10. the scissors should be small, sharp, and pointed, as in illustration no. 425. an ivory thimble may be safely employed in this light work. [illustration: 426.--linen braid.] [illustration: 427.--linen braid.] [illustration: 428.--linen braid.] [illustration: 429.--linen braid.] [illustration: 430.--linen braid.] [illustration: 431.--linen braid.] the braids are of various widths and kinds. none but pure linen braid should be employed; those with machine-made edgings are eschewed by many lace-workers, the plain, loose-woven linen braid of various widths and qualities being alone acceptable to experienced hands. but all ladies do not care to be at the trouble of edging the braid, and will find nos. 426, 428, 430, and 431 very useful. no. 429 is a plain linen braid with a vandyked edge, which works out very prettily. no. 431 is an edged braid with open holes, in imitation of the point lace work of the fifteenth century. point lace cords resemble the satin stitch embroidery in their close, regular smoothness; the price is 1s. per hank, and they are of various thicknesses, from the size of a coarse crochet thread up to that of a thick piping cord. these cords are used to ornament the braid, and are closely sewn on the braid, following its every outline, and serve as _beading_ to the edging, being always sewn on the outer edge alone. the finer kinds of this cord are used in place of braid where very light work is needed, as in the point lace alphabet which forms the frontispiece of this work. directions for laying on the cord when employed as braid are given on page 500. when used as a finish only, and to impart the raised appearance of venice and spanish lace, it is fixed on the braid by plain, close sewing. the thread used should be mecklenburg linen thread; that of messrs. walter evans and co. we strongly recommend as being of pure linen, washing and wearing well; it is pleasant to work with, from the regularity and evenness of the make. the numbers run thus:--2, 4, 6, 8, 10, 12, 14, 16, 18, 20, 24, 30, 36, and 40--and will be found adapted for every kind of lace stitch. no. 2 is the coarsest, no. 40 the finest, size. in working point lace the following directions must be attended to: begin at the left hand, and work from left to right, when not otherwise directed, as in reverse rows. before cutting off the braid run a few stitches across it to prevent it widening. joins should be avoided, but when a join is indispensable, stitch the braid together, open and turn back the ends, and stitch each portion down separately. when passing the thread from one part to another, run along the centre of the braid, allowing the stitches to show as little as possible. in commencing, make a few stitches, leaving the end of the thread on the wrong side and cutting it off afterwards. in fastening off, make a tight button-hole stitch, run on three stitches, bring the needle out at the back, and cut off. having now completed our list of materials, we can proceed to lay on the braid. [illustration: 442.--mode of placing the braid.] to place the braid.--no. 442 shows the design traced upon paper or tracing cloth, and lightly tacked to a foundation of leather or toile cirée. run on a straight line of braid for the lower edge, with fine stitches, working as shown from left to right. take another piece of braid, or the other end of the same piece, and begin to lay the braid by "running" stitches in its centre, keeping it as smooth and even as possible. the outer edge presents no difficulty, but the inner edge will not lie evenly without being drawn in by a needle and thread, as follows:--thread a no. 9 needle with no. 12 mecklenburg thread about 20 inches long, fasten the thread to one point, and insert the needle in and out of the edge of the braid, as if for fine gathering; this thread when drawn up will keep the braid in its place. two or three fastening off stitches should be worked when each circle, half circle, or rounded curve of a pattern is finished, as the drawing or gathering thread remains in the work, and forms an important, though unseen, part of its structure. as much of the beauty of point lace depends upon the manner of placing the braid, ladies cannot bestow too much pains upon this part of the work, which is a little troublesome to beginners. many fancy shops now undertake this braid-placing for ladies, who can have their own pattern braided and commenced or braided alone at trifling expense. among these may be mentioned the following houses:--goubaud, 30, henrietta-street, covent-garden. boutillier, oxford-street, w. the stitches used in point lace may be divided into-stitches proper, or _points_. connecting bars. finishing edgings. wheels, rosettes. the term point lace, or lace stitches (_points_), has of late been applied to every stitch executed with mecklenburg thread, and many stitches are erroneously named by modern writers. as there are more than one hundred stitches employed in this beautiful art, much study and opportunity of seeing specimens of old point lace is required to give a novice any idea of the various kinds of point lace; but by attention to the following stitches the rudiments of the art may be easily acquired and very beautiful lace produced. the first stitch is point de bruxelles, or brussels lace stitch. this stitch, as may be clearly seen in illustration no. 433, is a simple button-hole stitch worked loosely and with great regularity. the whole beauty of brussels lace depends upon the evenness of the stitches. this stitch is sometimes employed as an edging, but is more often worked in rows backwards and forwards, either as a groundwork or to fill spaces, as in the point lace collar, no. 496. [illustration: 433. point de bruxelles (brussels lace).] [illustration: 434.--point de bruxelles (brussels lace worked in rows).] brussels point is the foundation of nearly all the lace stitches. point de venise (venetian or venice point) is worked from left to right, like brussels point. work one loose button-hole, and in this stitch work four button-hole stitches tightly drawn up, then work another loose button-hole stitch, then four more tight button-hole stitches in the loose one, repeat to the end of the row, and fasten off. [illustration: 435.--point de venise (venice point).] [illustration: 436.--petit point de venise (little venice point).] petit point de venise (little venice point) is worked in the same manner as point de venise, but one tight stitch only is worked in each loose button-hole stitch. this is a most useful stitch for filling small spaces. [illustration: 437.--point d'espagne (spanish point).] no. 437.--point d'espagne (spanish point) is worked from left to right as follows:--insert the needle in the edge of the braid, keeping the thread turned to the right, bringing it out inside the loop formed by the thread (see illustration no. 437); the needle must pass from the back of the loop through it. pass the needle under the stitch and bring it out in front, thus twice twisting the thread, which produces the cord-like appearance of this stitch. at the end of each row fasten to the braid and return by sewing back, inserting the needle once in every open stitch. [illustration: 438.--close point d'espagne (close spanish point).] no. 438.--point d'espagne (close) is worked in the same way as open point d'espagne, but so closely as to only allow the needle to pass through in the next row. this stitch is also worked from left to right; fasten to the braid at the end of each row, and sew back to the left again. no. 439.--treble point d'espagne is worked in exactly the same way as the open and close point d'espagne, as may be seen in illustration no. 439. three close stitches, one open, three close to the end of each row. sew back, and in the next row begin one open, three close, one open, then close to the end; repeat the rows as far as necessary, taking care that the close and open stitches follow in regular order. diamonds, stars, and various patterns may be formed with this stitch. [illustration: 439.--treble point d'espagne (treble spanish point).] no. 440.--point de grecque is begun from left to right, is worked backwards and forwards, and is begun by one stitch in loose point de bruxelles and three of close point d'espagne; then one brussels, three point d'espagne to the end of the row; in returning work back in the same manner. [illustration: 440.--point de grecque (grecian point).] no. 441. point de valenciennes (valenciennes stitch).--this stitch appears complicated, but is really easy to work. begin at the left hand and work six point de bruxelles stitches at unequal distance, every alternate stitch being larger. 2nd row: upon the first large or long stitch work 9 close button-hole stitches, then 1 short point de bruxelles stitch under the one above, then 9 close stitches, and so on to the end of row (right to left). [illustration: 441.--point de valenciennes (valenciennes stitch).] 3rd row: 5 close button-hole in the 9 of previous row, 1 short point de bruxelles, 2 close in the bruxelles stitch, 1 short point de bruxelles, 5 close, 1 short point de bruxelles, 2 close, l short, 5 close, 1 short, and repeat. 4th row: 5 close, 1 short point de bruxelles, 2 close, 1 short, 5 close, 1 short, 2 close, l short, and repeat. continue the rows until sufficient of the pattern is worked. [illustration: 442.--point d'alençon, with twisted stitch.] no. 442. point d'alençon.--this stitch is used to fill up narrow spaces where great lightness is required. point d'alençon is worked under and over in alternate stitches, like hem stitch. nos. 442 and 443 show point d'alençon. in no. 442 a twisted stitch is worked over the plain point d'alençon, which is clearly shown in no. 443; this twist is made by passing the thread three times round each plain bar, and working the knot shown in illustration no. 442 over _both_ strands of the bar. [illustration: 443.--point d'alençon, with button-hole stitch.] the point d'alençon no. 443 is a festoon of close button-hole stitch worked over the plain bars. [illustration: 444.--point d'angleterre (open english lace).] no. 444.--point d'angleterre (open english lace).--open english lace is thus worked:--cover the space to be filled in with lines of thread about one-eighth of an inch apart, then form cross lines, intersecting those already made and passing alternately under and over them; work a rosette on every spot where two lines cross, by working over and under the two lines about 16 times round, then twist the thread twice round the groundwork thread, and begin to form another rosette at the crossing threads. no. 445 shows this stitch much enlarged. [illustration: 445.--point d'angleterre (enlarged).] no. 446,--point turque (turkish stitch).--this easy and effective stitch looks well for filling either large or small spaces; the thread employed should be varied in thickness according to the size of the space to be filled. 1st row: work a loop, bringing the thread from right to left, passing the needle through the twist and through the loop, draw up tight and repeat. 2nd row: 1 straight thread from right to left. 3rd row: work the same as first using the straight thread in place of the braid, and passing the needle through the loop of previous row, as shown in illustration no. 446. [illustration: 446.--point turque.] no. 447.--cordova stitch is useful for varying other stitches. it resembles the point de reprise of guipure d'art, and is worked in a similar manner over and under the side of squares formed by straight and parallel lines. (see no. 448.) [illustration: 447.--point de cordova (cordova stitch).] no. 448.--point de reprise.--this stitch is worked by darning over and under two threads, forming a triangle. the space is filled by parallel and cross-way bars, placed at equal distances, and on the triangles thus produced point de reprise is worked. [illustration: 448.--point de reprise.] no. 449.--point brabançon (brabançon lace) is worked as follows:--left to right. 1st row: 1 long loose, 1 short loose, point de bruxelles alternately to end of row. 2nd row: 7 tight point de bruxelles in the 1 long loose stitch, 2 short loose point de bruxelles in the short loose stitch of previous row, repeat. 3rd row: same as first. [illustration: 449.--point brabançon (brabançon lace).] [illustration: 450.--point de fillet (net groundwork stitch).] [illustration: 451.--point de fillet and point de reprise.] no. 450 is used for groundwork where brussels net is not imitated, and is very effective. it is begun in the corner or crosswise of the space to be filled. a loose point de bruxelles stitch is first taken and fastened to the braid, then passed twice through the braid as shown in illustration, and worked in rows backwards and forwards as follows:--1 point de bruxelles stitch; before proceeding to the next stitch pass the needle _under_ the knot, _over_ the thread, and again _under_ it, as shown in illustration no. 450. this stitch is very quickly worked. no. 451 shows point de fillet applied in filling a space, with a few stitches of point de reprise worked upon this pretty groundwork. no. 452.--point de tulle.--this stitch is used as a groundwork for very fine work, and is worked in rows backwards and forwards in the same stitch as open point d'espagne, page 457. when this is completed the work is gone over a second time, by inserting the needle under one twisted bar, bringing it out and inserting it at +, and bringing it out again at the dot. this produces a close double twist which is very effective. [illustration: 452.--point de tulle.] no. 453.--mechlin lace (mechlin wheels).--this is one of the prettiest stitches in point lace, but also one of the most difficult to work correctly. it is thus worked:--work a number of diagonal bars in button-hole stitch on a single thread in one direction, then begin in the opposite side the same way, and work 5 or 6 stitches past the spot where the two lines cross, pass the thread round the cross twice under and over the thread to form a circle. work in button-hole stitch half one quarter, make a dot by putting a fine pin in the loop instead of drawing the thread tight, and work 3 button-hole stitches in the loop held open by the pin, then take it out, and continue as before. beginners will do well to omit the dot, leaving the loop only on the wheel. mechlin wheels are also worked in rows upon horizontal and parallel lines of thread. [illustration: 453.--mechlin lace wheels.] no. 454.--escalier lace.--this useful lace may be varied in pattern to any extent by placing the open stitches in any desired order; it then takes the name of diamond or antwerp lace, according to the design. true escalier lace is made by working nine button-hole stitches close together; then miss 3--that is, work none in the space that 3 stitches would occupy--work 9, miss 3 as before to the end of row, begin the 2nd row 3 stitches from the end, to cause the open spaces to fall in diagonal lines--a succession of steps or stairs (_escalier_), which gives name to this stitch. [illustration: 454.--escalier lace worked in diamonds.] no. 455.--spanish point lace is adorned with highly-raised scrolls, flowers, &c. this is effected by working over an underlay of coarse white thread or over fine white linen cords. the wheels are worked by winding soft coarse linen thread round pencils or smooth knitting-pins of various sizes, and working over the circle thus obtained a succession of close button-hole stitches. these wheels are sewn on to the lace when completed. the groundwork of spanish lace is usually worked in what are called raleigh bars (see page 477), but this lace has sometimes for groundwork point de venise. an easy mode of working this handsome lace is to trace the design upon very fine good linen; raise the thick parts as above directed, and embroider the whole in fine thick scalloped button-hole stitch; fill the ground with raleigh bars, or, as shown in illustration no. 455, in treble point de venise, and cut away the linen from beneath the groundwork. [illustration: 455.--spanish point lace (worked à l'anglaise).] wheels and rosettes. wheels or rosettes are used to fill up circles, or in combination to form lace. the simplest is-the sorrento wheel.--nos. 456 and 457.--this is worked by fastening the thread in the pattern to be filled up by means of the letters. fasten it first at the place _a_, then at the place _b_, carrying it back to the middle of the first formed bar by winding it round, fasten the cotton at the place _c_, carrying it back again to the centre by winding it round the bar, and so on; then work over and under the bars thus formed as in english lace. see page 462, and illustrations nos. 456 and 457. [illustration: 456 and 457.--sorrento wheels.] no. 458.--english wheel.--this is worked in the same manner as the sorrento wheel, but instead of _winding_ the thread over and under the bars, the needle is inserted under each bar and brought out again between the thread and the last stitch; this gives a kind of button-hole stitch, and gives the square, firm appearance possessed by this wheel. [illustration: 458.--english wheel.] no. 459.--rosette in point d'angleterre.--this rosette is worked in a somewhat similar manner to the wheel above described, the difference being that after each stitch passed round and under the bars, the thread is passed loosely round in the reverse direction, as shown in illustration no. 459, before proceeding to make the next stitch. [illustration: 459.--rosette in raised point d'angleterre.] no. 460 is a rosette or star which is used to fill circles of braid, and forms the centre of many modern point lace patterns. it is worked upon a pattern traced and pricked in small holes at equal distances. two threads are employed, one coarse tracing thread, the other of finer thread. the coarse thread is laid on thus:--pass the needle containing the fine thread, no. 12, through one of the pricked holes, over the tracing thread and back through the same hole; repeat, following the traced outline until the whole of the coarse thread is laid over the outline, then work over in tight button-hole stitch with picots or purls, as on the raleigh bars (see page 477). this mode of laying on tracing or outlining thread is also applied to fine braid and to point lace cord, as in the alphabet no. 400 (see page 500). [illustration: 460.--rosette for centre of point lace circles.] bars. the word _bar_ is applied to the various stitches used to connect the various parts of point lace work, and the beauty of the work depends greatly upon the class of bar and its suitability to the lace stitches used. the simplest bar is-no. 461.--the sorrento bar.--it is worked from right to left, a straight thread being carried across and fastened with a stitch. the return row consists of a simple twist under and over the straight thread; three of these bars are usually placed close together at equal distances between each group. the thread is sewn over the braid in passing from one spot to another. [illustration: 461.--sorrento bars.] [illustration: 462.--sorrento bars.] sorrento bars are also applied as shown in illustration no. 462. no. 463.--d alencon bars are worked upon point de bruxelles edging, and are only applied to the inner part of a pattern, never being used as groundwork bars. the thread is merely passed three times over and under the point de bruxelles stitches, the length of these bars being regulated by the space to be filled; when the third bar is completed a tight point de bruxelles stitch is used to fasten off the bar, the thread is passed through the next point de bruxelles stitch, and a second bar begun. [illustration: 463.--d'alençon bars.] [illustration: 464.--venetian bar.] no. 464.--the venetian bar is so simple that it hardly needs description. it is worked over two straight threads in reverse button-hole stitch. no. 465 shows the venetian bar applied as the "veining" of leaf, and worked upon sorrento bars. [illustration: 465.--venetian bar.] no. 466.--venetian bars are worked so as to form squares, triangles, &c., in button-hole stitch upon a straight thread. the arrow in the illustration points to the direction for working the next. [illustration: 466.--plain venetian bars.] no. 467.--bars of point d'angleterre.--these bars may be worked singly or to fill up a space, as in illustration. work rosettes as in point d'angleterre, page 461; when each rosette is finished twist the thread up the foundation thread to the top, fasten with one stitch, then pass it under the parallel line running through the centre and over into the opposite braid; repeat on each side of each rosette, inserting the threads as in illustration. [illustration: 467.--bars of point d'angleterre.] no. 468.--point de venise bars (edged).--begin at the right hand and stretch a line of thread to the left side of the braid, fastening it with one tight stitch of point de bruxelles. upon this line work a succession of tight point de bruxelles stitches. in every third stitch work one point de venise stitch. [illustration: 468.--point de venise bars (edged).] no. 469.--we now come to the most important feature of bars--the _dot, picot_, or _purl_, for by all these names it is known. this dot is worked in various ways upon different lace bars. dotted point de venise bars are worked as follow:-[illustration: 469.--dotted point de venise bars.] stretch the thread from right to left, on this work five tight stitches of point de bruxelles, then insert a pin in this last stitch to hold it open and loose, pass the needle under the loose stitch and over the thread, as clearly shown in illustration no. 469, and in this loop work three tight point de bruxelles stitches. then work five more stitches, and repeat to end of row. [illustration: 470.--picot or dot on sorrento bar.] no. 470 shows a dot or picot upon a sorrento bar worked between rows of point de bruxelles, three twisted stitches being worked into the loop left by the twisted thread; this forms a picot resembling satin stitch in appearance. nos. 471 and 472.--raleigh bars are worked over a foundation or network of coarse thread, twisted in places so as to more easily fall into the desired form. [illustration: 471.--raleigh bars.] [illustration 472.--network for working raleigh bars.] by following the numbering from no. 1 to 21, in no. 472, a square place may be easily filled, and portions of this arrangement applied to form groundwork of any shape desired. upon this groundwork tight point de bruxelles stitches are worked, and the dot worked upon these in one of the following ways:-dot or picot.--1st mode: five tight point de bruxelles stitches, one loose point de bruxelles; pass the needle under the loop and over the thread, as shown in point de venise bars no. 469, draw up, leaving a small open loop as in tatting. work five tight point de bruxelles and repeat. 2nd mode: proceed as above, but instead of continuing the tight stitches work two or three tight stitches in the loop thus formed, and repeat. 3rd mode: work four tight point de bruxelles stitches, one loose, through which pass the needle point, wind the thread three or four times round the point, as shown in illustration no. 473, press the thumb tightly on this, and draw the needle and thread through the twists. this is a quick mode of making the picot, and imitates most closely the real spanish lace. illustration no. 473 also shows how this stitch may be applied as a _regular_ groundwork, but the beauty of old point groundwork bars is the variety of form. [illustration: 473.--third mode of making picots or dots.] edges and purl finish. the correct edging of lace is a most important part of this art, and care should be taken to work a proper edge for each kind of lace. sorrento edging should be worked upon limoges lace. spanish lace requires a full rich edge, as shown in no. 478, &c. the simplest edge is point de bruxelles, which is worked somewhat like the stitch no. 433, and is secured by a knot worked in the braid. many lace-workers omit this knot. [illustration: 474.--point de bruxelles edging.] no. 475.--sorrento edging is worked with one short and one long stitch alternately. [illustration: 475.--sorrento edging.] no. 476.--point de venise is worked precisely like that stitch (see page 456), three and even four stitches being worked in the loop. [illustration: 476.--point de venise edging.] no. 477.--point d'angleterre edging is worked in point de bruxelles, the thread being again drawn through the braid before proceeding to the next stitch. this edging is strong and useful. [illustration: 477.--point d'angleterre edging.] no. 478.--point d'espagne edging.--this stitch is easily worked. insert the point of the needle through the braid and wind the thread round it 20 times, draw the needle through these windings and draw the picot tight, sew over the braid the space of 3 stitches, and repeat. [illustration: 478.--point d'espagne edging.] no. 479.--antwerp edge.--this edge is only a variety of point d'angleterre edging, and differs only in the mode of making the knot; the thread is passed over, under, and through the loop formed by the point de bruxelles lace. [illustration: 479.--antwerp edge.] note.--it will be observed that the stitches here given are much enlarged for the sake of clearness in showing details. patterns. no. 480.--_star in point lace_. materials: braid; messrs. walter evans and co.'s mecklenburg thread no. 20. trace the outline upon paper or leather, lay the braid on as directed. work the centre in sorrento bars, and on these work a rosette in point d'angleterre, the edge in point d'angleterre edging, and the wheels in open english lace. [illustration: 480.--star in point lace.] * * * * * no. 481.--_medallion in point lace_. materials: linen braid; messrs. walter evans and co.'s mecklenburg thread no. 14. this medallion is useful for cravat ends and for a number of purposes, as trimming for sachets, dresses, &c. having placed the braid as before directed, work an english rosette in the centre, fill in the ground with point de fillet or with point de bruxelles. an edging of spanish point completes this pretty medallion. [illustration: 481.--medallion in point lace.] * * * * * no. 482.--_point lace border_. materials: braid; messrs. walter evans and co.'s mecklenburg thread no. 12. this border represents the completed work shown on p. 454. a point d'angleterre rosette is worked in each circle. the plain braid is edged by sorrento edging. venice bars are worked above the trimming, and treble point de venise edges the border. [illustration: 482.--point lace border.] * * * * * no. 483.--_point lace border_. materials: braid; messrs. walter evans and co.'s mecklenburg thread no. 10. this border is both easily and quickly worked in sorrento bars. the edge is worked in two rows of point de bruxelles. [illustration: 483.--point lace border.] * * * * * no. 484.--_insertion in limoges lace_. materials: plain linen braid; messrs. walter evans and co.'s mecklenburg thread no. 14. this insertion will be found very useful, being so quickly worked. edge the braid with sorrento edging, fill up with bars and plain point d'alençon and sorrento wheels, no. 456. [illustration: 484.--insertion in limoges lace.] * * * * * no. 485--_point lace border for handkerchief._ materials: fine lace braid or cord; messrs. walter evans and co.'s mecklenburg thread no. 24. this border is suited for a handkerchief or for trimming a square bodice. the braid is not tacked on by stitches running through the centre, as is usual in point lace braids, but sewn on by passing a thread from underneath over the braid and out through the same hole, as is done by lace-workers with a thick thread; this forms the design. the stitches employed in this pattern are raleigh bars, which connect the work; sorrento edging, which finishes the whole outline; english rosettes filling the open spaces. point lace cord may be used for this in place of braid. [illustration: 485. point lace border for handkerchief.] * * * * * no. 486.--_star-centre for toilette cushion in point lace_. materials: braid; messrs. walter evans and co.'s mecklenburg thread nos. 16 and 12. [illustration: 486.--star-centre for toilette cushion in point lace.] this beautiful star will be found useful for other purposes than as a toilette cushion cover, and is worked as follows:--english rosette in centre; sorrento wheels in the 4 ovals, worked with no. 12 thread; point de bruxelles ground, worked with no. 16; braid edged by dotted venetian edges. the eight spaces may be filled with 2 or 4 contrasting stitches, taking care that they contrast well, and are placed alternately, and worked in no. 12. * * * * * [illustration: 487.--cravat end in point lace.] 487.--_cravat end in point lace_. materials: fine braid: messrs. walter evans and co.'s mecklenburg thread no. 12. this cravat is worked in sorrento wheels, point d'alençon bars, and sorrento edging. * * * * * [illustration: 488.--point lace edging.] [illustration: 489.--point lace edging.] 488 _and_ 489.--_point lace edgings_. materials: braid; messrs. walter evans and co.'s mecklenburg thread nos. 12 and 16. these edgings can be used as a finish to insertions and other trimmings or for edging couvrettes. no. 488 is worked with sorrento wheels; the edge in two rows of point de bruxelles, a straight thread being drawn from the end to the beginning of each scallop over which the second row is worked. no. 489 is worked with the same materials in treble point de venise, edged by the same, and finished off with a row of point de bruxelles, the upper edge being worked in the same way. * * * * * 490.--_design in point lace for collar, lappet, &c._ materials: linen braid; messrs. walter evans and co.'s mecklenburg thread nos. 10 and 16. this design may be used for a variety of purposes, and is extremely effective. the principal stitches required are given at the sides of the pattern. _a_ is valenciennes lace, _b_ brussels net, _c_ venetian spotted, _d_ sorrento edging, _e_ mechlin wheel, _f_ english rosette, _g_ raleigh bars. [illustration: 490.--design in point lace for collar, lappet, &c.] * * * * * 491.--_oval for cravats, &c._ materials: point lace cord; muslin; embroidery cotton; messrs. walter evans and co.'s mecklenburg thread nos. 14 and 18. this beautiful oval is worked in point lace and embroidery. this is begun from the centre on the muslin by over-casting the space filled by a wheel. the eyelet-holes are then worked, and the satin stitch ornament raised and prepared for working. the edge, of point lace cord, is then laid on, and the under portion edged in tight and open point de bruxelles, the centre of the circles being worked in point de bruxelles. the light groundwork is worked entirely in mechlin wheels, the satin stitch being worked when these are completed. this pattern can be enlarged and applied to many purposes. the muslin is cut away when the whole work is finished. [illustration: 491.--oval pattern for ornamenting cravats, &c.] * * * * * 492.--_point lace trimming for square bodice_. materials: braid; messrs. walter evans and co.'s mecklenburg thread no. 12 or 20. we give two sizes of thread, as this design is capable of many uses, and the size of the thread differs with these. the pattern is worked in english rosettes and bars (see no. 467). no. 488 edging looks well with this pattern. [illustration: 492.--point lace trimming for square bodice.] * * * * * 493--_point lace collar._ materials: fine braid or cord; messrs. walter evans and co.'s mecklenburg thread no. 22. [illustration: 493--point lace collar.] set on the braid or cord by passing a thread through a hole pricked in the pattern over the braid and out again through the same hole. edge the braid with point de bruxelles, the design being filled by mechlin wheels, sorrento wheels, point de feston, and the mixed stitch shown in no. 494, which is composed of d'alençon and sorrento bars, and is easily worked. those who cannot work mechlin wheels easily, can substitute close english, as shown in illustration no. 495. the bars are sorrento. [illustration: 494.--d'alençon and sorrento bars.] [illustration: 495.--close english wheels.] * * * * * [illustration: 496--point lace collar.] 496.--_point lace collar._ materials: fine braid or cord; messrs. walter evans and co.'s mecklenburg thread no. 22. this collar is worked in the same way as no. 493, though the stitches vary. the grecian line is worked in point de reprise, the pattern in close english wheels, point de reprise, point de bruxelles, english rosettes, and raleigh bars. * * * * * [illustration: 497.--point lace lappet.] 497.--_point lace lappet._ materials: braid; messrs. walter evans and co.'s mecklenburg thread no. 16 or 24, according to the fineness required. this lappet is exceedingly pretty. it is composed of the following stitches:--point d'alençon, point de tulle, english rosettes, sorrento bars, d'alençon bars, dotted venise bars, and the fancy stitch point d'anvers, which is not a true point lace stitch, but which is much employed in modern point. [illustration: 497.--point lace lappet.] [illustration: 498.--point d'anvers.] [illustration: 499.--point grecque.] point grecque is another useful variety of fancy stitch, and so easily worked as to be a favourite stitch with beginners. * * * * * [illustration: 500.--letter a in point lace.] [illustration: 501.--letter a enlarged.] _500 to 502.--alphabet in point lace. (see endpapers.)_ materials: point lace cord; messrs. walter evans and co.'s mecklenburg thread no. 36. this alphabet is useful for marking pocket-handkerchiefs, and for initials for sachets, &c. the cord is laid upon the pattern and pricked out by passing a thread up through a hole over the cord, and back through the same hole; then pass on to the next hole, and repeat. the holes should be about an eighth of an inch apart, or nearer when the pattern is finely convoluted. the letters are worked in point de bruxelles, point d'alençon, and dotted sorrento bars. no. 501 shows the letter a greatly enlarged, to show the mode of working. * * * * * table of threads suited to various articles worked in point lace. |----------------------------------|-------------------| |caps | 36 " " | |collars | 30 " " | |couvrettes | 2 4 6 | |cravats | 18 30 " | |d'oyleys | 8 10 12 | |dress trimmimgs | 22 30 " | |edgings | 14 30 " | |handkerchiefs | 30 36 40 | |insertions, coarse | 6 8 12 | | " fine | 24 30 " | |----------------------------------|-------------------| point lace cord runs about twelve yards to the hank. point lace edged braid runs thirty-six yards on cards. plain linen twelve yards in each hank. * * * * * guipure d'art. instructions and patterns in guipure d'art. * * * * * ancient guipure was a lace made of thin vellum, covered with gold, silver, or silk thread, and the word guipure derives its name from the silk when thus twisted round vellum being called by that name. in process of time the use of vellum was discontinued, and a cotton material replaced it. guipure lace was called _intelle à cartisane_ in england in the sixteenth century. various modern laces are called guipure, but the word is misapplied, since guipure lace is that kind only where one thread is twisted round another thread or another substance, as in the ancient guipure d'art. in every design where lace can be introduced, guipure d'art will be found useful. it looks particularly well when mounted upon quilted silk or satin. the squares, when worked finely, look well as toilet-cushions, or, if worked in coarser thread, make admirable couvrettes, and as covers for eider-down silk quilts are very elegant. guipure squares should be connected by guipure lace, crochet, or tatting, or they may be edged with narrow guipure lace and joined at the corners only when placed over coloured silk or satin; thus arranged, a sofa-cushion appears in alternate squares of plain and lace-covered silk; a ruche of ribbon and fall of lace to correspond completes this pretty mounting. not one of the least important attractions of guipure d'art is the speed with which it is worked, and the ease with which fresh patterns are designed by skilful workers. guipure d'art is an imitation of the celebrated ancient guipure lace, and is worked in raised and intersected patterns upon a square network of linen thread, mecklenburg thread of various sizes being used for this purpose. the needles employed are blunt, and have large eyes, to admit the linen thread. materials required: one frame of wire covered with silk ribbon; one square of mecklenburg thread net (_fillet_), either coarse or fine; mecklenburg thread; netting-needles and meshes of various sizes. the netted foundation, or "_fillet_," upon which this elegant work is embroidered, can be made by ladies very easily, and at much less cost than when bought ready made. the square is worked by netting with coarse no. 2 or fine no.10 thread over a mesh measuring three-quarters of an inch or more, in rows backwards and forwards. begin with 2 stitches, and increase 1 at the end of every row till you have one more stitch than is required for the number of holes. thus, if a square of 26 holes is required, continue to increase up to 27 stitches, then decrease 1 at the end of every row till 2 stitches only remain. the last 2 stitches are knotted together without forming a fresh stitch. the completed foundation is laced upon the frame, taking the lacing cotton through the double edge formed by the increased and decreased stitches. if the four corners of the netting are tied at each corner of the frame before beginning the lacing, that operation is greatly facilitated. the netting should be laced as tightly as possible, it being far easier to darn on than when loose. [illustration: 503.--frame for guipure d'art.] ladies who wish to excel in working guipure d'art should practise each of the stitches until they attain perfect regularity and quickness in their execution. two or three hours devoted to this in the first instance will not be time wasted, as the most elaborate pattern will be worked with ease as soon as the stitches are mastered. the mecklenburg thread of messrs. walter evans and co., of derby, will be found a better colour than any other, as it closely resembles the shade of the ancient guipure lace. it is sold only in spools of 200 yards each, and the numbers run as follow; no. 2, 4, 6, 8, lo, 12, 16, 20; no. 2 being the coarsest, and no. 20 the finest. the principal stitches used in guipure d'art are point d'esprit, point de toile, point de feston, point de reprise, point de bruxelles, and wheels and stars. point d'esprit is worked with finer cotton than the foundation, say no. 10 on a foundation of no. 6. it consists of a succession of small loops, as will be seen clearly in the illustration. the learner should begin from the mark * no. 503, and working a row of loops the length required, turn the frame and work loops on the opposite half of each square intersecting the first worked loops in the centre of each intervening bar of netting. a careful examination of nos. 503 and 506 will explain this more clearly than is possible in words. * * * * * [illustration: 504.--point d'esprit.] point de toile, or linen stitch, is plain darning under and over each thread; this forms a fine close groundwork, and is much used in guipure d'art. care should be taken to keep the same number of stitches in each square, both along and across; the number of threads shown in illustration no. 504 is 4 only, but 6 and even 8 are used in many netted foundations in fine patterns. [illustration: 505.--point de toile.] * * * * * point de feston is worked by a series of overcast stitches, as seen by illustration 506, which clearly shows the manner of working. the frame is turned at each stitch, the stitches are taken across the squares, and increase in length at the top of the square. [illustration: 506.--point de feston.] * * * * * point de reprise, or darning, is worked by stretching 2 or 3 threads over 1, or 2, or more squares. the thread is darned over and under, and the needle used to arrange the last stitch while passing through to form the next. this stitch is very easily acquired. it is always worked with coarser thread than the foundation; no. 2 thread should be employed for a coarse groundwork. no. 510 shows this stitch used to form stars, figures, &c. [illustration: 507--point de reprise.] [illustration: 508.--leaf.] * * * * * point de bruxelles, as shown on pages 506 and 507, is a kind of loose button-hole stitch, and is used for forming various patterns and for filling up squares. it also forms "leaves," when the number of stitches is decreased each row until the leaf finishes off in a point. nos. 509 and 510 clearly show this stitch. [illustration: 509.--point de bruxelles.] [illustration: 510.--point de bruxelles.] * * * * * wheels are easy to work, and are begun in the centre. four threads are taken across, as shown in design no. 511; the thread is twisted in bringing it back to the centre, and the wheel formed by passing the thread under and over the netting and the crossing threads. it is fastened off on the back of the several wheels. [illustration: 511.--wheel (commenced).] [illustration: 512.--wheel.] wheel no. 513 is a square wheel, and is worked in the same manner, with the addition of point d'esprit loops, through which, and under and over the cross-twisted threads, 4 or 5 rows of thread are passed. [illustration: 513.--square wheel.] [illustration: 514.--wheel larger than its real size.] * * * * * stars are of various form, as shown in nos. 516, 517, 518, 519, and 520. no. 516 is worked in point de feston (see page 507) round a single square hole, which is filled in by a small wheel or rosette. no. 517 is worked in point de feston and point de bruxelles, alternately round a centre simply crossed by point d'esprit threads. [illustration: 516.--star.] no. 518 is more elaborate, and is worked thus:--begin at the place marked _a_; twist the linen thread 3 times round the nearest thread, draw it on to the knot _b_; repeat this 3 times, following the order of the letters; twist the linen thread also between the threads, as can be seen from the illustration, and fasten it underneath the knot _a_; for the wheel fasten on the cotton afresh and work the remaining pattern in darning stitch (point de reprise). [illustration: 517.--star.] [illustration: 518.--star.] no. 520 consists of a double cross formed by twisted loops of linen thread. copy these loops exactly from illustration 520 one part of the straight cross lies underneath, then comes the slanting cross, and lastly, the other part of the straight cross. [illustration: 519.--detail of star.] [illustration: 520.--star.] in the centre the loops of linen thread are fastened with two rounds of stitches. (see illustration 520). overcast stitch is worked like embroidery overcast, and forms the stems of the flowers and leaves of guipure d'art; it is worked over one or two coarse threads. it is employed in no. 530, and forms the triangles in the centre of the middle squares. * * * * * [illustration: 521.--insertion in guipure d'art.] 521.--_insertion in guipure d'art._ materials: guipure frame netting of 6 holes wide; mecklenburg thread no. 8 or 10; needle no. 7. for the netted foundation, which is six holes wide, begin at one corner with 2 stitches, work 5 rows, at the end of each of which increase 1 stitch, continue to work the strip with the same number of stitches, alternately decreasing 1 at the end of one row and increasing 1 at the end of the next. for decreasing net 2 stitches together, for increasing net 2 stitches in the same hole. when the strip is sufficiently long, complete it by decreasing in the same proportion as the increasing at the beginning. as the pattern is so clearly shown in the illustration, it will be very easy to work from it. it is worked in point de feston and star wheels; the border is in point d'esprit. the insertion is finished on either side with a row of button-hole stitches. * * * * * 522.--_lace border in guipure d'art_. material: messrs. walter evans and co.'s mecklenburg thread no. 8 or 10. this border may be used for various purposes; it makes a pretty edging for toilet cushions if worked in fine thread, and looks equally well for trimming couvrettes, &c., in no. 2 thread. the netting is nine holes wide, the stitches employed are point d'esprit and point de feston, the edge is in button-hole stitch, the netted ground is cut away outside the scallops. [illustration: 522.--lace border in guipure d'art.] * * * * * 523.--_square for d'oyley_ materials: frame; 1 square of netting; mecklenburg reel thread nos. 8 and 10; needle no. 6. [illustration: 523.--pattern of square for d'oyley.] this square may be used to form part of a couvrette, or a d'oyley, or pincushion. the three other corners of the square are worked exactly like the one seen in illustration; the rosette in the centre is shown in full size. the square is worked in point d'esprit, linen stitch, and point de reprise. each of the leaves of the foliage is worked in one hole of the netting; they are worked by throwing the cotton three times across the hole, and working darning stitch on them. the stem is worked in overcast on the thread of the netting. the daisy in the centre is worked like the leaves, each leaf taking up one or more holes of the netting. * * * * * [illustration: 524.--corner border in guipure d'art.] 524 _and_ 525.--_corner borders in guipure d'art_. materials: messrs. walter evans and co.'s mecklenburg thread no. 2 for couvrettes, no. 8 for pillow-cases, no. 16 for lace edgings. these corner borders are suitable for pillow-cases or small couvrettes; the stitches worked on these patterns are linen stitch, darning stitch, point de bruxelles, and wheels. the edge is formed by button-hole stitches. the netting is cut away after these are worked. [illustration: 525.--corner border in guipure d'art.] * * * * * 526.--_strip of insertion in guipure d'art._ material: messrs. walter evans and co.'s mecklenburg thread no. 8. this strip of insertion is 8 stitches wide, and is worked in zigzag lines of point de feston, with a border of point d'esprit and point de toile; a four-point star occupies the centre of the triangle left by the zigzag line. this pattern is so easy to work that it hardly needs description, the only part requiring care being the squares of point de feston; these are begun in the centre, and the thread should be drawn rather tightly so as to form a good square. [illustration: 526.--pattern for a strip of insertion in guipure d'art.] * * * * * 527.--_small square_. materials: frame; messrs. walter evans and co.'s mecklenburg thread no. 4, 6, or 8 for the netting, and no. 16 for the pattern. [illustration: 527.--small square.] work over a mesh measuring 2-1/10 inch round the foundation of each square, which has seven stitches in length, and as many in breadth. it is embroidered in darning stitch, and point d'esprit, and wheels. the outer edge is worked round in button-hole stitch. larger squares are worked in the same manner, only a few rows larger in length and breadth. the squares are fastened together with a few stitches, and sewn on the pincushion or any article they are intended to ornament. * * * * * 528.--_insertion in guipure d'art_. materials: messrs. walter evans and co.'s mecklenburg thread no. 8, or 16 for very fine work. this strip of insertion is very pretty, and can be used for all kinds of lingeries. the size of the material depends, of course, on the use to be made of the insertion. the guipure pattern is worked in linen stitch and point d'esprit, the raised leaves in darning stitch. the edges are worked round with button-hole stitches. [illustration: 528.--insertion in guipure d'art.] * * * * * 529.--_rosette in guipure d'art._ [illustration: 529.--rosette in guipure d'art.] material: messrs. walter evans and co.'s mecklenburg thread no. 6. this rosette is worked in point de toile and small wheels. a larger wheel occupies the centre, and is ornamented with a round of overcast. * * * * * 530.--_quarter of a square in guipure d'art_. materials: one guipure frame; mecklenburg thread nos. 6 and 12; needle no. 7. [illustration: 530.--quarter of a square in guipure d'art.] this pattern shows, in full size, one quarter of a square in guipure d'art. the outer border is in point d'esprit, then comes a border in linen stitch. there are large stars in the corners; these stars are worked in raised darning stitch only, and fastened on the netting at the points of each brand; in the centre of the star there is a wheel (see no. 515) edged with button-hole stitch. the pattern for the centre, one quarter of which only is seen in the illustration, consists of 4 branches forming small triangles in point de bruxelles, 4 open-worked stars or wheels worked over 4 holes of the netting, and a four-branched centre of point de feston with a wheel in the middle. * * * * * 531 _and_ 532.--_square patterns in guipure d'art_. materials: messrs. walter evans and co.'s linen thread no. 2 for the netting, and their mecklenburg thread for the guipure stitches no. 8. [illustration: 531.--square pattern in guipure d'art.] no. 531. the outer border of this pretty square is worked in point d'esprit, the inner border in point de toile; then follows a round of small wheels or rosettes. for these, fasten the cotton to one of the knots of the first square stitch of this round, work one loop upon each of the three other knots, so as to form a slanting cross; then work round the centre point of the cross, passing alternately under and over its branches, then twist the cotton over the threads of the foundation until the next square is reached, and begin another wheel. [illustration: 532.--square pattern in guipure d'art.] the centre of no. 531 is composed of wheels and point de reprise; the pattern round the centre is worked in point de feston, differing a little from that given on pages 505 and 506, but the illustration clearly shows the difference. no. 532 has similar borders to no. 531; the centre is occupied by a star (see page 512) in point de feston; four large wheels surround this; the square stitches between are filled with small wheels and with groups of long loops, fastened together in sheaves. point d'esprit and point de toile, worked one way only, complete this square. * * * * * 533 _to_ 536.--_four patterns in guipure d'art_. material: messrs. walter evans and co.'s mecklenburg thread no. 2 or 16, according to the size of the work. these four patterns will be found useful for filling up small squares, or for varying the usual groundwork of point d'esprit. [illustration: 533.--pattern in guipure d'art.] no. 533 is a succession of point de feston stitches, which half fill each square of the netting. this pattern must be worked with great regularity. [illustration: 534.--pattern in guipure d'art.] no. 534 consists of a kind of double point d'esprit. no. 535 is a thread twisted and taken _across_ each square, and resembles lace stitches. [illustration: 535.--pattern in guipure d'art.] no. 536 is a succession of small close wheels, intermingled with point d'esprit. this grounding is very effective. [illustration: 536.--pattern in guipure d'art.] * * * * * 537.--_lace border for veils, &c_. materials: messrs. walter evans and co.'s mecklenburg thread no. 16; strip of square netting of the required length; oblong frame. this simple border is easily and quickly worked. the edge is overcast, the ground worked in point d'esprit, the border in point de toile, and the pattern in point de reprise. when completed the netting is cut away from the overcast edge. [illustration: 537.--lace border for veils, &c.] * * * * * 538 _and_ 538_a_.--_squares in guipure d'art_. materials: 2 squares of netting of 8 holes; messrs. walter evans and co.'s mecklenburg thread no. 10 or 16, according to the fineness required. [illustration: 538.--square in guipure d'art.] these squares are very pretty for cravat ends, cuffs, or handkerchiefs. they are worked on netting with very fine cotton in the usual manner, beginning on two stitches in one corner the different stitches of the guipure darning can be distinctly seen in illustration, and are point de feston, point de reprise, point de toile, and point d'esprit on no. 538, and the same stitches surround a wheel in no. 538_a_. [illustration: 538_a_.--square in guipure d'art.] * * * * * [illustration: 539.--guipure d'art insertion.] 539.--_insertion in guipure d'art_. materials: messrs. walter evans and co.'s mecklenburg thread nos. 8 to 16; strip of netting length, required. this insertion is worked in point de toile, and wheels worked in point de feston. the ground in point d'esprit. * * * * * 540 _and_ 541.--_square in guipure point de venise (reticella)_ materials: coarse or fine linen; messrs. walter evans and co.'s mecklenburg thread no. 4 or 12. [illustration: 540.--square in point de venise.] [illustration: 541.--quarter square in reticella work (enlarged).] this square is worked in the so-called point de venise, together with other squares; it is very pretty for covers, toilet cushions, &c. it is worked on coarse or fine linen, according to the use you wish to make of it. prepare a square piece of linen, by drawing out long and cross threads, so as to form perfect squares. in the pattern no. 540, which is worked on fine linen, 28 threads have been drawn out, both the long and cross way; 8 squares are formed in this way each time that 28 threads have been drawn out; leave 7 or 8 threads of the ground, which form the framework. then fasten the piece of linen on cardboard, and work close button-hole stitch round the inner edge then work with darning stitch over the long and cross threads of the ground. from no. 541, which shows the fourth part of the square 4 times larger than full size, it is easy to see how the framework is darned. when the latter is entirely darned, work the patterns in the different squares in button-hole stitch. the circular and serpentine patterns consist of 3 rows of button-hole stitch; the patterns which imitate whole rosettes and half rosettes are worked in rows of button-hole stitch. for each row the thread must be first drawn from one place to the other, as can be seen in illustration, and fastened on the framework. the knots in the last button-hole stitched row are made by working in each stitch when completed, another stitch, and drawing the cotton again through the first completed knot. it is easy, however, to work all the patterns from no. 541. the dotted lines in the right-hand corner show the direction of the patterns which are wanting there. the square is edged all round with an open-work hem, which can also be worked from no. 541. * * * * * 542 _and_ 543.--_corner patterns in guipure d'art_. material: messrs. walter evans and co.'s mecklenburg thread no. 14. these patterns are very pretty for cushions, handkerchiefs, &c. the netted ground is to be worked from the corner. cast on 2 stitches, and work in rows backwards and forwards, increasing 1 stitch at the end of every row. the pattern is worked in point d'esprit, linen, and darning stitch, as can be seen in illustration. [illustration: 542 and 543--corner borders.] * * * * * 544.--_flower for ornamenting cravats and caps in guipure d'art_. materials: black or coloured silks, or messrs. walter evans and co.'s mecklenburg thread no. 10. [illustration: 544.--flower in guipure d'art.] this pattern is worked with middle-sized light-coloured purse silk in guipure d'art on netting. this pattern can also be worked with white thread or black silk in point de reprise. * * * * * 545.--_work basket with covering of darned netting_. materials: bamboo cane basket; blue satin; cardboard; netting; messrs. walter evans and co's mecklenburg thread no. 16. [illustration: 545.--work basket covered with guipure d'art.] this elegant basket is made of bamboo cane and blue satin, fastened on cardboard, and covered with guipure d'art. the stand of varnished bamboo is twelve inches long, seven and a half inches wide, and five and a half inches high. the case inside is made of cardboard, covered on both sides with blue satin, and the guipure d'art on the outside only. the stitches used are point de toile, point de reprise, and point d'esprit. * * * * * 546 _and_ 547.--_squares in guipure d'art_. materials: messrs. walter evans and co.'s mecklenburg thread no. 12 or 20; and point d'esprit according to the fineness required. [illustration: 546.--square in guipure d'art.] both these square patterns are suitable for ornamenting lingerie, cravats, collars, &c. repeated at regular intervals on a larger centre, they are likewise suitable for couvrettes, cushions, pillow-cases, &c.; they are worked in darning and linen stitch. [illustration: 547.--square in guipure d'art.] * * * * * 548.--_insertion in guipure d'art_. materials: strip of netting 6 holes wide, and of the required length; messrs. walter evans and co.'s mecklenburg thread no. 8 or 12. this simple insertion consists of double rows of wheels worked at each side of a strip of point d'esprit, an edge of button-hole stitches being worked between the rows. [illustration: 549.--guipure d'art insertion.] * * * * * 550 _and_ 551.--_squares for antimacassar_. materials: square of netting of 12 holes; messrs. walter evans and co's mecklenburg thread no. 8. [illustration: 550.--square for antimacassar.] no. 550 is very quickly worked. the border and groundwork in point d'esprit, the centre star in point de reprise, the pattern in point de toile. wheels fill in the four holes in the centre of the squares. no. 551 has a border in point d'esprit, the star is worked in point de feston, the other stitches are point de toile. wheels in part of star pattern no. 518. [illustration: 551.--square for antimacassar.] * * * * * 552 _and_ 553.--_borders in guipure d'art_. material: messrs. walter evans and co.'s mecklenburg thread no. 8 or 16. these corner borders are very suitable for couvrettes, and, worked with fine thread, for pocket-handkerchiefs. the netted ground of the borders is to be worked in the size seen in illustration; for the border no. 553 darn the ground in button-hole stitch, darning stitch, point d'esprit, and point de feston; the pattern no. 552 is worked in linen stitch and point d'esprit; small wheels are also to be worked. both borders are to be worked round in button-hole stitch; the netted ground is cut away along the outside. [illustration: 552.--border in guipure d'art.] [illustration: 553.--border in guipure d'art.] * * * * * 554 _and_ 555.--_squares in guipure d'art_. materials: messrs. walter evans and co.'s mecklenburg thread no. 20; netted squares of 7 and 8 holes. [illustration: 554.--square in guipure d'art.] these two small squares are suitable for ornamenting cravats, lappets for caps and lingeries. they are worked in darning and linen stitch. the centre part of the square, no. 554, is a small wheel covered with raised stitches. [illustration: 555.--square in guipure d'art.] * * * * * 556.--_square in guipure d'art_. material: messrs. walter evans and co.'s mecklenburg thread no. 12. the centre of this square is worked in point de feston as well as the border; point de toile forms the groundwork of the square in the centre, round which a row of button-hole stitch is worked. [illustration: 556.--square in guipure d'art.] * * * * * 557.--_insertion in guipure d'art_. materials: strip of netting of 4 holes in width; messrs. walter evans and co.'s mecklenburg thread no. 12. the ground of this simple pattern is worked in point d'esprit, square wheels are worked in the centre of the strip. [illustration: 557.--insertion in guipure d'art.] * * * * * 558 _to_ 563.--_different strips of insertion, rosettes and lace, in guipure d'art_. materials: fine white cotton; messrs. waiter evans and co.'s mecklenburg thread nos. 16 and 20. these strips of insertion, rosettes, and borders are very suitable for ornamenting lingeries, cravats, &c. the ground of insertion, nos. 558 and 560, is worked with fine white cotton over a fine steel knitting-needle, in slanting netting, and darned with thread in the manner seen in illustrations. the ground of each strip is 11 rounds wide, and worked with button-hole stitch along the edges; the darned patterns can be worked from illustration. [illustration: 558.--insertion in guipure d'art.] [illustration: 559.--insertion in guipure d'art.] * * * * * [illustration: 560.--rosette in guipure d'art.] for the rosette, no. 560, cast on 6 stitches over a fine knitting-needle, and join the stitches into a circle; in the 1st round work 2 stitches in every stitch. in the 2nd--5th rounds work 2 stitches in every increased stitch of the preceding round, and in every other stitch 1 stitch. in the 6th round take a steel knitting-needle double the size of the first, and work over it 1 stitch in every stitch of the preceding round. then work the 7th round over the fine needle as follows:-[illustration: 561.--border in guipure d'art.] draw always the second stitch of 2 stitches through the first, and work 1 stitch in the stitch which has been drawn through the first, and then 1 stitch through the other stitch. in the 8th round work always 2 stitches in the stitch between the 2 crossed stitches, 1 stitch in all the other stitches. lastly, darn the rosette, from illustration, with fine glazed cotton. for the ground of the rosettes, illustrations nos. 562 and 563, cast on 6 stitches, join the stitches into a circle, and work then in the 1st round 2 stitches in every stitch; in the following 8 rounds 2 stitches in every increased stitch, in all the other stitches 1 stitch. the last (10th) round is worked without increasing. then darn the rosettes, from illustrations, with thread in darning stitch, linen stitch, and point d'esprit. the edges of the two rosettes are worked round in button-hole stitch; in every selvedge stitch work 3 button-hole stitches. these two rosettes can be joined together for small couvrettes. [illustration: 562.--rosette in guipure d'art.] [illustration: 563.--rosette in guipure d'art.] the ground of the border, no. 561, is formed by a strip of straight netting 9 squares wide, cut out in vandykes on one side, and worked round in button-hole stitch, as seen in illustration. this ground is darned, from no. 561, in darning stitch, point d'esprit, linen stitch, and ornamented with bars and wheels (see illustration). * * * * * [illustration: 564.--corner border in guipure d'art.] 564 _and_ 565.--_corner borders in guipure d'art_. material: messrs. walter evans and co.'s mecklenburg thread no. 20 for handkerchief, or no. 8 for couvrettes. these corner borders are suitable for handkerchiefs, couvrettes, &c., or as strips of insertion for cushions or pillow-cases. they are worked with more or less fine cotton, according to the use they are meant for. they are edged round with button-hole stitch on the outside, and finished off with a row of crochet purl. work 1 double in every button-hole stitch; after every other stitch draw out the loop on the needle about one-tenth of an inch; take out the needle and leave the loop as a purl; take up 1 loop in last double stitch, and cast it off with the next double stitch. [illustration: 565.--corner border in guipure d'art.] * * * * * 566.--_jewel case, forming pincushion_. materials: deal box; satin ruche; satin ribbon; quilted satin and silk cord; guipure netting. this case consists of a square cardboard or deal box, lined with satin, and slightly quilted; it is also covered on the top with satin, and ornamented all round with a satin ruche four-fifths of an inch wide, pleated in the manner seen in illustration. the top of the box is stuffed so as to form a pincushion. it is then covered with guipure d'art no. 567. ornament all round with silk cords, and at the corners with bows of satin ribbon. [illustration: 566.--jewel case, with pincushion.] * * * * * 567.--_guipure pattern for jewel case_. materials: netting 25 holes square; messrs. walter evans and co.'s mecklenburg thread no. 14. this cover is worked in point d'esprit, point de toile, point de reprise, and point de feston. thick dots are introduced occasionally. [illustration: 567.--guipure pattern for jewel case (no. 566).] * * * * * 568.--_parasol cover in guipure d'art. (seepage 580.)_ materials: messrs. walter evans and co.'s mecklenburg thread no. 20, and cotton no. 80. for working this cover, one part of which is shown in our illustration two-thirds of its full size, work first a straight strip of netting for the foundation, which must count as many holes in width as are required for the width of the covering. the size of the holes depends on the size of the knitting-needle or mesh which you use. the pattern is worked with cotton no. 80, over a steel knitting-needle which measures two-fifths of an inch round. begin the strip in one corner. cast on 2 stitches, and work in rows backwards and forwards, increasing 1 stitch at the end of every row, till you have 1 stitch more than the stripe is to have holes in width, on our pattern 68 stitches; then work 1 row on the same number of stitches, and then increase alternately 1 stitch at the end of 1 row, and decrease 1 at the end of the next, till the strip is 250 stitches long. the strip is finished off in a straight line at the bottom by working a certain number of rows in which the last stitch remains untouched. at the beginning of the row do not work 1 stitch ever the mesh, but only 1 knot in the stitch of the preceding row, so that the cotton is drawn on tight. when the strip is completed, trace from no. 568 the outlines for the pattern of each of the eight parts of the parasol with double thread, in such a manner that two parts lie next to each other, but reversed, that is, the point of one part must lie next to the wide part of the next part. then work in each part the pattern seen in illustration, and afterwards each part round with button-hole stitch, working over the double outline. cut out the different parts, and sew them together on the wrong side with close overcast stitch. * * * * * [illustration: 569.--scent sachet in guipure d'art.] 569.--_scent sachet in guipure d'art_. materials: messrs. walter evans and co.'s mecklenburg thread no. 18; green satin; poudre d'iris; green satin ribbon; green silk cord. the size of the netting depends on that of the sachet. the netting must be fastened in a frame, and darned with fine thread; the flowers are worked in darning stitch, and the ground in point d'esprit. the cushion is made of green satin, perfumed with poudre d'iris. when the netting has been fastened on, it is edged all round with a green satin ruche, and green silk cord, forming loops at every corner. * * * * * [illustration: 570.--square in guipure d'art.] 570.--_square in guipure d'art_. materials: netted square of 26 stitches; messrs. walter evans and co.'s mecklenburg thread no. 12. this pattern is worked in point d'esprit, edged with an outline of point de reprise. this outline may be worked in close button-hole stitch. point de toile is used for the groundwork, upon which point de reprise is worked. * * * * * 571 _and_ 572.--_work case in guipure d'art_. materials: blue satin; messrs. walter evans and co.'s mecklenburg thread no. 16; blue silk cord. [illustration: 571.--work case in guipure d'art (back).] this little work-case, of darned netting and blue satin, is five inches and four-fifths long, four inches wide, and is fastened with a loop and button. the back, front, side, and the flap are worked all in one piece. the netting is worked with white thread no. 12, over a mesh measuring at least two-fifths of an inch round. for the flap the netting must be slanted off on both sides; this is done either by decreasings, or by cutting off the corners of the work. the latter is then darned in linen stitch, darning stitch, and point d'esprit, from no. 572, which shows the front of the case, and from no. 571, which shows the back. the netting is then lined with blue satin, and sewn together at the sides with button-hole stitches on the right side. the flap is edged with button-hole stitch; sew on a small button, and make a small loop to correspond. the case is edged all round with blue silk cord. [illustration: 572.--work case in guipure d'art (front).] * * * * * 573.--_banner screen in guipure d'art_. materials: netting; messrs. walter evans and co.'s mecklenburg thread no. 12; carved oak stand; glacé silk; cords; tassels. banner-screens are used in two ways, either suspended from the mantelpiece or mounted as shown in illustration no. 573. the banner is 23 inches long, 19 inches wide, lined with coloured glacé silk, and edged with a lace border of guipure d'art. the design for the banner is given in page 554. work the netting for the groundwork over a larger or smaller mesh, according to the size you wish it to be. the pattern is worked in point d'esprit, point de reprise, and point de toile. when the pattern is completed, line the banner with coloured silk, edge with a gathered border of guipure d'art, finish with coloured silk cords and tassels. the banner may be finished off in close button-hole stitch, instead of adding the lace border. [illustration: 573.--banner screen in guipure d'art.] * * * * * [illustration: 575.--border in guipure d'art.] 575.--_border in guipure d'art_. material: messrs. walter evans and co.'s mecklenburg thread no. 8. this border is suited for couvrettes. it is worked in point d'esprit, point de reprise, or plain darning stitch, edged by a row of button-hole, and finished with a crochet edging. * * * * * [illustration: 576.--square in guipure d'art.] 576.--_square in guipure d'art_. materials: messrs. walter evans and co.'s mecklenburg thread no. 12; netted square of 20 holes. this pretty square is worked in a pattern formed by point de feston, point de toile, and point de reprise, the star in the centre as that shown on page 514, omitting the alternate points; border of point d'esprit, ground worked in simple crossed bars. table of the right size of mecklenburg thread to use in working:-|----------------------------------|--------------| | | no. | |----------------------------------|--------------| | antimacassars | 2 | | borders | 4 | | handkerchiefs | 20 | | insertions | 8 | | lace edgings and insertions | 16 | | lamp shades | 16 | | parasol covers | 18 | | sachets | 12 | | sofa cushions | 8 | | toilet cushions | 10 | | toilet mats | 10 | |----------------------------------|--------------| * * * * * frames may be obtained for large, middle-size, and small squares. oblong frames are used for working insertions and lace edgings. * * * * * berlin work instructions. berlin work includes every kind of stitch which is made upon canvas with wool, silk, or beads. the principal stitches used are common cross stitch, gobelin stitch, leviathan stitch, raised or velvet stitch, tent stitch, and others. the materials and needle must always be carefully chosen of a corresponding size. for common cross stitch and raised stitch penelope canvas must be used; for small articles, such as slippers, bags, or borders, single berlin wool is preferable; for larger ones fleecy wool or double berlin wool (the latter, however, is much more expensive). for gobelin stitch and tent stitch undivided canvas (not penelope) is required. purse silk is often used for the latter; it is more brilliant than floss silk or filoselle. floss silk is generally used for other stitches because it covers the thread of the canvas better than purse silk; it is, however, often replaced by filoselle, which is a much cheaper material. moss wool is hardly ever used. before beginning to work upon a piece of canvas the raw edges must be hemmed or sewn over with wool. care must be taken not to crumple the canvas in the course of the work. it is best to roll one end of the canvas upon a round piece of deal while the other end is kept down upon the table with a lead cushion. handsome artistic patterns should always be worked in a frame. when you undertake to work a large pattern begin in the centre, and complete one half before you commence the other. always work the stitches in the same direction, from the top downwards--this is very essential to the beauty and regularity of the pattern. always begin with the colour which is used the oftenest; those colours that lose their dye in working must be put in last. when the pattern is finished begin the grounding. the wool must not be drawn too tightly, otherwise the threads of the canvas appear. if the wool is too coarse for the canvas, one long stitch is to be made from left to right as far as the particular colour is to be worked, and over this long stitch, cross back in the usual way. the plainest stitch in berlin wool work is the common cross stitch; illustrations 577 to 584 show varieties of the same. we now proceed in the following pages to show, by description in writing and by most careful illustration, all the stitches which are used in berlin work. these are numerous, but neither too great in number nor too simple or too elaborate in execution for those who aspire to become berlin workers. * * * * * [illustration: 577.--common cross stitch.] illustration 577.--the common cross stitch is worked in rows backwards and forwards over 2 threads in height and 2 in width (square of the canvas) in straight lines; the 1st row is worked from left to right; the 2nd row, which completes the stitches, from right to left. illustration 577 shows 2 rows of completed stitches and 1 row in course of working. * * * * * [illustration: 578.--long cross stitch.] illustration 578 shows the long cross stitch. it is worked like the preceding one, only over 4 threads in height and 2 in width. * * * * * [illustration: 579.--long cross stitch.] illustration 579 shows a long cross stitch, which is worked like the preceding one, except that 2 threads are missed between 2 stitches, and in the next row the stitches are worked between those in the preceding row. this stitch is not worked in rows backwards and forwards; each stitch is completed before beginning the next. * * * * * [illustration: 580.--slanting cross stitch.] illustration 580.--the long slanting cross stitch is worked like no. 578, in rows backwards and forwards; the 1st row is slanting, the 2nd is straight. the places for inserting the needle and for drawing it out are marked on the illustration with a cross and dot. * * * * * [illustration: 581.--damask stitch.] illustration 581.--the damask stitch is worked in single rows from left to right, over 4 threads in height and 2 in width. the stitches of one row come between those of the next. the cross and dot shown in illustration are where to insert and draw out the needle. * * * * * [illustration: 582.--rep stitch.] illustration 582 shows the rep stitch--a variety of the preceding. the first half of it is worked slantways over 6 threads in height and 2 in width, the second half, like the common cross stitch, from right to left over the 3rd and 4th of the 6 canvas threads; each stitch is completed at once. the illustration shows the last stitch being worked; the first half of the stitch is completed; the dot shows where the needle must be inserted for the second half; it is drawn out where the cross is placed on illustration. * * * * * [illustration: 583.--leviathan stitch.] illustration 583.--the leviathan stitch consists of 1 slanting and 1 straight cross stitch over 4 threads in height and 4 in width. each stitch is completed immediately. no. 583 shows one half of the stitch completed and the wool as it must be placed for working the first half of the straight cross stitch. * * * * * [illustration: 584.--leviathan stitch.] illustration 584.--the leviathan stitch is worked exactly like the preceding, only the stitches are not worked on the same threads in the different rows, as may be seen from illustration. * * * * * [illustration: 585.--double leviathan stitch.] illustration 585.--the double leviathan stitch is a variety of the preceding; it is worked over 6 threads in height and as many in width. make a common cross stitch over these 6 threads, then a long cross stitch in height and a long cross stitch in width. illustration 585 shows 2 stitches completed and 1 being worked. * * * * * [illustration: 586.--tent stitch.] illustration 586.--tent stitch. each stitch is worked over 1 stitch in height and 1 in width, and is worked in rows from left to right. * * * * * [illustration: 587.--slanting gobelin stitch.] illustration 587.--the slanting gobelin stitch is worked on undivided canvas; each stitch is worked over 3 threads in height and 2 in width, divided from the next stitch only by an interval of 1 thread. * * * * * [illustration: 588.--straight gobelin stitch.] illustration 588.--the straight gobelin stitch is worked over 2 threads in height with 1 thread between, so that the stitches appear more raised; they are worked over thin cord or a thick piece of wool. * * * * * illustration 589.--the raised or velvet stitch is worked over small round wooden meshes, and forms small raised loops. take 2 similar meshes and as many threaded needles as there are colours in the work; make first a slanting stitch, as for the beginning of the common cross stitch, but instead of drawing out the needle straight under the place where it was inserted, draw it out exactly at the same place, so as to form a slanting stitch on the right and on the wrong side; then begin to work over 1 mesh; insert the needle above it and draw it out in a slanting direction underneath. on the wrong side of the work a regular cross stitch is formed. illustration 589 shows 2 rows of velvet stitch completed and 2 rows being worked; the first of the latter is yet on the mesh, the second being worked so as to show the position of the wool upon the mesh. observe that the rows of the velvet stitch are worked upwards, and that 2 meshes are necessary, because the lower one must not be drawn out before the next row is completed. the loops may be cut open if preferred. [illustration: 589.--raised or velvet stitch.] * * * * * [illustration: 590.--plaited stitch.] illustration 590.--the plaited stitch is worked like the herring-bone stitch. each stitch is worked over 4 threads in height and 4 in width. illustration 590 shows one part of the plaited stitch completed, and the place where the needle is to be inserted for the next stitch is marked by a dot. for the next stitch the needle is carried under the 2 threads below the stitches of the preceding row. * * * * * illustration 591.--the plush stitch is also worked upwards. begin to work a common cross stitch, then insert the needle through the canvas over 2 threads in height and 2 in width, downwards in a slanting direction. do not draw the wool close up, but leave a loop hanging down about four-fifths of an inch long, and make 1 more common cross stitch to fasten the loop. this stitch can also be worked over flat meshes. work a common cross stitch at the end of every row. when the work is completed the loops are cut open and clipped, as may be seen from illustration. [illustration: 591.--plush stitch.] * * * * * illustrations 592 to 594.--three berlin wool work borders for trimming baskets, &c. no. 592.--the 2 outer rows which edge the border are worked in long straight cross stitch; each stitch is crossed in the centre with a back stitch. [illustration: 592.--berlin work border.] the grounding consists of 2 rows of vandykes placed opposite each other, which are formed of long straight stitches of different lengths. the squares in the centre are formed in the same way, and are completed in the middle with a knot. no. 593.--the ground is worked in cross stitch, the raised patterns in satin stitch; in the middle of each pattern there is a cross stitch. the outer rows are worked in half cross stitch over 2 threads in height and 4 in width in 2 different shades. no. 594.--the petals of the flowers are worked over 4 threads in height and in width, and consisting of 4 slanting stitches. [illustration: 593--berlin work border.] [illustration: 594.--berlin work border.] in the centre the flower is completed by a knot; the ground in cross stitch is completed on either side by a narrow border of scallops, formed of slanting stitches divided in the centre by 1 slanting stitch. it is easy to work these stitches from illustration. the choice of colours depends upon what use the border is intended for and upon personal taste. * * * * * plates [illustration: tatted antimacassar (see page 80).] [illustration: 214--couvrette in appliqué] [illustration: 334--knitted table cover (_see page_ 347).] [illustration: 337--knitted d'oyley (_see page_ 352).] [illustration: 568.--parasol cover in guipure d'art (_see page 549_).] index. acacia spray in embroidery, 162. antimacassar, crochet, 276. antimacassar in tatting, 65. antimacassar, knitted, 318 to 320. appliqué, pattern for a couvrette in, 213 to 215. arm-chair, covered with crochet, 254. arm-chair in crochet, patterns for, 255,256. baby's boot, knitted, 326. bag, crochet silk, over rings, 245. banner screen in guipure d'art, 573, 574. bars, point lace. d'alençon, 463. point d'angleterre, 467. point de venise, edged, 468. point de venise, dotted, 469. raleigh, 471, 472. sorrento, 461, 462. sorrento, dotted, 469. venetian, plain, 464, 465, 466. basket, small, crochet, 239. basket, crochet, 272. basket, crochet, 273. basket, embroidered in chenille, 134. bedford plaited lace (1851), 423. bed-quilt, knitted border for, 327. berlin wool-work instructions, p. 559. berlin work, borders in, 592 to 594. berlin stitches. common cross stitch, 577. damask stitch, 581. leviathan stitch, 583, 584. leviathan double stitch, 585. long cross stitch, 578, 579. plaited stitch, 590. plush stitch, 591. raised or velvet stitch, 589. rep stitch, 582. slanting cross stitch, 580. slanting gobelin stitch, 587. straight gobelin stitch, 588. tent stitch, 586. (black lace) buckingham point trolly (1851), 422. bodice, knitted, 324, 325. boot, baby's, knitted, 326 borders, crochet, 252, 253 border, embroidered, 150. border for a reading-desk in embroidery, 204. border for couvrettes, guipure d'art, 561. borders for handkerchief, corner, in guipure d'art, 564, 565. borders, guipure d'art, 552, 553, 557. border, guipure d'art, 575. border in crochet and tatting, 52. border in oriental embroidery, 179. border in tatting and crochet, 6. border in tatting and crochet, 15. border in tatting and crochet, 22. border in tatting and lace stitch, 44. border in tatting, with beads, 13. border in tatting, with crochet edging, 5. border, knitted, 321. border, tatting, 47. borders, two crochet, 274, 275. border, with beads, tatted, 13. bouquet, embroidered, for travelling-bag, 169. braces, embroidered, 202. braces, knitted, 338. brioche cushion in crochet, 249. butterfly, embroidered, for handkerchief corner, 212. cap, border for, in tatting, 38. cap crown in tatting, 37. cap in tatting, 38, 39. chenille, basket embroidered in, 134. cigar-case, embroidered, 190. circle for collars, cuffs, &c., in tatting, 21. circle in tatting, 12. circle in tatting, 21. circle in tatting, 57. collar in tatting, 56. collar in tatting and darned netting, 28. collar, linen, trimmed with tatting, 49. collar, linen, trimmed with tatting, 54. collar, pine pattern, in tatting, 1. collar, tatted, 55. collar, trimming for, in tatting, 49. collar, trimming for, in tatting, 54. comforters, &c., knitting stitch for, 336. convolvulus leaf insertion in embroidery, 141. corner borders in guipure d'art, 524, 525. corner borders in guipure d'art, 542, 543. corner borders in guipure d'art, 564, 565. corner for handkerchief in point russe embroidery, 149. corner in embroidery, 151. corner in embroidery, 152. cotton, tatting, page 82. couvrette, centre of a tatted, 25. couvrette, daisy pattern for a, in crochet, 250. couvrette for arm-chair in crochet, 257. couvrette in appliqué, embroidery, 147. couvrette in crochet, 240 to 243. couvrette in tatting, 25. covering for a quilted counterpane in embroidery, 138. cravats, &c., in embroidery, patterns for, 184. cravats, &c., in embroidery, patterns for, 185. cravat in tatting, 50. cravat end in embroidery, 136. cravat end in embroidery, 153. cravat end in raised embroidery, 156. cravat end in tatting, 60. cravat end in tatting, 62. cravat end in tatting and darned netting, 64. cravat end, oval, in tatting, 51. cravat in muslin and tatting, 50. cravat, muslin, embroidered, 153. crochet, antimacassar in, 276. crochet, arm-chair covered with, 254. crochet, arm-chair, patterns for, 255, 256. crochet bag, silk, over rings, 245. crochet basket, small, 239. crochet basket, 272. crochet basket, 273. crochet borders, 252, 253. crochet borders, two, 274, 275. crochet, brioche cushion, 249. crochet, couvrette for arm-chair, 257. crochet, couvrette in, 240 to 243. crochet, daisy pattern for a couvrette in, 250. crochet d'oyleys in imitation of point lace. no. 1, 262. no. 2, 263. no. 3, 264. no. 4, 265. no. 5, 266. no. 6, 267. no. 7, 268. no. 8, 269. no. 9, 270. no. 10, 271. crochet garter, 285. crochet, insertion, 258. crochet, insertion, 259. crochet, insertion, 260. crochet, insertion, 277. crochet, insertion, 283. crochet, insertion, 284. crochet instructions. crochet hook, page 185. foundation chain, double, 217. foundation chain, plain, 216. foundation chain, purl, 218. spots, raised, 232. spots, hollow, 233. spots, open work, 234. crochet, lace, 251. crochet, lace, 261. crochet, purse in, over rings, 248. crochet rosettes, 280, 281. crochet sovereign purse, 246. crochet, star in, 244. crochet, stars in, 247. crochet stitches. cross stitch, 224. cross treble stitch, 229, 230, 231. double long treble stitch, 228. double stitch, 220, 221. long double stitch, 225. long treble stitch, 227. purl stitch, 236. purl stitch, 237. purl stitch, 238. raised treble stitch, 235. raised ribbed stitch, 222. raised slanting stitch, 223. slip stitch, 219. treble stitch, 226. crochet trimming for a lady's chemise, 286. crochet trimming, with embroidered flowers worked in appliqué and velvet ribbon, 282. crochet work, tobacco-pouch in, 278, 279. crochet work, work-basket in straw and, 272, 273. curtains, knitted pattern for, 339. daisy pattern for a crochet couvrette, 250. dalecarlian lace, 419. diamond in tatting, 20. diamond in tatting, 36. diamond in tatting, 53. diamond in tatting, 59. diamond netting, 306. diamond tatting for collars, &c., 20. d'oyleys, crochet, in imitation of point lace. no. 1, 262. no. 2, 263. no. 3, 264. no. 4, 265. no. 5, 266. no. 6, 267. no. 7, 268. no. 8, 269. no. 9, 270. no. 10, 271. d'oyley, knitted, 337. edgings and purled edgings, point lace. antwerp, 479. point d'angleterre, 477. point de bruxelles, 474, point d'espagne, 478. point de venise, 476. sorrento, 475. edging, embroidered, 178. embroidered border, 204. embroidered border, 150. embroidered bouquet for travelling bag, 169. embroidered braces, 202. embroidered braces, full-sized pattern for, 201. embroidered braces, full-sized pattern for, 203. embroidered butterfly for handkerchief corner, 212. embroidered cigar-case, 190. embroidered edging, 178. embroidered handkerchief, 197. embroidered hanging letter-case, 176. embroidered in chenille, basket, 134. embroidered key-bag, 182. embroidered key-bag, 183. embroidered knife-basket, 159. embroidered knife-basket, 160. embroidered lace insertion, 207. embroidered lady's purse, 157. embroidered letter-case, pattern for, 177. embroidered linen collar, 193. embroidered linen collar, 194. embroidered needle-book, pattern for, 166. embroidered needle-book, pattern for, 167. embroidered penwiper, full-sized circle for, 187. embroidered slipper, on java canvas, 208. embroidered slipper, point russe stitch for, 209. embroidered what-not, in the shape of a hammock, 195, 196. embroidery, acacia spray in, 162. embroidery and stitching, insertion in, 132. embroidery, appliqué, couvrette in, 147. embroidery border for a reading-desk, 204. embroidery, border in oriental, 179. embroidery, convolvulus leaf insertion in, 141. embroidery, corner for handkerchief in point russe, 149. embroidery, corner in, 151. embroidery, corner in, 152. embroidery, covering for a quilted counterpane in, 138. embroidery, cravat end in, 136. embroidery, cravat end in, 153. embroidery, cravat end in raised, 156. embroidery, fuchsia spray in, 161. embroidery, glove-box in, 174. embroidery, glove-box in, 175. embroidery, handkerchief border in, 197. embroidery, handkerchief in, 140. embroidery, insertion in, 131. embroidery, insertion in, 142. embroidery, insertion in, 145. embroidery, insertion in, 146. embroidery, insertion in, 155. embroidery, insertion in, 165. embroidery, insertion in, 188. embroidery, insertion in, 189. embroidery, insertion in, 192. embroidery instructions, p. 83. bead partly covered, 103. blossom in satin stitch, 101, 102. bluebell, 113. bluebell, inner part, 114. bluebell, part of, 116. borders, 118, 119. ear of corn, 112. flower, 115. flower in satin stitch, 107. flower appliquéd on net, 117, heartsease, 110. initials, 123 to 130. insertions, 120 to 122. leaf, 94. leaf in raised satin stitch, 90, 91. leaf, raised, 92, 93. leaf, raised, 95. leaf, half of, 99. leaf, centre of, 100. raised embroidered leaf, 98. raised flower, 111. raised leaf, 96. raised leaf, 97. raised satin stitch leaf, 90, 91. rose in satin stitch, 108. rose, petal for, 109. star, 106. star in point de reprise, 105. star in satin stitch, 104. stitch, embroidery. stitch, back, 70. stitch, button and eyelet holes, 86, 87. stitch, button-hole scallop, 82 to 85. stitch, double overcast, 67. stitch, knotted, 73, 74, 75. stitch, ladder, 80, 81. stitch, overcast, 68. stitch, point croisé, 71, 72. stitch, point de minute, 79. stitch, point de plume, 78. stitch, embroidery--_continued_. stitch, satin, raised, 76, 77. stitch, scallop, 66. stitch, shaded button-hole, 88, 89. stitch, slanting overcast, 89. embroidery, medallion for a purse in, 198. embroidery, medallion for a purse in, 199. embroidery, medallion in point russe, 210. embroidery, medallion in point russc, 211. embroidery, monograms and initials in. embroidery, alphabet in coral stitch, 353. embroidery, alphabet in floral, 361. embroidery, alphabet in florid style, 356. embroidery, alphabet in forget-me-nots, 352. embroidery, alphabet, point d'or, 357. embroidery, alphabet, raised satin stitch, 359. embroidery, alphabet in satin stitch, 351. embroidery, alphabet scalloped, 355. embroidery, alphabet, small, 354. embroidery, initials in, 366 to 417. embroidery, monograms in, 366 to 417. embroidery, names in, 362 to 418. embroidery, sampler in, 360. embroidery, star alphabet, capitals, 349. embroidery, star alphabet, small, 350. embroidery, white, alphabet in, 358. embroidery, pattern for collars, cuffs, &c., in, 135. embroidery, pattern for collars, cuffs, &c., in, 137. embroidery, pattern for cravats, &c., in, 184. embroidery, pattern for cravats, &c., in, 185. embroidery, pattern for cravat ends, &c., in, 133. embroidery, pattern for cravat ends, &c., in, 139. embroidery, pattern for trimming lingeries in, 143, 144. embroidery pattern for what-not (full size), 196. embroidery, penwiper in, 186, 187. embroidery, rose-leaf in, 173. embroidery, sandwich-case in, 154. embroidery stars, 137, 143, 144. embroidery stars, 180, 181. embroidery, table-napkin ring in, 158. embroidery, tobacco-pouch in, 163. embroidery, tobacco-pouch in, 164. embroidery, travelling-bag in, 168. embroidery, trimming in, for bodices, 170. embroidery, venetian border in, 206. embroidery, venetian, lappet or sash end in, 205. embroidery, waste-paper basket in, 191. embroidery, white, toilet-cushion cover in, 171, 172, 173. embroidery, wing of bird, 172. embroidery, work-bag in, 200. embroidery, wreath in, for centre of pincushion or toilet-mat, 148. english netting, 308 fichu, netted, 315, 316. flower in guipure d'art, 544. frame for guipure d'art 503. full-sized circle for embroidered pen-wiper, 187. fuchsia spray in embroidery, 161. garter, crochet, 285. glove-box in embroidery, 174. glove-box in embroidery, 175. gauge, knitting, 287. guipure d'art. guipure d'art, banner-screen in, 573, 574. guipure d'art, border for couvrettes in, 561. guipure d'art t, borders for handkerchief, corner, 564, 565. guipure d'art, borders in, 552, 553, 557. guipure d'art, border in, 575. guipure d'art, corner borders in, 524, 525. guipure d'art, corner borders in, 542, 543. guipure d'art, corner borders in, 564, 565. guipure d'art, flower in, 544. guipure d'art, frame for, 503. guipure d'art, insertion in, 521. guipure d'art, insertion in, 526. guipure d'art, insertion in, 528. guipure d'art, insertion in, 539. guipure d'art, insertion in, 548. guipure d'art, insertion in, 558. gaipure d'art, insertion in, 559. guipure d'art, insertions, &c., in, 558 to 563. guipure d'art, instructions in, p. 503. guipure d'art jewel-case cover, 567. guipure d'art, jewel-case covered in, 566. guipure d'art, lace borders for veils in, 537. guipure d'art, lace border in, 522. guipure d'art, parasol-cover in, 568. guipure d'art, quarter square in, 530. guipure d'art, rosettes in, 529. guipure d'art, rosettes in, 562, 563. guipure d'art stitches. grounding, 533 to 536. point de bruxelles, 509, 510. point d'esprit, 504. point de feston, 506. point de reprise, 507, 508. point de toile, 505. stars, 516 to 520. wheels, 511 to 515. guipure d'art, scent-sachet in, 569. guipure d'art, small squares, 527. guipure d'art, squares for antimacassar, 550, 551. guipure d'art, square for d'oyley in, 523. guipure d'art, squares in, for dresses, 546, 547. guipure d'art, square in, 531. guipure d'art, square in, 532. guipure d'art, square in, 556. guipure d'art, squares in, 570, 576. guipure d'art, squares in, 533 to 536. guipure d'art, squares in, 538, 538a. guipure d'art, squares in, 554, 555. (guipure d'art), square in reticella work, 540. (guipure d'art), square in reticella work, enlarged, 541. guipure d'art, work-basket covered with, 545. guipure d'art, work-case in, 571, 572. handkerchief border in embroidery, 197. handkerchief in embroidery, 140. hanging letter-case embroidered, 176. honiton guipure lace, 424. insertion, crochet, 258. insertion, crochet, 259. insertion, crochet, 260. insertion, crochet, 277. insertion, crochet, 283. insertion, crochet, 284. insertion in embroidery, 131. insertion in embroidery, 142. insertion in embroidery, 145. insertion in embroidery, 146. insertion in embroidery, 155. insertion in embroidery, 165. insertion in embroidery, 188. insertion in embroidery, 189. insertion in embroidery, 192. insertion in embroidery and stitching, 132. insertion in guipure d art, 521. insertion in guipure d'art, 526. insertion in guipure d'art, 528. insertion in guipure d'art, 539. insertion in guipure d'art, 548. insertion in guipure d'art, 558. insertion in guipure d'art, 559. insertions in guipure d'art, 558 to 563. insertions in tatting, 2. insertion in tatting, 7. insertion in tatting, 11. insertion in tatting, 14. insertion in tatting, 24. insertion in tatting, 31. insertion in tatting, 32. insertion in tatting and crochet, 41. insertion in tatting and crochet, 43. insertion in tatting and lace stitch, 23. insertion in tatting for trimming lingeries, 11. insertion, knitted, 340. insertion, wide, tatting, 10. insertion, wide, tatting, 14. insertion, wide, tatting, 43. insertion, worked in tatting, 10. instructions in berlin wool work, p. 559. berlin work, borders in, 592 to 594. berlin stitches. common cross stitch, 577. damask stitch, 581. leviathan stitch, 583, 584. leviathan double stitch, 585. long cross stitch, 578, 579. plaited stitch, 590. plush stitch, 591. raised or velvet stitch, 589. rep stitch, 582. slanting cross stitch, 580. slanting gobelin stitch, 587. straight gobelin stitch, 588. tent stitch, 586. instructions in crochet. crochet hook, p. 185. foundation chain, double, 217. foundation chain, plain, 216. foundation chain, purl, 218. spots, raised, 232. spots, hollow, 233. spots, open work, 234. instructions in embroidery. bead partly covered, 103. blossom in satin stitch, 101, 102. bluebell, 113. bluebell, inner part, 114. bluebell, part of, 116. borders, 118, 119. ear of corn, 112. flower, 115. flower in satin stitch, 107. flower appliquéd on net, 117. heartsease, 110. initials, 123 to 130. insertions, 120 to 122. leaf, 94. leaf, half of, 99. leaf, centre of, 100. leaf in raised satin stitch, 90, 91. leaf, raised, 92, 93. leaf, raised, 95. raised embroidered leaf, 98. raised flower, 111. raised leaf, 96. raised leaf, 97. raised satin stitch leaf, 90, 91. rose in satin stitch, 108. rose, petal for, 109. star, 106. star in point de reprise, 105. star in satin stitch, 104. stitch, embroidery. stitch, back, 70. stitch, button and eyelet holes, 85, 87. stitch, button-hole scallop, 82 to 85. stitch, double overcast, 67. stitch, knotted, 73, 74, 75. stitch, ladder, 80, 81. stitch, overcast, 68. stitch, point croisé, 71, 72. stitch, point de minute, 79. stitch, point de plume, 78. stitch, satin raised, 76, 77. stitch, scallop, 66. stitch, shaded button-hole, 88, 89. stitch, slanting overcast, 69. instructions in guipure d'art, p. 503. instructions in tatting. joining the work, p. v. pin, tatting, p. ii. shuttles, tatting, pp. i, iii. the way to hold the hands, p. iii. the way to make a loop in tatting, p. iv. the way to make a purl, p. v. the way to make a stitch in tatting, p. iv. jewel-case cover, guipure d'art, 567. jewel-case covered in guipure d'art, 566. key-bag, embroidered, 182. key-bag, embroidered, 183. knee-cap, knitted, 322. knife-basket, embroidered, 159. knife-basket, embroidered, 160. knitted antimacassar, 318 to 320. knitted baby's boot, 326. knitted bodice, 324, 325. knitted border, 321. knitted border for bed-quilt, 327. knitted braces, 338. knitted comforters, pattern for, 336. knitted counterpanes, pattern for, 313. knitted cover for sofa-cushion, 341, 342. knitted curtains, patterns for, 339. knitted d'oyley, 337. knitted insertion, 340. knitted knee-cap, 322. knitted neckerchief, 323. knitted pattern, 345. knitted pattern, with embroidery, 332. knitted purse, lady's, 317. knitted quilt, 328. knitted shawl, 346 to 348. knitted sleeping sock, 314. knitted sock for a child, 312. knitted table-cover, 333, 334. knitted veil, 330, 331. knitting cotton, table of sizes of, p. 368. knitting gauge, 287. knitting, looped, 335. knitting, materials required for, 287. knitting needles, 287. knitting on, 287. knitting, rosette for antimacassar in, 319. knitting stitches. brioche stitch, 301. casting off, 295. casting on, 288. decreasing, 293. increasing, 292. knitting on, 289. knotted stitch, 299. looped knitting, 335. moss borders, 300. peacock's tail pattern, 297. picking up stitches, 296. plain knitting, 290. purling, 291. round knitting, 294. spiral stitch, 298. knitting stitch for comforters, &c., 32. lace, bedford plaited (1851), 423. (lace, black), buckingham point troll (1851), 422. lace border for veils in guipure d'art 537. lace border in guipure d'art, 522. lace, crochet, 251. lace, crochet, 261. lace, dalecarlian, 419. lace, deep, in tatting, 27. lace edging in tatting, 3. lace edging in tatting, 4. lace, honiton guipure, 424. lace insertion, embroidered, 207. lace in tatting and crochet, 40. lace, mechlin (queen charlotte's), 4 lace, netted, 309. lace, netted, open, 310. lace, old mechlin, 420. lace point. braid, placing the, 442. braids, 426 to 431. cords, p. 453. edgings, 474 to 479. general directions for working, pp. 453, 454. materials required, p. 451. modes of working dots and picots, 470, 473. scissors for, 425. threads, sizes of, p. 500. lace, tatted, 26. lace, tatted, 27. lady's embroidered purse, 157. lady's veil in net and tatting, 16, 17. lappet or sash-end in. venetian embroidery, 205. linen collar embroidered, 193. linen collar embroidered, 194. linen tatting-bag, 46. linen bag for tatting cotton, 30. looped knitting, 335. materials required fur knitting, 287. materials required for netting. 302. mechlin lace (queen charlotte's), 421. medallion for a purse in embroidery, 198. medallion for a purse in embroidery, 199. medallion for trimming lingeries in tatting, 58. medallion in point russe embroidery, 210. medallion in point russe embroidery, 211. medallion, tatting, 58. mignardise and tatting, 29. monograms and initials in embroidery. alphabet, coral stitch embroidery, 353. alphabet, floral embroidery, 361. alphabet, florid style of embroidery, 356. alphabet, forget-me-nots (embroidered), 352. alphabet, point d'or (embroidered), 357. alphabet, raised satin stitch embroidery, 359. alphabet, satin stitch (embroidered), 351. alphabet, scalloped, in embroidery, 355. alphabet, small, in embroidery, 354. alphabet, star, capitals, in embroidery, 349. alphabet, star, small, in embroidery, 350. alphabet, white, embroidery, 358. initials in embroidery, 366 to 417. monograms in embroidery, 366 to 417. names in embroidery, 362 to 418. sampler in embroidery, 360. muslin cravat, embroidered, 153. neckerchief, knitted, 323. needle and mesh for netting, 302. needles, knitting, 287. netted fichu, 315, 316. netted lace, 309. netted nightcaps, 343, 344. netted open lace, 310. netted shell border, 311. netting, 302. netting, 303. netting stitches. diamond, 306. english, 308. bound, 305, 307. square, 304. netting, materials required for, 302. netting needle and mesh, 302. nightcaps, netted, 343, 344. old mechlin lace, 420. on knitting, 287. parasol-cover in guipure d'art, 568. patterns for arm-chair crochet borders, 255, 256. pattern for a couvrette in appliqué, 213 to 215. pattern for collars, cuffs, &c., in embroidery, 135. pattern for collars, cuffs, &c., in embroidery, 137. pattern for cravats, &c., in embroidery, 184. pattern for cravats, &c., in embroidery, 185. patterns, embroidery, for what-not (full size), 196. pattern for cravat ends, &c., in embroidery, 133. pattern for cravat ends, &c., in embroidery, 139. pattern for embroidered braces (full size), 201. pattern for embroidered braces (full size), 203. pattern for embroidered letter-case, 177. pattern for embroidered needle-book, 166. pattern for embroidered needle-book, 167. pattern for knitted comforters, 336. pattern for knitted counterpanes, 313. pattern for trimming lingeries in embroidery, 143, 144. patterns for veil in tatting, 18, 19. pattern, knitted, 345. patterns, point lace. alphabet, 502. alphabet, description of, 500 to 502. bars, d'alençon and sorrento, 494. borders, 482, 483. collars, 493, 496. cravat end, 487. design for point lace collar, lappets, &c., 490. dress trimming, 492. edgings, 488, 489. handkerchief border, 485. insertion (limoges), 484. lappet, 490. lappet, 497. letter __a in point lace, 500, 501. medallion, 481. oval for cravats, 491. star, 480. toilet cushion centre, 486. wheels, close english, 495. penwiper in embroidery, 186, 187. point lace. braid, placing the, 442. braids, 426 to 431. cords, p. 453. edgings, 474 to 479. general directions for working, 453, 454. materials required, p. 451. modes of working dots or picots, 470, 473. scissors for, 425. threads, sizes of, p. 500. point lace bars. d'alençon, 463. point d'angleterre, 467. point de venise, edged, 468. point de venise, dotted, 469. raleigh, 471, 472. sorrento, 461, 462. sorrento, dotted, 469. venetian, plain, 464, 465, 466. point lace edgings and purled edgings. antwerp, 479. point d'angleterre, 477. point do bruxelles, 474. point d'espagne, 478. point de venise, 476. sorrento, 475. point lace patterns. alphabet, 502. alphabet, description of, 500, 502. bars, d'alençon and sorrento, 494. borders, 482, 483. collars, 493, 496. cravat end, 487. design for point lice collar, lappets, &c., 490. dress trimming, 492. edgings, 488, 489. handkerchief border, 485. insertion (limoges), 484. lappet, 490. lappet, 497. letter _a_ in point lace, 500, 501. medallion, 481. oval for cravats, 491. star, 480. toilet cushion centre, 486. wheels, close english, 495. point lace stitches. brussels lace, 433, 434. escalier lace, 454. mechlin lace, 453. point d'angleterre, 444. point d'angleterre, enlarged, 445. point d'anvers, 498. point d'alençon, 442. point d'alençon, 443. point brabançon, 449. point de bruxelles, 433, 434. point de cordova, 447. point d'espagne, 437. point d'espagne; close, 438. point d' espagne, treble, 439. point de fillet, 450. point de fillet and point reprise, 451. point de grecque, 440, 499. point de reprise. 448. point de tulle, 452. point turque, 446. point de valenciennes, 441. point de venise, 435. point de venise, petit, 436. spanish point, 455. point lace wheel and rosettes. english, plain, 458. english, raised, 459. mechlin, 453. rosette for centres, 460. sorrento, 456, 457. wheels and rosettes, 456, 457. point russe stitch for embroidered slipper, 209. purse, crochet sovereign, 246. purse in crochet over rings, 248. parse in tatting and beads, 42. purse, knitted, 317. quarter-square in guipure d'art, 530. quilt, knitted, 328. rose-leaf in embroidery, 173. rosettes, crochet, 280, 281. rosettes, embroidery and tatting, 48, 61, 63. rosette for antimacassar in knitting, 319. rosettes in guipure d'art, 529, 562, 563. rosette in tatting, 8. rosette in tatting, 34. rosette in tatting, 35. rosette in tatting, 45. rosette in tatting and embroidery, 48. rosette in tatting and embroidery, 61. rosette in tatting and embroidery, 63. round netting, 305, 307. sandwich-case in embroidery, 154. scent-sachet in guipure d'art, 569. shawl, knitted, 346 to 348. shell border, netted, 311. sleeping sock, knitted, 314. slipper, embroidered on java canvas, 208. sock, knitted, for a child, 312. sofa-cushion, knitted cover for, 341, 342. squares for antimacassar in guipure d'art, 550, 551. square for d'oyley in guipure d art, 523. square, guipure d'art, 531. square, guipure d'art, 532. square, guipure d'art, 556. squares, guipure d'art, 570, 576. squares in guipure d'art, 533 to 536. squares in guipure d'art, 538, 538a. squares in guipure d'art, 554, 555. squares in guipure d'art for dresses, 546, 547. square in reticella work (guipure d'art), 540. square in reticella work (guipure d'art), enlarged, 541. square in tatting for pincushion or couvrette, 33. square netting, 304. squares, small, in guipure d'art, 527. star, crochet, 244. stars in crochet, 247. stars in embroidery, 137, 143, 144. stars in embroidery, 180, 181. star in tatting, 9. stitches, crochet. cross stitch, 224. cross treble stitch, 229, 230, 231. double long treble stitch, 228. double stitch, 220, 221. long double stitch, 225. long treble stitch, 227. purl stitch, 236. purl stitch, 237. purl stitch, 238. raised treble stitch, 235. raised ribbed stitch, 222. raised slanting stitch, 223. slip stitch, 219. treble stitch, 226. stitches, guipure d'art. grounding, 533 to 536. point de bruxelles, 509, 510. point d'esprit, 504. point de feston, 506. point de reprise, 507, 508. point de toile, 505. stars, 516 to 520. wheels, 511 to 515. stitches, knitting. brioche stitch, 301. casting off, 295. casting on, 288. decreasing, 293. increasing, 292. knitting on, 289. knotted stitch, 299. looped knitting, 335. moss borders, 300. peacock-tail pattern, 297. picking up stitches, 296. plain, 290. purling, 291. round knitting, 294. spiral stitch, 298. stitches, netting. diamond, 306. english, 308. round, 305, 307. square, 304. stitches, point lace. brussels lace, 433, 434. escalier lace, 454. mechlin lace, 453. point d'alençon, 442. point d'alençon, 443. point d'angleterre, 444. point d'angleterre, enlarged, point d'anvers, 498. point brabançon, 449. point de bruxelles, 433, 434. point de cordova, 447. point d'espagne, 437. point d'espagne, close, 438. point d'espagne, treble, 439. point de fillet, 450. point de fillet and point reprise, 451. point de grecque, 440, 499. point de reprise, 448. point de tulle, 452. point turque, 446. point de valenciennes, 441, point de venise, 435. point de venise, petit, 436. spanish point, 455. table-cover, knitted, 333, 334. table-napkin ring in embroidery, 153. table of sizes of knitting cotton, p. 363. tatting and beads, purse in, 42. tatting and crochet, border in, 22. tatting and crochet, border in, 52. tatting and crochet, insertion in, 41. tatting and crochet, insertion in, 43. tatting and crochet, lace in, 40. tatting and darned netting, collar in, 28. tatting and darned netting, cravat-end in, 64. tatting and embroidery, rosette in, 48. tatting and embroidery, rosette in, 61. tatting and embroidery, rosette in, 63. tatting and lace stitch, insertion in, 23. tatting and mignardise, 29. tatting and muslin, cravat in, 50. tatting and net, lady's veil in, 16, 17. tatting, antimacassar in, 65. tatting-bag, linen, 46. tatting, border, 47. tatting, border for cap in. 6. tatting, border in crochet and, 15. tatting, border in crochet and, 22. tatting, border in, with crochet edging, 5, 6. tatting, border in lace stitch and, 44. tatting, border, with beads, 13. tatting, cap-crown in, 37. tatting, cap in, 38, 39. tatting, circle for collars, cuffs, &c., in, 21. tatting, circle in, 12. tatting, circle in, 21. tatting, circle in, 57. tatting, collar in, 55. tatting, collar in, 56. tatting, collar, pine pattern in, 1. tatting-cotton, p. 82. tatting-cotton, linen bag for, 30. tatting, couvrette, centre of a, 25. tatting, cravat-end in, 60. tatting, cravat-end in, 62. tatting, oval cravat-end in, 51. tatting, cravat in, 50. tatting, deep border in crochet and, 52. tatting, deep lace in, 27. tatting, diamond in, 20. tatting, diamond in. 36. tatting, diamond in, 53. tatting, diamond in, 59. tatting, diamond, for collars, &c., 20. tatting, insertion, 27. tatting, insertion, 11. tatting, insertion, 14. tatting, insertion, 24. tatting, insertion, 31. tatting, insertion, 32. tatting, insertion in, for trimming lingeries, 11. tatting, insertion worked in, 10. tatting instructions. joining the work, p. v. pin, tatting, p. ii. shuttles, tatting, pp. i, iii. the way to hold the hands, p. iii. the way to make aloop in tatting, p. iv. the way to make a purl, p. v. the way to make a stitch in tatting, p. iv. tatting, lace, 26. tatting, lace, 27. tatting, lace edging in, 3. tatting, lace edging in, 4. tatting, linen collar trimmed with, 49. tatting, linen collar trimmed with, 54. tatting, medallion for trimming lingeries in, 58. tatting, oval cravat-end in, 51. tatting, patterns for veils in, 18, 19. tatting, rosette in, 8. tatting, rosette in, 34. tatting, rosette in, 35. tatting, rosette in, 45. tatting, square in, for pincushion or couvrette, 33. tatting, star in, 9. tatting, trimming for collar in, 49. tatting, trimming for collar in, 54. tatting, wide insertion in, 10. tatting, wide insertion in, 14. tatting, wide insertion in, 43. tatting, with beads, border in, 13, tobacco-pouch in crochet work, 278, 279. tobacco-pouch in embroidery, 163. tobacco-pouch in embroidery, 164. toilet-cushion cover in white embroidery, 171, 172, 173. travelling-bag in embroidery, 168. trimming, crochet, with embroidered flowers worked in appliqué and velvet ribbon, 282. tramming for a lady's chemise, in crochet, 286. trimming in embroidery for bodices, 170. veil, knitted, 330, 331. veil, lady's, in net and tatting, 16, 17. veils, patterns for, in tatting, 19. venetian border in embroidery, 206. waste-paper basket in embroidery, 191. what-not, embroidered in the shape of a hammock, 195, 196. wheels and rosettes, point lace. english plain, 458. english raised, 459. mechlin, 453. rosette for centres, 460. sorrento, 456, 457. wheels and rosettes, 456, 457. wing of bird in embroidery, 172. work-bag in embroidery, 200. work-basket covered with guipure d'art, 545. work-basket in straw and silk crochet* work, 272, 273. work-case in guipure d'art, 571, 572. wreath in embroidery for centre of pin-cushion or toilet-mat, 148. * * * * * generously made available by the internet archive/american libraries.) transcriber's note: text enclosed by underscores is in italics (_italics_). page numbers enclosed by curly braces (example: {25}) have been incorporated to facilitate the use of the index. * * * * * history of lace [illustration: anne, daughter of sir peter vanlore, kt., first wife of sir charles cæsar, kt., about 1614. the lace is probably flemish, sir peter having come from utrecht. from the picture the property of her descendant, captain cottrell-dormer.] _frontispiece._ history of lace by mrs. bury palliser entirely revised, re-written, and enlarged under the editorship of m. jourdain and alice dryden with 266 illustrations new york charles scribner's sons 1902 london: printed by william clowes and sons, limited, duke street, stamford street, s.e., and great windmill street, w. preface to the fourth edition nearly thirty years have elapsed since the third edition of the history of lace was published. as it is still the classical work on the subject, and many developments in the art have taken place since 1875, it seemed desirable that a new and revised edition should be brought out. the present revisers have fully felt the responsibility of correcting anything the late mrs. palliser wrote; they have therefore altered as little of the text as possible, except where modern research has shown a statement to be faulty. the chapters on spain, alençon and argentan, and the introductory chapter on needlework, have been almost entirely rewritten. much new matter has been added to italy, england and ireland, and the notices of cretan and sicilian lace, among others, are new. the original wood-cuts have been preserved with their designations as in the 1875 edition, which differ materially from the first two editions. nearly a hundred new illustrations have been added, and several portraits to show different fashions of wearing lace. the revisers wish to record their grateful thanks to those who have assisted them with information or lace for illustration; especially to mrs. hulton, count marcello and cavaliere michelangelo jesurum in venice, contessa di brazza and contessa cavazza in italy, m. destrée in brussels, mr. arthur blackborne, salviati & co., and the director of the victoria and albert museum in london. m. jourdain. alice dryden. _london, september, 1901._ contents chap. page i.--needlework 1 ii.--cut-work 14 iii.--lace 26 iv.--italy.--venice--milan ("milano la grande")--florence--the abruzzi--romagna--naples--genoa ("genova la superba")- cantu--sicily 45 v.--greece--crete--turkey--malta 82 vi.--spain--portugal 90 vii.--flanders--brussels (brabant)--mechlin--antwerp--flanders (west)--flanders (east)--hainault 109 viii.--france to louis xiv. 139 ix.--louis xiv. 150 x.--louis xiv.--_continued_ 161 xi.--louis xv. 171 xii.--louis xvi. to the empire 179 xiii.--the lace manufactures of france--alençon (dép. orne), normandy 188 xiv.--argentan (dép. orne) 202 xv.--isle de france.--paris (dép. seine)--chantilly (dép. oise) 209 xvi.--normandy--seine inférieure--calvados--bretagne 216 xvii.--valenciennes (dép. du nord)--lille (dép. du nord)--arras (artois) (dép. pas-de-calais)--bailleul (dép. du nord) 230 xviii.--auvergne and vélay--le puy (dép. haute-loire)--aurillac and murat (dép. cantal) 242 xix.--limousin--lorraine--champagne--burgundy--lyonnois- orléanois--berry--poitou 250 xx.--holland, germany, switzerland, austria and hungary- holland--saxony--germany (north and south)--switzerland 258 xxi.--denmark--sweden--russia 272 xxii.--england to queen elizabeth 285 xxiii.--queen elizabeth 299 xxiv.--james i. to the restoration.--james i.--charles i.- the commonwealth 315 xxv.--charles ii. to the house of hanover.--charles ii.- james ii.--william iii.--queen anne 335 xxvi.--george i.--george ii. 351 xxvii.--smuggling 358 xxviii.--george iii. 363 xxix.--the lace manufactures of england 371 xxx.--bedfordshire--buckinghamshire--northamptonshire--suffolk 375 xxxi.--wiltshire and dorsetshire 395 xxxii.--devonshire--honiton--trolly lace--japan 399 xxxiii.--scotland 418 xxxiv.--lace manufactures of scotland 428 xxxv.--ireland 435 xxxvi.--bobbin net and machine-made lace--bobbin net--france- belgium--machinery lace 447 appendix 459 glossary of terms 503 index 507 list of illustrations page anne, daughter of sir peter vanlore, kt. _frontispiece_ gold lace found in a barrow fig. 1 4 argentan.--circular bobbin réseau; venetian needlepoint plate i 12 italian bobbin réseau; six-pointed star-meshed bobbin réseau; brussels bobbin réseau; fond chant of chantilly and point de paris; details of bobbin réseau and toile; details of needle réseau and buttonhole stitches plate ii 14 point coupé fig. 2 18 altar or table-cloth of fine linen (probably italian) plate iii 18 laces fig. 3 19 elizabethan sampler " 5 22 impresa of queen margaret of navarre " 4 23 spider-work figs. 6, 7 24 fan made at burano plate iv 24 italian punto reale " v 24 grande dantelle au point devant l'aiguille fig. 8 28 petite dantelle figs. 9-12 29 passement au fuseau figs. 13, 14 30 passement au fuseau fig. 15 31 merletti a piombini " 16 31 italian.--modern reproduction at burano plate vi 32 heraldic (carnival lace) " vii 32 old mechlin fig. 17 35 italian, venetian, flat needle-point lace plate viii 36 portion of a band of needle-point lace " ix 36 guipure fig. 18 39 tape guipure " 19 40 italian.--point de venise à la rose plate x 44 italian.--point plat de venise " xi 46 italian.--point de venise à réseau " xii 48 mermaid lace fig. 20 50 reticella " 21 50 punto a gropo " 22 52 gros point de venise " 23 52 punto a maglia " 24 53 punto tirato " 25 54 point de venise à bredes picotées " 26 54 venise point " 27 55 gros point de venise " 28 56 point de venise " 29 56 point plat de venise " 30 56 point de venise à réseau " 31 58 burano point " 32 60 italian.--modern point de burano plate xiii 60 italian.--modern reproduction at burano " xiv 62 italian.--milanese, bobbin-made " xv 64 reticella from milan fig. 33 65 italian.--venetian, needle-made plate xvi 66 italian.--milanese, bobbin-made " xvii 66 unfinished drawn-work fig. 34 69 cushion made at the school plate xviii 70 italy.--group of workers at brazza school " xix 70 genoa point, bobbin-made fig. 35 74 lace pattern found in the church at santa margherita " 36 76 italian.--bobbin tape with needle-made réseau plate xx 76 italian, genoese.--border " xxi 76 parchment pattern used to cover a book fig. 37 77 fringed macramé " 38 80 italian.--old peasant laces, bobbin-made plates xxii, xxiii 80 italian.--modern peasant lace plate xxiv 80 silk gimp lace fig. 39 84 sicilian.--old drawn-work plate xxv 84 south italian " xxvi 84 reticella, or greek lace fig. 40 85 loubeaux de verdale " 41 88 italian, rapallo--modern peasant lace plate xxvii 88 maltese.--modern bobbin-made " xxviii 88 bobbin lace (ceylon) fig. 42 89 the work room (16th century engraving) " 43 91 unfinished work of a spanish nun " 44 94 spanish.--modern thread bobbin lace plate xxix 94 spanish, blonde.--white silk darning on machine net " xxx 94 unfinished work of a spanish nun fig. 45 95 " " " " 46 96 old spanish pillow lace " 47 100 portrait, duchesse de montpensier plate xxxi 100 jewish " xxxii 104 spanish " xxxiii 104 bobbin lace (madeira) fig. 48 106 " (brazil) " 49 107 spanish.--pillow-made 19th century plate xxxiv 108 paraguay.--"nauduti" " xxxv 108 lace-making fig. 50 110 flemish.--portion of bed-cover plate xxxvi 110 cap of emperor charles v. fig. 51 112 isabella clara eugenia, daughter of philip ii. " 52 112 mary, queen of hungary, cuff " 53 113 belgian lace school " 54 114 old flemish bobbin lace " 55 114 old flemish.--trolle kant " 56 115 brussels.--point d'angleterre à brides plate xxxvii 116 flemish.--tape lace, bobbin-made " xxxviii 116 brussels needle-point fig. 57 118 " " " 58 120 brussels.--point à l'aiguille " 58a 120 old brussels.--point d'angleterre " 59 122 " " " " 60 124 mechlin, 17th and 18th century plate xxxix 126 mechlin.--period louis xvi. fig. 61 127 mechlin, formerly belonging to h.m. queen charlotte " 62 128 mechlin.--three specimens from victoria and albert museum plate xl 128 a lady of antwerp fig. 63 130 antwerp pot lace " 64 130 valenciennes lace of ypres " 65 132 flemish.--flat spanish bobbin lace plate xli 132 flemish.--guipure de flandre " xlii 134 belgian.--bobbin-made, binche " xliii 136 " " marche " xliv 136 drawn and embroidered muslin, flemish " xlv 136 ruff, edged with lace " xlvi 142 brussels.--flounce, bobbin-made " xlvii 144 cinq-mars.--m. de versailles fig. 66 145 " .--after his portrait by le wain " 67 146 lace rose and garter " 68 147 young lady's apron, time of henry iii " 69 148 brussels.--bobbin-made, period louis xiv. plate xlviii 150 " .--point d'angleterre à réseau " xlix 150 anne of austria fig. 70 151 a courtier of the regency " 71 152 canons of louis xiv " 72 154 chateau de louvai " 73 156 chenille run on a bobbin-ground plate l 156 brussels.--bobbin-made " li 156 le grand bébé fig. 74 162 louvois, 1691 " 75 163 madame de maintenon " 76 164 lady in morning déshabille " 77 165 le grand dauphin en steinkerque " 78 168 madame du lude en steinkerque " 79 168 madame palatine " 80 169 brussels.--modern point de gaze plate lii 170 madame sophie de france, 1782 fig. 81 175 madame adélaide de france " 82 176 madame louise de france plate liii 176 madame thérèse fig. 83 177 marie-antoinette " 84 179 madame adélaide de france " 85 182 french.--border of point plat de france plate liv 188 colbert, + 1683 fig. 86 189 venice point " 87 191 french.--point d'alençon plate lv 192 argentella, or point d'alençon à réseau rosacé fig. 88 194 bed made for napoleon i. " 89 197 alençon point à petites bredes " 90 200 point d'alençon, louis xv. " 91 200 point d'alençon. flounce plate lvi 202-3 point d'argentan fig. 92 204 " " . grande bride ground " 93 206 french.--point d'argentan, 18th century plate lvii 208 point de paris fig. 94 210 point de france " 95 210 french (or dutch).--victoria and albert museum plate lviii 212 chantilly fig. 96 214 cauchoise " 97 217 french, chantilly.--flounce plate lix 218 french, le puy.--black silk guipure " lx 218 petit poussin, dieppe fig. 98 219 ave maria, dieppe " 99 220 point de dieppe " 100 221 dentelle à la vierge " 101 222 duc de peuthièvre " 102 223 french.--blonde male, in spanish style plate lxi 226 modern black lace of bayeux fig. 103 227 point colbert " 104 228 valenciennes, 1650-1780 " 105 230 " period, louis xiv. " 106 232 " 17th and 18th century plate lxii 232 " fig. 107 234 valenciennes lappet " 108 234 lille " 109 236 " " 110 238 arras " 111 240 french, cambrai plates lxiii, lxiv 246 french, le puy plate lxv 246 point de bourgogne fig. 112 256 william, prince of orange plate lxvi 258 dutch bobbin lace fig. 113 260 tomb of barbara uttmann " 114 261 barbara uttmann " 114a 262 swiss, neuchatel plate lxvii 264 german, nuremberg " lxviii 264 english, bucks " lxix 264 hungarian.--bobbin lace " lxx 268 austro-hungarian " lxxi 268 shirt collar of christian iv. fig. 115 273 tönder lace, drawn muslin " 116 274 russian--needlepoint; german--saxon plate lxxii 276 russian, old bobbin-made " lxxiii 276 russian, bobbin-made in thread plate lxxiv 280 dalecarlian lace fig. 117 281 collar of gustavus adolphus " 118 282 russia, bobbin-made, 19th century " 119 284 cap, flemish or german plate xxv 288 fisher, bishop of rochester fig. 120 292 english.--cutwork and needle-point plate lxxvi 292 english.--devonshire "trolly." " lxxvii 292 fisher, bishop of rochester fig. 121 293 marie de lorraine plate lxxviii 298 queen elizabeth's smock fig. 122 308 christening caps, needle-made brussels figs. 123, 124 309 mary sidney, countess of pembroke plate lxxix 316 henry wrothesley, third earl of southampton " lxxx 320 monument of princess sophia fig. 125 321 " " " mary " 126 322 mary, countess of pembroke " 127 323 elizabeth, princess palatine plate lxxxi 326 falling collar of the 17th century fig. 128 327 boots, cuffs figs. 129, 130 328 english needle-made lace fig. 131 328 james harrington plate lxxxii 332 james, the old pretender, and his sister, princess louisa plate lxxxiii 344 john law, the paris banker " lxxxiv 352 ripon fig. 132 373 english, buckinghamshire, bobbin lace plate lxxxv 374 buckinghamshire trolly fig. 133 381 " point " 134 382 " " " 135 383 english, northamptonshire, bobbin lace plate lxxxvi 384 old flemish fig. 136 385 old brussels " 137 385 "run" lace, newport pagnell " 138 386 english point, northampton " 139 386 "baby" lace, northampton " 140 387 " " beds " 141 387 " " bucks " 142 387 wire ground, northampton " 143 388 valenciennes " " 144 388 regency point, bedford " 145 389 insertion, " " 146 389 plaited lace, " " 147 392 raised plait, " " 148 393 english, suffolk, bobbin lace plate lxxxvii 394 english needle-made lace fig. 149 396 honiton with the vrai réseau plate lxxxviii 402 bone lace from cap, devonshire fig. 150 404 monument of bishop stafford, exeter cathedral " 151 406 monument of lady doddridge " " " 152 407 honiton, sewn on plain pillow ground " 153 408 old devonshire " 154 408 honiton guipure " 155 410 honeysuckle, sprig of modern honiton " 156 411 old devonshire point " 157 412 lappet made by the late mrs. treadwin of exeter " 158 412 venetian relief in point " 159 414 english.--devonshire. fan made at beer for the paris exhibition, 1900 plate lxxxix 416 sir alexander gibson fig. 160 424 scotch, hamilton " 161 431 irish, youghal plate xc 436 irish, carrickmacross " xci 442 irish, limerick lace " xcii 442 irish, crochet lace " xciii 446 arms of the framework knitters' company fig. 162 447 the lagetta, or lace-bark tree " 163 456 metre p. quinty figs. 164, 165 460 pattern book, augsburg " 166, 167 462 augsburg fig. 168 463 le pompe, 1559 " 169 473 manner of pricking pattern " 170 486 frankfort-on-the-main, 1605 " 171 492 monogram " 172 492 "bavari," from "ornamento nobile" of lucretia romana " 173 498 {1}history of lace. chapter i. needlework. "as ladies wont to finger the fine needle and nyse thread."--_faerie queene._ the art of lace-making has from the earliest times been so interwoven with the art of needlework that it would be impossible to enter on the subject of the present work without giving some mention of the latter. with the egyptians the art of embroidery was general, and at beni hassan figures are represented making a sort of net--"they that work in flax, and they that weave network."[1] examples of elaborate netting have been found in egyptian tombs, and mummy wrappings are ornamented with drawn-work, cut-work, and other open ornamentation. the outer tunics of the robes of state of important personages appear to be fashioned of network darned round the hem with gold and silver and coloured silks. amasis, king of egypt, according to herodotus,[2] sent to athene of lindus a corslet with figures interwoven with gold and cotton, and to judge from a passage of ezekiel, the egyptians even embroidered the sails of their galleys which they exported to tyre.[3] {2}the jewish embroiderers, even in early times, seem to have carried their art to a high standard of execution. the curtains of the tabernacle were of "fine twined linen wrought with needlework, and blue, and purple, and scarlet, with cherubims of cunning work."[4] again, the robe of the ephod was of gold and blue and purple and scarlet, and fine twined linen, and in isaiah we have mention of women's cauls and nets of checker-work. aholiab is specially recorded as a cunning workman, and chief embroiderer in blue, and in purple, and in scarlet, and in fine linen,[5] and the description of the virtuous woman in the proverbs, who "layeth her hands to the spindle" and clotheth herself in tapestry, and that of the king's daughter in the psalms, who shall be "brought unto the king in a raiment of needlework," all plainly show how much the art was appreciated amongst the jews.[6] finally josephus, in his _wars of the jews_, mentions the veil presented to the temple by herod (b.c. 19), a babylonian curtain fifty cubits high, and sixteen broad, embroidered in blue and red, "of marvellous texture, representing the universe, the stars, and the elements." in the english bible, _lace_ is frequently mentioned, but its meaning must be qualified by the reserve due to the use of such a word in james i.'s time. it is pretty evident that the translators used it to indicate a small cord, since lace for decoration would be more commonly known at that time as _purls_, _points_, or _cut-works_.[7] "of lace amongst the greeks we seem to have no evidence. upon the well-known red and black vases are all kinds of figures clad in costumes which are bordered with ornamental patterns, but these were painted upon, woven into, or embroidered upon the fabric. they were not lace. many centuries elapsed before a marked and elaborately ornamental character infused itself into twisted, plaited, or looped thread-work. during such a period the fashion of ornamenting borders of costumes and hangings existed, and underwent a few phases, as, for instance, in the elgin marbles, where crimped {3}edges appear along the flowing grecian dresses." embroidered garments, cloaks, veils and cauls, and networks of gold are frequently mentioned in homer and other early authors.[8] the countries of the euphrates were renowned in classical times for the beauty of their embroidered and painted stuffs which they manufactured.[9] nothing has come down to us of these babylonian times, of which greek and latin writers extolled the magnificence; but we may form some idea, from the statues and figures engraved on cylinders, of what the weavers and embroiderers of this ancient time were capable.[10] a fine stone in the british museum is engraved with the figure of a babylonian king, merodach-idin-abkey, in embroidered robes, which speak of the art as practised eleven hundred years b.c.[11] josephus writes that the veils given by herod for the temple were of babylonian work ([greek: peplos babylônios])--the women excelling, according to apollonius, in executing designs of varied colours. the sidonian women brought by paris to troy embroidered veils of such rich work that hecuba deemed them worthy of being offered to athene; and lucan speaks of the sidonian veil worn by cleopatra at a feast in her alexandrine palace, in honour of cæsar.[12] phrygia was also renowned for its needlework, and from the shores of phrygia asiatic and babylonian embroideries were shipped to greece and italy. the _toga picta_, worked with phrygian embroidery, was worn by roman generals at their triumphs and by the consuls when they celebrated the games; hence embroidery itself is styled "phrygian,"[13] {4}and the romans knew it under no other name (_opus phrygianum_).[14] gold needles and other working implements have been discovered in scandinavian tumuli. in the _london chronicle_ of 1767 will be found a curious account of the opening of a scandinavian barrow near wareham, in dorsetshire. within the hollow trunk of an oak were discovered many bones wrapped in a covering of deerskins neatly sewn together. there were also the remains of a piece of gold lace, four inches long and two and a half broad. this lace was black and much decayed, of the old lozenge pattern,[15] that most ancient and universal of all designs, again found depicted on the coats of ancient danes, where the borders are edged with an open or net-work of the same pattern. [illustration: fig. 1. gold lace found in a barrow.] passing to the first ages of the christian era, we find the pontifical ornaments, the altar and liturgical cloths, and the draperies then in common use for hanging between the colonnades and porches of churches all worked with holy images and histories from the holy writ. rich men chose sacred subjects to be embroidered on their dress, and one senator wore 600 figures worked upon his robes of state. asterius, bishop of amasus, thunders against those christians "who wore the gospels upon their backs instead of in their hearts."[16] in the middle ages spinning and needlework were the occupation of women of all degrees. as early as the sixth {5}century the nuns in the diocese of st. césaire, bishop of arles, were forbidden to embroider robes enriched with paintings, flowers, and precious stones. this prohibition, however, was not general. near ely, an anglo-saxon lady brought together a number of maidens to work for the monastery, and in the seventh century an abbess of bourges, st. eustadiole, made vestments and enriched the altar with the work of her nuns. at the beginning of the ninth century st. viborade, of st. gall, worked coverings for the sacred books of the monastery, for it was the custom then to wrap in silk and carry in a linen cloth the gospels used for the offices of the church.[17] judith of bavaria, mother of charles the bold, stood sponsor for the queen of harold, king of denmark, who came to ingelheim to be baptised with all his family, and gave her a robe she had worked with her own hands and studded with precious stones. "berthe aux grands pieds," the mother of charlemagne, was celebrated for her skill in needlework,[18] "à ouvrer si com je vous dirai n'avoit meillor ouvriere de tours jusqu'à cambrai;" while charlemagne[19]- "ses filles fist bien doctriner, et aprendre keudre et filer." queen adelhaïs, wife of hugh capet (987-996), presented to the church of st. martin at tours a cope, on the back of which she had embroidered the deity, surrounded by seraphim and cherubim, the front being worked with an adoration of the lamb of god.[20] long before the conquest, anglo-saxon women were skilled with the needle, and gorgeous are the accounts of the gold-starred and scarlet-embroidered tunics and violet sacks worked by the nuns. st. dunstan himself designed the ornaments of a stole worked by the hands of a noble anglo-saxon lady, ethelwynne, and sat daily in her bower with her maidens, directing the work. the four daughters of {6}edward the elder are all praised for their needle's skill. their father, says william of malmesbury, had caused them in childhood "to give their whole attention to letters, and afterwards employed them in the labours of the distaff and the needle." in 800 denbert, bishop of durham, granted the lease of a farm of 200 acres for life to an embroideress named eanswitha for the charge of scouring, repairing, and renewing the vestments of the priests of his diocese.[21] the anglo-saxon godric, sheriff of buckingham, granted to alcuid half a hide of land as long as he should be sheriff on condition she taught his daughter the art of embroidery. in the tenth century ælfleda, a high-born saxon lady, offered to the church at ely a curtain on which she had wrought the deeds of her husband, brithnoth, slain by the danes; and edgitha, queen of edward the confessor, was "perfect mistress of her needle." the famous bayeux tapestry or embroidery, said to have been worked by matilda, wife of william the conqueror, is of great historical interest.[22] it is, according to the chroniclers, "une tente très longue et estroite de telle a broderies de ymages et escriptaux faisant représentation du conquest de l'angleterre"; a needle-wrought epic of the norman conquest, worked on a narrow band of stout linen over 200 feet long, and containing 1,255 figures worked on worsted threads.[23] mr. fowke gives the abbé rue's doubts as to the accepted period of the bayeux tapestry, which he assigns to the empress matilda. mr. collingwood bruce is of opinion that the work is coeval with the events it records, as the primitive furniture, buildings, etc., are all of the eleventh century. that the tapestry is not found in any catalogue before 1369 is only a piece of presumptive evidence against the earlier date, and must be weighed with the internal evidence in its favour. after the battle of hastings william of normandy, on {7}his first appearance in public, clad himself in a richly-wrought cloak of anglo-saxon embroidery, and his secretary, william of poictiers, states that "the english women are eminently skilful with the needle and in weaving." the excellence of the english work was maintained as time went on, and a proof of this is found in an anecdote preserved by matthew of paris.[24] "about this time (1246) the lord pope (innocent iv.) having observed the ecclesiastical ornaments of some englishmen, such as choristers' copes and mitres, were embroidered in gold thread after a very desirable fashion, asked where these works were made, and received in answer, in england. 'then,' said the pope, 'england is surely a garden of delights for us. it is truly a never-failing spring, and there, where many things abound, much may be extracted.' accordingly, the same lord pope sent sacred and sealed briefs to nearly all the abbots of the cistercian order established in england, requesting them to have forthwith forwarded to him those embroideries in gold which he preferred to all others, and with which he wished to adorn his chasuble and choral cope, as if these objects cost them nothing," an order which, adds the chronicler, "was sufficiently pleasing to the merchants, but the cause of many persons detesting him for his covetousness." perhaps the finest examples of the _opus anglicanum_ extant are the cope and maniple of st. cuthbert, taken from his coffin in the cathedral of durham, and now preserved in the chapter library. one side of the maniple is of gold lace stitched on, worked apparently on a parchment pattern. the syon monastery cope, in the victoria and albert museum, is an invaluable example of english needlework of the thirteenth century. "the greater portion of its design is worked in a chain-stitch (modern tambour or crochet), especially in the faces of the figures, where the stitch begins in the centre, say, of a cheek, and is then worked in a spiral, thus forming a series of circular lines. the texture so obtained is then, by means of a hot, small and round-knobbed iron, pressed into indentations at the centre of each spiral, and an effect of relief imparted to it. the general {8}practice was to work the draperies in feather-stitch (_opus plumarium_)."[25] in the tenth century the art of pictorial embroidery had become universally spread. the inventory of the holy see (in 1293) mentions the embroideries of florence, milan, lucca, france, england, germany, and spain, and throughout the middle ages embroidery was treated as a fine art, a serious branch of painting.[26] in france the fashion continued, as in england, of producing groups, figures and portraits, but a new development was given to floral and elaborate arabesque ornament.[27] it was the custom in feudal times[28] for knightly families to send their daughters to the castles of their suzerain lords, there to be trained to spin, weave and embroider under the eye of the lady châtelaine, a custom which, in the more primitive countries, continued even to the french revolution. in the french romances these young ladies are termed "chambrières," in our english, simply "the maidens." great ladies prided themselves upon the number of their attendants, and passed their mornings at work, their labours beguiled by singing the "chansons à toile," as the ballads written for those occasions were termed.[29] {9}in the wardrobe accounts of our kings appear constant entries of working materials purchased for the royal ladies.[30] there is preserved in the cathedral at prague an altar-cloth of embroidery and cut-work worked by anne of bohemia, queen of richard ii. during the wars of the roses, when a duke of the blood royal is related to have begged alms in the streets of the rich flemish towns, ladies of rank, more fortunate in their education, gained, like the french emigrants of more modern days, their subsistence by the products of their needle.[31] without wishing to detract from the industry of mediæval ladies, it must be owned that the swampy state of the country, the absence of all roads, save those to be traversed in the fine season by pack-horses, and the deficiency of all suitable outdoor amusement but that of hawking, caused them to while away their time within doors the best way they could. not twenty years since, in the more remote provinces of france, a lady who quitted her house daily would be remarked on. "elle sort beaucoup," folks would say, as though she were guilty of dissipation. so queens and great ladies sewed on. we hear much of works of adornment, more still of piety, when katharine of aragon appears on the scene. she had learned much in her youth from her mother, queen isabella, and had probably {10}assisted at those "trials" of needlework[32] established by that virtuous queen among the spanish ladies:- "her days did pass in working with the needle curiously."[33] it is recorded how, when wolsey, with the papal legate campeggio, going to bridewell, begged an audience of queen katharine, on the subject of her divorce, they found her at work, like penelope of old, with her maids, and she came to them with a skein of red silk about her neck.[34] queen mary tudor is supposed, by her admirers, to have followed the example of her illustrious mother, though all we find among the entries is a charge "to working materials for jane the fole, one shilling." no one would suspect queen elizabeth of solacing herself with the needle. every woman, however, had to make one shirt in her lifetime, and the "lady elizabeth's grace," on the second anniversary of prince edward's birth, when only six years of age, presented her brother with a cambric smock wrought by her own hands. the works of scotland's mary, who early studied all female accomplishments under her governess, lady fleming, {11}are too well known to require notice. in her letters are constant demands for silk and other working materials wherewith to solace her long captivity. she had also studied under catherine de médicis, herself an unrivalled needlewoman, who had brought over in her train from florence the designer for embroidery, frederick vinciolo. assembling her daughters, claude, elizabeth and margaret, with mary stuart, and her guise cousins, "elle passoit," says brantôme, "fort son temps les apres-disnées à besogner apres ses ouvrages de soye, où elle estoit tant parfaicte qu'il estoit possible."[35] the ability of reine margot[36] is sung by ronsard, who exalts her as imitating pallas in the art.[37] many of the great houses in england are storehouses of old needlework. hatfield, penshurst, and knole are all filled with the handiwork of their ladies. the countess of shrewsbury, better known as "building bess," bess of hardwick, found time to embroider furniture for her palaces, and her samplar patterns hang to this day on their walls. needlework was the daily employment of the convent. as early as the fourteenth century[38] it was termed "nun's work"; and even now, in secluded parts of the kingdom, ancient lace is styled by that name.[39] nor does the occupation appear to have been solely {12}confined to women. we find monks commended for their skill in embroidery,[40] and in the frontispieces of some of the early pattern books of the sixteenth century, men are represented working at frames, and these books are stated to have been written "for the profit of men as well as of women."[41] many were composed by monks,[42] and in the library[43] of st. geneviève at paris, are several works of this class, inherited from the monastery of that name. as these books contain little or no letterpress, they could scarcely have been collected by the monks unless with a view to using them. at the dissolution of the monasteries, the ladies of the great roman catholic families came to the rescue. of the widow of the ill-fated earl of arundel it is recorded: "her gentlewomen and chambermaids she ever busied in works ordained for the service of the church. she permitted none to be idle at any time."[44] instructions in the art of embroidery were now at a premium. the old nuns had died out, and there were none to replace them. mrs. hutchinson, in her _memoirs_, enumerates, among the eight tutors she had at seven years of age, one for needlework, while hannah senior, about the same period, entered the service of the earl of thomond, to teach his daughters the use of their needle, with the salary of £200 a year. the money, however, was never paid; so she petitions the privy council for leave to sue him.[45] when, in 1614, the king of siam applied to king james for an english wife, a gentleman of "honourable parentage" offers his daughter, whom he describes of excellent parts for "music, her needle, and good discourse."[46] and these are the sole accomplishments he mentions. the bishops, however, shocked at the proceeding, interfered, and put an end to the projected alliance. [illustration: plate i. argentan.--showing buttonhole stitched réseau and "brides bouclées." circular bobbin réseau.--variety of mechlin. venetian needle-point. portions of lace very much enlarged to show details of stitches.] [illustration: venetian needle-point.] {13}no ecclesiastical objection, however, was made to the epitaph of catherine sloper--she sleeps in the cloisters of westminster abbey, 1620:- "exquisite at her needle." till a very late date, we have ample record of the esteem in which this art was held. in the days of the commonwealth, mrs. walker is described to have been as well skilled in needlework "as if she had been brought up in a convent." she kept, however, a gentlewoman for teaching her daughters. evelyn, again, praises the talent of his daughter, mrs. draper. "she had," writes he, "an extraordinary genius for whatever hands could do with a needle." the queen of charles i. and the wives of the younger stuarts seem to have changed the simple habits of their royal predecessors, for when queen mary, in her dutch simplicity, sat for hours at the knotted fringe, her favourite employment, bishop burnet, her biographer, adds, "it was a strange thing to see a queen work for so many hours a day," and her homely habits formed a never-ending subject of ridicule for the wit of sir charles sedley.[47] from the middle of the last century, or rather apparently from the french revolution, the more artistic style of needlework and embroidery fell into decadence. the simplicity of male costume rendered it a less necessary adjunct to female or, indeed, male education. however, two of the greatest generals of the republic, hoche and moreau, followed the employment of embroidering satin waistcoats long after they had entered the military service. we may look upon the art now as almost at an end. {14}chapter ii. cut-work. "these workes belong chiefly to gentlewomen to passe away their time in vertuous exercises." "et lors, sous vos lacis à mille fenestrages raiseuls et poinct couppés et tous vos clairs ouvrages." --_jean godard_, 1588. it is from that open-work embroidery which in the sixteenth century came into such universal use that we must derive the origin of lace, and, in order to work out the subject, trace it through all its gradations. this embroidery, though comprising a wide variety of decoration, went by the general name of cut-work. the fashion of adorning linen has prevailed from the earliest times. either the edges were worked with close embroidery--the threads drawn and fashioned with a needle in various forms--or the ends of the cloth unravelled and plaited with geometric precision. to judge from the description of the linen grave-clothes of st. cuthbert,[48] as given by an eye-witness to his disinterment in the twelfth century, they were ornamented in a manner similar to that we have described. "there had been," says the chronicler, "put over him a sheet ... this sheet had a fringe of linen thread of a finger's length; upon its sides and ends were woven a border of projecting workmanship fabricated of the thread itself, bearing the figures of birds and beasts so arranged that between every two pairs there were interwoven among them the representation of a branching tree which divides the figures. this tree, so tastefully depicted, appears to be putting forth its leaves," etc. there can be no doubt that this sheet, for many centuries preserved in the cathedral church of durham, was a specimen of cut-work, which, though later it came into general use, was, at an early period of our history, alone used for ecclesiastical purposes, and an art which was, till the dissolution of monasteries, looked upon as a church secret. [illustration: plate ii. italian bobbin réseau. six-pointed star-meshed bobbin réseau.--variety of valenciennes. brussels bobbin réseau. fond chant of chantilly and point de paris. valenciennes. lille. toilé. details of bobbin réseau and toilé. alençon réseau. details of needle réseau and buttonhole stitches. portions of lace very much enlarged to show details of stitches.] _to face page 14._ {15}though cut-work is mentioned in hardyng's _chronicle_,[49] when describing the luxury in king richard ii.'s reign, he says:- "cut werke was greate both in court and townes, both in menes hoddis and also in their gownes," yet this oft-quoted passage, no more than that of chaucer, in which he again accuses the priests of wearing gowns of scarlet and green colours ornamented with cut-work, can scarcely be received as evidence of this mode of decoration being in general use. the royal wardrobe accounts of that day contain no entries on the subject. it applies rather to the fashion of cutting out[50] pieces of velvet or other materials, and sewing them down to the garment with a braid like ladies' work of the present time. such garments were in general use, as the inventories of mediæval times fully attest. the linen shirt or smock was the special object of adornment, and on the decoration of the collar and sleeves much time and ingenuity were expended. in the ancient ballad of "lord thomas,"[51] the fair annette cries:- "my maids, gae to my dressing-room, and dress me in my smock; the one half is o' the holland fine, the other o' needlework." chaucer, too, does not disdain to describe the embroidery of a lady's smock- "white was her smocke, embrouded all before and eke behynde, on her colar aboute, of cole blacke sylke, within and eke without." the sums expended on the decoration of this most necessary article of dress sadly excited the wrath of {16}stubbes, who thus vents his indignation: "these shirtes (sometymes it happeneth) are wrought throughout with needlework of silke, and such like, and curiously stitched with open seame, and many other knackes besides, more than i can describe; in so much, i have heard of shirtes that have cost some ten shillynges, some twenty, some forty, some five pounds, some twenty nobles, and (which is horrible to heare) some ten pound a pece."[52] up to the time of henry viii. the shirt was "pynched" or plaited- "come nere with your shirtes bordered and displayed, in foarme of surplois."[53] these,[54] with handkerchiefs,[55] sheets, and pillow-beres,[56] (pillow-cases), were embroidered with silks of various {17}colours, until the fashion gradually gave place to cut-work, which, in its turn, was superseded by lace. the description of the widow of john whitcomb, a wealthy clothier of newbury, in henry viii.'s reign, when she laid aside her weeds, is the first notice we have of cutwork being in general use. "she came," says the writer, "out of the kitchen in a fair train gown stuck full of silver pins, having a white cap upon her head, with cuts of curious needlework, the same an apron, white as the driven snow." we are now arrived at the renaissance, a period when so close a union existed between the fine arts and manufactures; when the most trifling object of luxury, instead of being consigned to the vulgar taste of the mechanic, received from artists their most graceful inspirations. embroidery profited by the general impulse, and books of designs were composed for that species which, under the general name of cut-work, formed the great employment for the women of the day. the volume most generally circulated, especially among the ladies of the french court, for whose use it was designed, is that of the venetian vinciolo, to whom some say, we know not on what authority, catherine de médicis granted, in 1585, the exclusive privilege of making and selling the _collerettes gaudronnées_[57] she had herself introduced. this work, which passed through many editions, dating from 1587 to 1623, is entitled, "les singuliers et nouveaux pourtraicts et ouvrages de lingerie. servans de patrons à faire toutes sortes de poincts, couppé, lacis & autres. dedié à la royne. nouvellement inventez, au proffit et contentement des nobles dames et demoiselles & autres gentils esprits, amateurs d'un tel art. par le seigneur federic de vinciolo venitien. a paris. par jean le clerc le jeune, etc., 1587." two little figures, representing ladies in the costume of the period, with working-frames in their hands, decorate the title-page.[58] the work is in two books: the first of point coupé, or {18}rich geometric patterns, printed in white upon a black ground (fig. 2); the second of lacis, or subjects in squares (fig. 3), with counted stitches, like the patterns for worsted-work of the present day--the designs, the seven planets, neptune, and various squares, borders, etc. vinciolo dedicates his book to louise de vaudemont, the neglected queen of henry iii., whose portrait, with that of the king, is added to the later editions. various other pattern-books had already been published. the earliest bearing a date is one printed at cologne in 1527.[59] [illustration: fig. 2. point coupé.--(vinciolo.)] these books are scarce; being designed for patterns, and traced with a metal style, or pricked through, many perished in the using. they are much sought after by the collector as among the early specimens of wood-block printing. we give therefore in the appendix a list of those we find recorded, or of which we have seen copies, observing that the greater number, though generally composed for one particular art, may be applied indifferently to any kind of ornamental work. plate iii. [illustration: altar or table cloth of fine linen embroidered with gold thread, laid, and in satin stitches on both sides. the cut out spaces are filled with white thread needle-point lace. the edging is alternated of white and gold thread needle-point lace. probably italian. late sixteenth century.--victoria and albert museum.] _to face page 18_ {19}cut-work was made in several manners. the first consisted in arranging a network of threads upon a small frame, crossing and interlacing them into various complicated patterns. beneath this network was gummed a piece of fine cloth, called quintain,[60] from the town in brittany where it was made. then, with a needle, the network was sewn to the quintain by edging round those parts of the pattern that were to remain thick. the last operation was to cut away the superfluous cloth; hence the name of cut-work. [illustration: fig. 3. lacis.--(vinciolo. _edition_ 1588.) ce pelican contient en longueur 70 mailles et en hauteur 65.] {20}the author of the _consolations aux dames_, 1620, in addressing the ladies, thus specially alludes to the custom of working on quintain:- "vous n'employiez les soirs et les matins a façonner vos grotesques quaintains, o folle erreur--o despence excessive." again, the pattern was made without any linen at all; threads, radiating at equal distances from one common centre, served as a framework to others which were united to them in squares, triangles, rosettes, and other geometric forms, worked over with button-hole stitch (_point noué_), forming in some parts open-work, in others a heavy compact embroidery. in this class may be placed the old conventual cut-work of italy, generally termed greek lace, and that of extraordinary fineness and beauty which is assigned to venice. distinct from all these geometric combinations was the lacis[61] of the sixteenth century, done on a network ground (_réseau_), identical with the _opus araneum_ or spider-work of continental writers, the "darned netting" or modern _filet brodé à reprises_ of the french embroiderers. the ground consisted of a network of square meshes, on which was worked the pattern, sometimes cut out of linen and appliqué,[62] but more usually darned with stitches like tapestry. this darning-work was easy of execution, and the stitches being regulated by counting the meshes,[63] effective geometric patterns could be produced. altar-cloths, baptismal napkins, as well as bed coverlets and table-cloths, were decorated with these squares of net embroidery. in the victoria and albert museum there are several {21}gracefully-designed borders to silk table-covers in this work, made both of white and coloured threads, and of silk of various shades. the ground, as we learn from a poem on lacis, affixed to the pattern-book of "milour mignerak,"[64] was made by beginning a single stitch, and increasing a stitch on each side until the required size was obtained. if a strip or long border was to be made, the netting was continued to its prescribed length, and then finished off by reducing a stitch on each side till it was decreased to one, as garden nets are made at the present day. this plain netted ground was called _réseau_, _rézel_, _rézeuil_,[65] and was much used for bed-curtains, vallances, etc. in the inventory of mary stuart, made at fotheringay,[66] we find, "le lict d'ouvrage à rezel"; and again, under the care of jane kennethee, the "furniture of a bedd of network and holland intermixed, not yet finished." when the _réseau_ was decorated with a pattern, it was termed _lacis_, or darned netting, the italian _punto ricamato a maglia quadra_, and, combined with _point-coupé_, was much used for bed-furniture. it appears to have been much employed for church-work,[67] for the sacred emblems. the lamb and the pelican are frequently represented.[68] {22}in the inventory of sir john foskewe (modern fortescue), knight, time of henry viii., we find in the hall, "a hanging of green saye, bordered with darning." queen mary stuart, previous to the birth of james i. (1560), made a will, which still exists,[69] with annotations in her own handwriting. after disposing of her jewels and objects of value, she concludes by bequeathing "tous mes ouvrages masches et collets aux 4 maries, à jean stuart, et marie sunderland, et toutes les filles";--"masches,"[70] with _punti a maglia_, being among the numerous terms applied to this species of work. these "ouvrages masches" were doubtless the work of queen mary and her ladies. she had learned the art at the french court, where her sister-in-law, reine margot, herself also a prisoner for many life-long years, appears to have occupied herself in the same manner, for we find in her accounts,[71] "pour des moulles et esguilles pour faire rezeuil la somme de iiii. l. tourn." and again, "pour avoir monté une fraize neufve de reseul la somme de x. sols tourn." catherine de médicis had a bed draped with squares of reseuil or lacis, and it is recorded that "the girls and servants of her household consumed much time in making squares of reseuil." the inventory of her property and goods includes a coffer containing three hundred and eighty-one of such squares unmounted, whilst in another were found five hundred and thirty-eight squares, some worked with rosettes or with blossoms, and others with nosegays.[72] though the work of milour mignerak, already quoted, is dedicated to the trés-chrestienne reine de france et de navarre, marie de médicis, and bears her cipher and arms, yet in the decorated frontispiece is a cushion with a piece of lacis in progress, the pattern a daisy looking at the sun, the favourite impresa of her predecessor, the divorced marguerite, now, by royal ordinance, "marguerite reine, duchesse de valois." (fig. 4.) [illustration: fig. 5. elizabethan sampler.] _to face page 22._ {23}these pattern-books being high in price and difficult to procure, teachers of the art soon caused the various patterns to be reproduced in "samcloths,"[73] as samplars were then termed, and young ladies worked at them diligently as a proof of their competency in the arts of cut-work, lacis and réseuil, much as a dame-school child did her a b c in the country villages some years ago. proud mothers caused these _chefs-d'oeuvre_ of their children to be framed and glazed; hence many have come down to us hoarded up in old families uninjured at the present time. (fig. 5.) a most important specimen of lacis was exhibited at the art international exhibition of 1874, by mrs. hailstone, of walton hall, an altar frontal 14 feet by 4 feet, executed in point conté, representing eight scenes from the passion of christ, in all fifty-six figures, surrounded by latin inscriptions. it is assumed to be of english workmanship. [illustration: fig. 4. impresa of queen margaret of navarre in lacis.--(mignerak.)] some curious pieces of ancient lacis were also exhibited (_circ._ 1866) at the museum of south kensington by dr. bock, of bonn. among others, two specimens of coloured silk network, the one ornamented with small embroidered shields and crosses (fig. 6), the other with the mediæval gammadion pattern (fig. 7). in the same collection was a towel or altar-cloth of ancient german work--a coarse net ground, worked over with the lozenge pattern.[74] {24}but most artistic of all was a large ecclesiastical piece, some three yards in length. the design portrays the apostles, with angels and saints. these two last-mentioned objects are of the sixteenth century. when used for altar-cloths, bed-curtains, or coverlets, to produce a greater effect it was the custom to alternate the lacis with squares of plain linen. "an apron set with many a dice of needlework sae rare, wove by nae hand, as ye may guess, save that of fairly fair." ballad of hardyknute. [illustration: fig. 6. "spiderwork," thirteenth century.--(bock coll. south kensington museum).] [illustration: fig. 7. "spiderwork," fourteenth century.--(bock coll. south kensington museum.)] this work formed the great delight of provincial ladies in france. jean godard, in his poem on the glove,[75] alluding to this occupation, says:- "une femme gantée oeuvre en tapisserie en raizeaux deliez et toute lingerie elle file--elle coud et fait passement de toutes les fassons...." the armorial shield of the family, coronets, monograms, the beasts of the apocalypse, with fleurs-de-lys, sacrés coeurs, for the most part adorned those pieces destined for the use of the church. if, on the other hand, intended for a pall, death's-heads, cross-bones and tears, with the sacramental cup, left no doubt of the destination of the article. plate iv. [illustration: fan made at burano and presented to queen elena of italy on her marriage, 1896. photo by the burano school.] plate v. [illustration: italian. punto reale.--modern reproduction by the society æmilia ars, bologna. photo by the society.] _to face page 24._ {25}as late as 1850, a splendid cut-work pall still covered the coffins of the fishers when borne in procession through the streets of dieppe. it is said to have been a votive offering worked by the hands of some lady saved from shipwreck, and presented as a memorial of her gratitude. in 1866, when present at a peasant's wedding in the church of st. lo (dép. manche), the author observed that the "toile d'honneur," which is always held extended over the heads of the married pair while the priest pronounces the blessing, was of the finest cut-work, trimmed with lace. both in the north and south of europe the art still lingers on. swedish housewives pierce and stitch the holiday collars of their husbands and sons, and careful ladies, drawing the threads of the fine linen sheets destined for the "guest-chamber," produce an ornament of geometric design. scarce fifty years since, an expiring relic of this art might be sometimes seen on the white smock-frock of the english labourer, which, independent of elaborate stitching, was enriched with an insertion of cut-work, running from the collar to the shoulder crossways, like that we see decorating the surplices of the sixteenth century. drawn-thread embroidery is another cognate work. the material in old drawn-work is usually loosely-woven linen. certain threads were drawn out from the linen ground, and others left, upon and between which needlework was made. its employment in the east dates from very early times, and withdrawing threads from a fabric is perhaps referred to in lucan's _pharsalia_:--[76] "candida sidonio perlucent pectora filo, quod nilotis acus compressum pectine serum solvit, et extenso laxavit stamina velo." "her white breasts shine through the sidonian fabric, which pressed down with the comb (or sley) of the seres, the needle of the nile workman has separated, and has loosened the warp by stretching out (or withdrawing) the weft." {26}chapter iii. lace. "je demandai de la dentelle: voici le tulle de bruxelles, la blonde, le point d'alençon, et la maline, si légère; l'application d'angleterre (qui se fait à paris, dit-on); voici la guipure indigène, et voici la valenciennes, le point d'esprit, et le point de paris; bref les dentelles les plus nouvelles que produisent tous les pays." _le palais des dentelles_ (rothomago). lace[77] is defined as a plain or ornamental network, wrought of fine threads of gold, silver, silk, flax, or cotton, interwoven, to which may be added "poil de chèvre," and also the fibre of the aloe, employed by the peasants of italy and spain. the term _lacez_ rendered in the english translation of the statutes[78] as "laces," implying braids, such as were used for uniting the different parts of the dress, appears long before lace, properly so called, came into use. the earlier laces, such as they were, were defined by the word "passament"[79]--a general term for gimps and braids, as well as for lace. modern industry has separated these two classes of work, but their being formerly so confounded renders it difficult in historic researches to separate one from the other. the same confusion occurs in france, where the first lace was called _passement_, because it was applied to the same {27}use, to braid or lay flat over the coats and other garments. the lace trade was entirely in the hands of the "passementiers" of paris, who were allowed to make all sorts of "passements de dentelle sur l'oreiller aux fuseaux, aux épingles, et à la main, d'or, d'argent, tant fin que faux, de soye, de fil blanc, et de couleur," etc. they therefore applied the same terms to their different products, whatever the material. the word _passement_ continued to be in use till the middle of the seventeenth century, it being specified as "passements aux fuseaux," "passements à l'aiguille"; only it was more specifically applied to lace without an edge. the term _dentelle_ is also of modern date, nor will it be found in the earlier french dictionaries.[80] it was not till fashion caused the passament to be made with a toothed edge that the expression of "passement dentelé" first appears. in the accounts of henry ii. of france, and his queen, we have frequent notices of "passement jaulne dantellé des deux costez,"[81] "passement de soye incarnat dentellé d'un costé,"[82] etc., etc., but no mention of the word "dentelle." it does, however, occur in an inventory of an earlier date, that of marguerite de france, sister of francis i., who, in 1545, paid the sum of vi. livres "pour soixante aulnes, fine dantelle de florance pour mettre à des colletz."[83] after a lapse of twenty years and more, among the articles furnished to mary stuart in 1567, is "une pacque de petite dentelle";[84] and this is the sole mention of the word in all her accounts. {28}we find like entries in the accounts of henry iv.'s first queen.[85] gradually the passement dentelé subsided into the modern dentelle. [illustration: fig. 8. grande dantelle au point devant l'aiguille.--(montbéliard, 1598.)] it is in a pattern book, published at montbéliard in 1598,[86] we first find designs for "dantelles." it contains {29}twenty patterns, of all sizes, "bien petites, petites" (figs. 9, 10, 11, 12), "moyennes, et grosses" (fig. 8). [illustration: fig. 9. petite dantelle.--(1598.)] [illustration: fig. 10. petite dantelle.--(1598.)] the word _dentelle_ seems now in general use; but vecellio, in his _corona_, 1592, has "opere a mazette," pillow lace, and mignerak first gives the novelty of "passements au fuzeau," pillow lace (fig. 13), for which vinciolo, in his edition of 1623, also furnishes patterns (figs. 14 and 15); and parasoli, 1616, gives designs for "merli a piombini" (fig. 16). [illustration: fig. 11. petite dantelle.--(1598.)] [illustration: fig. 12. petite dantelle.--(1598.)] in the inventory of henrietta maria, dated 1619,[87] appear a variety of laces, all qualified under the name of "passement"; and in that of the maréchal la motte, 1627, we find the term applied to every description of lace. {30}"item, quatre paires de manchettes garnyes de passement, tant de venise, gennes, et de malines."[88] lace consists of two parts, the ground and the pattern. the plain ground is styled in french _entoilage_, on account of its containing the flower or ornament, which is called _toilé_, from the flat close texture resembling linen, and also from its being often made of that material or of muslin. [illustration: fig. 13. passement au fuseau.--(mignerak, 1605.)] [illustration: fig. 14. passement au fuseau.--(vinciolo, _edition_ 1623.)] the honeycomb network or ground, in french _fond_, _champ_,[89] _réseau_, _treille_, is of various kinds: wire ground, brussels ground, trolly ground, etc., _fond clair_, _fond double_, etc. {31}some laces, points and guipures are not worked upon a ground; the flowers are connected by irregular threads overcast (buttonhole stitch), and sometimes worked over with pearl loops (picot). such are the points of venice and spain and most of the guipures. to these uniting threads, called by our lace-makers "pearl ties"--old randle holme[90] styles them "coxcombs"--the italians give the name of "legs," the french that of "brides."[91] [illustration: fig. 15. passement au fuseau.--(vinciolo, _edition_ 1623.)] [illustration: fig. 16. merletti a piombini.--(parasole, 1616.)] the flower, or ornamental pattern, is either made together with the ground, as in valenciennes or mechlin, or separately, and then either worked in or sewn on (appliqué), as in brussels. the open-work stitches introduced into the pattern are called _modes_, _jours_; by our devonshire workers, "fillings." all lace is terminated by two edges, the pearl, picot,[92] or couronne--a row of little points at equal distances, and the footing or _engrêlure_--a narrow lace, which serves to keep the stitches of the ground firm, and to sew the lace to the garment upon which it is to be worn. {32}lace is divided into point and pillow (or more correctly bobbin) lace. the term pillow gives rise to misconceptions, as it is impossible to define the distinction between the "cushion" used for some needle-laces and the "pillow" of bobbin-lace. the first is made by the needle on a parchment pattern, and termed needle-point, _point à l'aiguille_, _punto in aco_. the word is sometimes incorrectly applied to pillow-lace, as point de malines, point de valenciennes, etc. point also means a particular kind of stitch, as point de paris,[93] point de neige, point d'esprit,[94] point à la reine, point à carreaux, à chaînette, etc. "cet homme est bien en points," was a term used to denote a person who wore rich laces.[95] the mention of point de neige recalls the quarrel of gros rené and marinette, in the _dépit amoureux_[96] of molière:- "ton beau galant de neige,[97] avec ta nonpareille, il n'aura plus l'honneur d'être sur mon oreille." gros rené evidently returns to his mistress his point de neige nightcap. the manner of making bobbin lace on a pillow[98] need hardly be described. the "pillow"[99] is a round or oval board, stuffed so as to form a cushion, and placed upon the knees of the workwoman. on this pillow a stiff piece of parchment is fixed, with small holes pricked through to mark the pattern. through these holes pins are stuck into the cushion. the threads with which the lace is formed are wound upon "bobbins," formerly bones,[100] now small round pieces of wood, about the size of a pencil, having round their upper ends a deep groove, so formed as to reduce the bobbin to a thin neck, on which the thread is wound, a separate bobbin being used for each thread. plate vi. [illustration: italian.--modern reproduction at burano of point de venise à la feuille et la rose, of seventeenth century. width, 8 in. photo by the burano school.] plate vii. [illustration: heraldic (carnival lace), was made in italy. this appears to be a specimen, though the archaic pattern points to a german origin. the réseau is twisted and knotted. _circ._ 1700. the arms are those of a bishop. photo by a. dryden from private collection.] _to face page_ 32. {33}by the twisting and crossing of these threads the ground of the lace is formed. the pattern or figure, technically called "gimp," is made by interweaving a thread much thicker than that forming the groundwork, according to the design pricked out on the parchment.[101] such has been the pillow and the method of using it, with but slight variation, for more than three centuries. to avoid repetition, we propose giving a separate history of the manufacture in each country; but in order to furnish some general notion of the relative ages of lace, it may be as well to enumerate the kinds most in use when colbert, by his establishment of the points de france, in 1665, caused a general development of the lace manufacture throughout europe. the laces known at that period were:-1. point.--principally made at venice, genoa, brussels, and in spain. 2. bisette.--a narrow, coarse thread pillow lace of three qualities, made in the environs of paris[102] by the peasant women, principally for their own use. though proverbially of little value--"ce n'est que de la bisette"[103]--it formed an article of traffic with the mercers and lingères of the day. 3. gueuse.--a thread lace, which owed to its simplicity {34}the name it bore. the ground was network, the flowers a loose, thick thread, worked in on the pillow. gueuse was formerly an article of extensive consumption in france, but, from the beginning of the last century, little used save by the lower classes. many old persons may still remember the term, "beggars' lace." 4. campane.[104]--a white, narrow, fine, thread pillow edging, used to sew upon other laces, either to widen them, or to replace a worn-out picot or pearl. campane lace was also made of gold, and of coloured silks, for trimming mantles, scarfs, etc. we find, in the great wardrobe accounts of george i., 1714,[105] an entry of "gold campagne buttons." evelyn, in his "fop's dictionary," 1690, gives, "campane, a kind of narrow, pricked lace;" and in the "ladies' dictionary," 1694, it is described as "a kind of narrow lace, picked or scalloped."[106] in the great wardrobe account of william iii., 1688-9, we have "le poynt campanie tæniæ." 5. mignonette.[107]--a light, fine, pillow lace, called blonde de fil,[108] also point de tulle, from the ground resembling that {35}fabric. it was made of lille thread, bleached at antwerp, of different widths, never exceeding two to three inches. the localities where it was manufactured were the environs of paris, lorraine, auvergne, and normandy.[109] it was also fabricated at lille, arras, and in switzerland. this lace was article of considerable export, and at times in high favour, from its lightness and clear ground, for headdresses[110] and other trimmings. it frequently appears in the advertisements of the last century. in the _scottish advertiser_, 1769, we find enumerated among the stock-in-trade, "mennuet and blonde lace." 6. point double, also called point de paris and point des champs: point double, because it required double the number of threads used in the single ground; des champs, from its being made in the country. 7. valenciennes.--see chapter xv. [illustration: fig. 17. old mechlin.] 8. mechlin.--all the laces of flanders, with the exception of those of brussels and the point double, were known in commerce at this period under the general name of mechlin. (fig. 17.) 9. gold lace. 10. guipure. {36}guipure. guipure, says savary, is a kind of lace or passement made of "cartisane" and twisted silk. cartisane is a little strip of thin parchment or vellum, which was covered over with silk, gold, or silver thread, and formed the raised pattern. the silk twisted round a thick thread or cord was called guipure,[111] hence the whole work derived its name.[112] guipure was made either with the needle or on the pillow like other lace, in various patterns, shades and colours, of different qualities and several widths. the narrowest guipures were called "têtes de more."[113] the less cartisane in the guipure, the more it was esteemed, for cartisane was not durable, being only vellum covered over with silk. it was easily affected by the damp, shrivelled, would not wash, and the pattern was destroyed. later, the parchment was replaced by a cotton material called canetille. savary says that most of the guipures were made in the environs of paris;[114] that formerly, he writes in 1720, great quantities were consumed in the kingdom; but since the fashion had passed away, they were mostly exported to spain, portugal, germany, and the spanish indies, where they were much worn.[115] guipure was made of silk, gold and silver; from its costliness, therefore, it was only worn by the rich. plate viii. [illustration: italian, venetian, flat needle-point lace. "punto in aria."--the design is held together by plain "brides." date, _circ._ 1645. width, 11-5/8 in. victoria and albert museum.] plate ix. [illustration: portion of a band of needle-point lace representing the story of judith and holofernes.--the work is believed to be italian, made for a portuguese, the inscription being in portuguese. date, _circ._ 1590. width, 8 in. the property of mr. arthur blackborne. photo by a. dryden.] _to face page 36._ {37}at the coronation of henry ii. the front of the high altar is described as of crimson velvet, enriched with "cuipure d'or"; and the ornaments, chasuble, and corporaliers of another altar as adorned with a "riche broderie de cuipure."[116] on the occasion of henry's entry into paris, the king wore over his armour a surcoat of cloth of silver ornamented with his ciphers and devices, and trimmed with "guippures d'argent."[117] in the reign of henry iii. the casaques of the pages were covered with guipures and passements, composed of as many colours as entered into the armorial bearings of their masters; and these silk guipures, of varied hues, added much to the brilliancy of their liveries.[118] guipure seems to have been much worn by mary stuart. when the queen was at lochleven, sir robert melville is related to have delivered to her a pair of white satin sleeves, edged with a double border of silver guipure; and, in the inventory of her clothes taken at the abbey of lillebourg,[119] 1561-2, we find numerous velvet and satin gowns trimmed with "gumpeures" of gold and silver.[120] it is singular that the word guipure is not to be found in our english inventories or wardrobe accounts, a circumstance which leads us to infer, though in opposition to higher authorities, that guipure was in england termed "parchment lace"--a not unnatural conclusion, since we know it was sometimes called "dentelle à cartisane,"[121] from the slips of parchment of which it was partly composed. though queen mary would use the french term, it does not seem to have been adopted in england, whereas "parchment lace" is of frequent occurrence. from the privy purse expenses of the princess mary,[122] we find she gives to lady calthorpe a pair of sleeves of "gold, {38}trimmed with parchment lace," a favourite donation of hers, it would appear, by the anecdote of lady jane grey. "a great man's daughter," relates strype[123] "(the duke of suffolk's daughter jane), receiving from lady mary, before she was queen, goodly apparel of tinsel, cloth of gold, and velvet, laid on with parchment lace of gold, when she saw it, said, 'what shall i do with it?' mary said, 'gentlewoman, wear it.' 'nay,' quoth she, 'that were a shame to follow my lady mary against god's word, and leave my lady elizabeth, which followeth god's word.'" in the list of the protestant refugees in england, 1563 to 1571,[124] among their trades, it is stated "some live by making matches of hempe stalks, and parchment lace." again, sir robert bowes, "once ambassador to scotland," in his inventory, 1553, has "one cassock of wrought velvet with p'chment lace of gold."[125] "parchment lace[126] of watchett and syllver at 7s. 8d. the ounce," appears also among the laces of queen elizabeth.[127] king charles i. has his carpet bag trimmed with "broad parchment gold lace,"[128] his satin nightcaps with gold and silver parchment laces,[129] and even the bag and comb case "for his majesty's barber" is decorated with "silver purle and parchment lace."[130] again, charles ii. ornaments the seats on both sides the throne with silver parchment lace.[131] in many of the inventories circ. 1590, "sylke parchment lace" is noted down, and "red" and "green parchment lace," again, appear among the wares found "in y^e shoppes."[132] but to return to the word guipure. in an inventory of the church of the oratoire, at paris, of the seventeenth century, are veils for the host: one, "de {39}taffetas blanc garny d'une guipure"; the other, "de satin blanc à fleurs, avec une dentelle de guipure."[133] these guipures will have also been of silk. when the term was first transferred to the thread passements which are now called guipure, it is difficult to say, for we can find no trace of it so applied. be that as it may, the thread guipures are of old date; many of the patterns bear the character of the rich ornamentation and capricious interlacings of the renaissance; others, again, are "pur louis quatorze" (fig. 18). the finest thread guipures were the produce of flanders and italy. they are most varied in their style. in some the bold flowing patterns are united by brides; in others by a coarse réseau, often circular, and called "round ground." [illustration: fig. 18. guipure.--(louis xiv.)] in that class called by the lace-makers "tape guipure," the outline of the flowers is formed by a pillow or handmade braid about the eighth of an inch in width (fig. 19). {40}the term guipure is now so extensively applied it is difficult to give a limit to its meaning. we can only define it as lace where the flowers are either joined by "brides," or large coarse stitches, or lace that has no ground at all. the modern honiton and maltese are guipures, so is the venetian point. [illustration: fig. 19. tape guipure, bobbin-made.--(genoa.)] most of these laces are enumerated in a _jeu d'esprit_, entitled "la révolte des passemens," published at paris in 1661.[134] {41}in consequence of a sumptuary edict against luxury in apparel, mesdames les broderies- "les poinctes, dentelles, passemens qui, par une vaine despence, ruinoient aujourd'huy la france"-meet, and concert measures for their common safety. point de gênes, with point de raguse, first address the company; next, point de venise, who seems to look on raguse with a jealous eye, exclaims- "encore pour vous, poinct de raguse, il est bon, crainte d'attentat, d'en vouloir perger un estat. les gens aussy fins que vous estes ne sont bons que, comme vous faites, pour ruiner tous les estats. et vous, aurillac ou venise, si nous plions notre valise," what will be our fate? the other laces speak, in their turn, most despondently, till a "vieille broderie d'or," consoling them, talks of the vanity of this world:--"who knows it better than i, who have dwelt in kings' houses?" one "grande dentelle d'angleterre" now proposes they should all retire to a convent. to this the "dentelles de flandres" object; they would sooner be sewn at once to the bottom of a petticoat. mesdames les broderies resign themselves to become "ameublement;" the more devout of the party to appear as "devants d'autel;" those who feel too young to renounce the world and its vanities will seek refuge in the masquerade shops. "dentelle noire d'angleterre" lets herself out cheap to a fowler, as a net to catch woodcocks, for which she felt "assez propre" in her present predicament. the points all resolve to retire to their own countries, save aurillac, who fears she may be turned into a strainer "pour passer les fromages d'auvergne," a smell insupportable to one who had revelled in civet and orange-flower. all were starting- "chacun, dissimulant sa rage, doucement ploit son bagage, resolu d'obéir au sort," when "une pauvre malheureuse, qu'on apelle, dit on, la gueuse," {42}arrives, in a great rage, from a village in the environs of paris. "she is not of high birth, but has her feelings all the same. she will never submit. she has no refuge--not even a place in the hospital. let them follow her advice and 'elle engageoit sa chaînette,' she will replace them all in their former position." next morn, the points assemble. "une grande cravate[135] fanfaron" exclaims:- "il nous faut venger cet affront, revoltons-nous, noble assemblée." a council of war ensues:- "la dessus, le poinct d'alençon ayant bien appris sa leçon fit une fort belle harangue." flanders now boasts how she had made two campaigns under monsieur, as a cravat; another had learned the art of war under turenne; a third was torn at the siege of dunkirk. "racontant des combats qu'ils ne virent jamais," one and all had figured at some siege or battle. "qu'avons nous à redouter?" cries dentelle d'angleterre. no so, thinks point de gênes, "qui avoit le corps un peu gros." they all swear- "foy de passement, foy de poincts et de broderie, de guipure et d'orfévrerie, de gueuse de toute façon," to declare open war, and to banish the parliament. the laces assemble at the fair of st. germain, there to be reviewed by general luxe. the muster-roll is called over by colonel sotte depense. dentelles de moresse, escadrons de neige, dentelles de hâvre, escrues, soies noires, and points d'espagne, etc., march forth in warlike array, to conquer or to die. at the first approach of the artillery they all take to their heels, and are condemned by a council of war--the points to be made into tinder, for the sole use of the king's mousquetaires; the laces to be converted into paper; the dentelles, {43}escrues, gueuses, passemens, and silk lace to be made into cordage and sent to the galleys; the gold and silver laces, the original authors of the sedition, to be "burned alive." finally, through the intercession of love- "le petit dieu plein de finesse," they are again pardoned and restored to court favour. the poem is curious, as giving an account of the various kinds of lace, and as a specimen of the taste of the time, but the "ton précieux" of the hôtel rambouillet pervades throughout. the lace trade, up to this period, was entirely in the hands of pedlars, who carried their wares to the principal towns and large country-houses. "one madame la boord," says evelyn, "a french peddling-woman, served queen katherine with petticoats, fans, and foreign laces." these hawkers attended the great fairs[136] of europe, where all purchases were made.[137] even as early as king henry iii.[138] we have a notice "to purchase robes at the fair of st. ives, for the use of richard our brother"; and in the dramas of the sixteenth and seventeenth centuries, we find constant allusion to these provincial markets:--[139] "seven pedlars' shops, nay all sturbridge fair,[140] will scarce furnish her."[141] {44}the custom of carrying lace from house to house still exists in belgium, where at spa and other places, colporteurs,[142] with packs similar to those borne by our pedlars, bring round to the visitors laces of great value, which they sell at cheaper rates than those exposed in the shops.[143] many travellers, too, through the counties of buckingham and bedford, or the more southern regions of devon, will still call to mind the inevitable lace box handed round for purchase by the waiter at the conclusion of the inn dinner; as well as the girls who, awaiting the arrival of each travelling carriage or postchaise, climbed up to the windows of the vehicle, rarely allowing the occupants to go their way until they had purchased some article of the wares so pertinaciously offered to their inspection. in paris, the lace trade was the exclusive privilege of the passementiers.[144] plate x. [illustration: italian. point de venise à la rose. modern reproduction at burano of seventeenth century lace. width, 17 in. photo by the burano school.] _to face page 44._ {45}chapter iv. italy. "it grazed on my shoulder, takes me away six parts of an italian cut-work band i wore, cost me three pounds in the exchange but three days before."--ben jonson--_every man out of his humour_,1599. "ruffles well wrought and fine falling bands of italian cut-work."--_fair maid of the exchange_, 1627. the italians claim the invention of point, or needle-made lace. it has been suggested they derived the art of fine needlework from the greeks who took refuge in italy from the troubles of the lower empire; and what further confirms its byzantine origin is, that those very places which kept up the closest intercourse with the greek empire are the cities where point lace was earliest made and flourished to the greatest extent.[145] a modern italian author,[146] on the other hand, asserts that the italians learned embroidery from the saracens of sicily, as the spaniards acquired the art from the moors of granada or seville, and brings forward, as proof of his theory, that the word to embroider, both in italian and spanish,[147] is derived from the arabic, and no similar word exists in any other european language.[148] this theory may apply to embroidery, but certainly not to lace; for with the exception of the turkish crochet "oyah," and some darned netting and drawn-work which occur in persian and chinese tissues, there is nothing approaching to lace to be found on any article of oriental manufacture. {46}we proceed to show that evidences of the lace-fabric appear in italy as early as the fifteenth century. in 1476, the venetian senate decreed that no punto in aria whatever, executed either in flax with a needle, or in silver or gold thread, should be used on the curtains or bed-linen in the city or provinces. among the state archives of the ducal family of este, which reigned in ferrara for so many centuries, count gandini found mentioned in a register of the wardrobe, dated 1476 (a. c. 87), an order given for a felt hat "alla borgognona," trimmed with a silver and silk gimp made with bobbins. besides this, in the same document is noted (a. c. 96) a velvet seat with a canopy trimmed at the sides with a frill of gold and silver, made in squares, with bobbins. the cavaliere antonio merli, in his interesting pamphlet on italian lace,[149] mentions an account preserved in the municipal archives of ferrara, dated 1469, as probably referring to lace;[150] but he more especially brings forward a document of the sforza family, dated[151] 1493, in which the word _trina_ (under its ancient form "tarnete") constantly occurs,[152] together with bone and bobbin lace. plate xi [illustration: italian. point plat de venise. needle-point.--seventeenth century. length, 25 in.; width, 16 in. victoria and albert museum.] _to face page 46._ {47}again, the florentine poet, firenzuola, who wrote from 1520-30, composed an elegy upon a collar of raised point, made by the hand of his mistress. cavaliere merli cites, as the earliest known painting in which lace occurs, a majolica disc, after the style of the della robbia family, in which, surrounded by a wreath of fruit, is represented the half figure of a lady, dressed in a rich brocade, with a collar of white lace. the costume is of the fifteenth century; but as luca della robbia's descendants worked to a later period, the precise date of the work cannot be fixed. evidences of white lace, or passement, are said to appear in the pictures of carpaccio, in the gallery at venice, and in another by the gentile bellini, where the dress of one of the ladies is trimmed round the neck with a white lace.[153] the date of this last painting is 1500. lace was made throughout italy mostly by the nuns,[154] and expressly for the service of the church. venice was celebrated for her points, while genoa produced almost exclusively pillow-lace. the laces best known in the commercial world in the earlier periods were those of venice, milan, and genoa. venice. mrs. termagant: "i'll spoil your point de venise for you."--shadwell, _squire of alsatia_. "elle n'avoit point de mouchoir, mais un riche et tres beau peignoir des plus chers de point de venise en negligeance elle avoit mise." _les combats_, etc., 1663. the venetian galleys, at an early period, bore to england "apes, sweet wines," and other articles of luxury. they brought also the gold-work of "luk," florence, "jeane," {48}and venice.[155] in our early parliamentary records are many statutes on the subject. the italians were in the habit of giving short lengths, gold thread of bad quality, and were guilty of sundry other peccadilloes, which greatly excited the wrath of the nation. the balance was not in england's favour. "thei bare the gold out of this land and sowkethe the thrifte out of our hande as the waspe sowkethe the honey of the be." it was these cheating venetians who first brought over their points into england. in venice itself, extravagance in lace was restrained in 1542, by a sumptuary law, forbidding the metal laces embroidered in silk to be wider than _due dita_ (_i.e._, about two inches). this interference is highly venetian, and was intended to protect the nobles and citizens from injuring themselves and setting a bad example. at the coronation of richard iii., "fringes of venice," and "mantil laces of white silk and venys gold" appear, and twenty years later elizabeth of york disburses sundry sums for "gold of venice" and "other necessaries."[156] the queen's accounts are less explicit than those of her royal predecessor; and though a lace is ordered for the king's mantle of the garter, for which she paid sixteen shillings, the article may have been of home manufacture. from this time downwards appear occasional mention of partlets,[157] knit caul fashion, of venice gold, and of white thread,[158] of billament lace of venice, in silver and black silk.[159] it is not, however, till the reign of elizabeth[160] that italian cut-works and venice lace came into general use. these points found their way into france about the same period, though we hear little of them. plate xii [illustration: italian. point de venise à réseau.--the upper ones are of yellow silk; a chalice veil, with dove and olive branch, and possibly an altar border. probably late seventeenth century. the lower is thread, early eighteenth century. width, 2 in. in private collections. photos by a. dryden.] _to face page 48._ {49}of "point couppé" there is mention, and enough, in handkerchiefs for madame gabrielle, shirts for the king, and fraizes for la reine margot; but whether they be of venice or worked in france, we are unenlightened. the works of vinciolo[161] and others had already been widely circulated, and laces and point couppé now formed the favourite occupation of the ladies. perhaps one of the earliest records of point de venise will be found in a ridiculous historiette of tallemant des réaux, who, gossiping of a certain madame de puissieux,[162] writes: "on m'assuroit qu'elle mangeoit du point coupé. alors les points de gênes, de raguse, ni d'aurillac ni de venise n'étoient point connus et on dit qu'au sermon elle mangea tout le derrière du collet d'un homme qui etoit assis devant elle." on what strange events hang the connecting threads of history! by 1626 foreign "dentelles et passements au fuseau" were declared contraband. france paying large sums of money to other countries for lace, the government, by this ordinance, determined to remedy the evil. it was at this period that the points of venice were in full use.[163] "to know the age and pedigrees of points of flanders and venise"[164] would, in the latter case, have been more difficult, had it not been for the pattern-books so often quoted. the earliest points, as we already know, soon passed from the stiff formality of the "gotico" into the flowing lines of the renaissance, and into that fine patternless guipure which is, _par excellence_, called point de venise.[165] in the islands of the lagune there still lingers a tale of the first origin of this most charming production. a sailor youth, bound for the southern seas, brought home to his betrothed a bunch of that pretty coralline (fig. 20) known to the unlearned as the mermaid's lace.[166] the girl, a worker in points, struck by the graceful nature of the seaweed, with its small white knots united, as it were, by {50}a "bride," imitated it with her needle, and after several unsuccessful trials produced that delicate guipure which before long became the taste of all europe. it would be difficult to enumerate the various kinds of lace produced by venice in her palmy days. the cavaliere merli has endeavoured to classify them according to the names in the pattern-books with which venice supplied the world, as well as with her points. out of some sixty of these works, whose names have been collected, above one-third were published in venice.[167] [illustration: fig. 20. mermaid's lace.] 1. punto a reticella.[168]--made either by drawing the threads of the cloth, as in the samplar already given (fig. 5), or by working the lace on a parchment pattern in buttonhole stitch (punto smerlo). (fig. 21.) this point is identical with what is commonly called "greek" lace. under this head comes punto reale (the opposite of reticella), where the linen ground is left and the design cut out.[169] punto di cartella or cordella (card-work) is similar in effect to reticella, but the button-holing is done entirely over a foundation made by sewing coarse thread and bits of parchment on to the design and covering them with button-hole stitch. [illustration: fig. 21. reticella.] _to face page 50._ {51}2. punto tagliato.[170]--cut-work, already described. 3. punto di venezia. 4. punto in aria.[171]--worked on a parchment pattern, the flowers connected by brides: in modern parlance, guipure. 5. punto tagliato a fogliami.[172]--the richest and most complicated of all points, executed like the former, only with this difference, that all the outlines are in relief, formed by means of cottons placed inside to raise them. sometimes they are in double and triple relief; an infinity of beautiful stitches are introduced into the flowers, which are surrounded by a pearl of geometric regularity, the pearls sometimes in scallops or "campané," as the french term it.[173] this is our rose (raised) venice point, the gros point de venise, the punto a relievo, so highly prized and so extensively used for albs, collerettes, berthes, and costly decoration. we give an example (fig. 23) from a collar, preserved in the musée de cluny, once the property of a venetian nobleman, worn only on state occasions. two elaborate specimens were in the possession of mr. webb; one is a long narrow piece fringed at both ends, which may have served as a maniple (fig. 26); the other, a "pale"[174] for the communion, he has given to the victoria and albert museum. these two last are made of silk of the natural cream colour. both silk and thread unbleached appear to have been greatly in favour. at paris much lace of this colour has been disposed of by its owners since the revolutions in italy.[175] other varieties of so-called rose point are punto neve (point de neige), with its ground of starred threads resembling snowflakes, and the coral point, a small irregular pattern supposed to have been copied from coral. {52}6. punto a gropo, or gropari.[176]--groppo, or gruppo, signifies a knot, or tie, and in this lace the threads are knotted together, like the fringes of the genoese macramè.[177] after this manner is made the trimming to the linen scarfs or cloths which the roman peasants wear folded square over the head, and hanging down the back. (fig. 22.) [illustration: fig. 22. punto a gropo (knotted point).] 7. punto a maglia quadra.--lacis; square netting,[178] the modano of the tuscans. (fig. 24.) [illustration: fig. 23. gros point de venise.--from the collar of a venetian nobleman. musée de cluny, paris. 16th century. n.b.--this drawing makes the work and design appear heavier than it is in reality. _to face page 52._] {53}this tuscan sort was not generally embroidered; the pattern consists in knitting the meshes together in different shapes. it was much used for hangings of beds, and those curtains placed across the windows, called _stores_ by the french, and by the italians, _stuora_.[179] 8. burato.--the word means a stiff cloth or canvas (_toille clere_ of taglienti, 1527), on which the pattern is embroidered, reducing it to a kind of rude lace. one of the pattern-books[180] is devoted exclusively to the teaching of this point. [illustration: fig. 24. punto a maglia (lacis)] the needle-made laces fabricated at burano will be noticed later. 9. punto tirato--drawn work.[181] fig. 25 is a lace ground {54}made by drawing the threads of muslin (_fili tirati_).[182] the present specimen is simple in design, but some are very complicated and beautiful. the ordinance of colbert must have inflicted a serious injury on the venice lace trade, which, says daru, "occupoit la population de la capitale." in _britannia languens_, a discourse upon trade, london, 1680,[183] it is said that the laces commonly called points de venise now come mostly from france, and amount to a vast sum yearly. savary, speaking of the thread laces termed venice point in the early part of the eighteenth century,[184] says, "the french no longer purchase these articles, having established themselves manufactures which rival those of the adriatic." [illustration: fig. 25. punto tirato (drawn lace).] still the greater number of travellers[185] make a provision of points in their passage through venice, and are usually cheated, writes a traveller about this period.[186] he recommends his friend, mr. claude somebody, a french dealer, who probably paid him in ruffles for the advertisement. [illustration: fig. 26. point de venise à brides picotées.--early 18th century. _to face page 54._] {55}our porte-bouquets and lace-trimmed nosegays are nothing new. on the occasion of the annual visit of the doge to the convent delle vergini, the lady abbess with the novices received him in the parlour, and presented him with a nosegay of flowers placed in a handle of gold, and trimmed round with the finest lace that venice could produce.[187] [illustration: fig. 27. venice point.] fynes moryson[188] is the earliest known traveller who alludes to the products of venice. "venetian ladies in general," he says, "wear a standing collar and ruffs close up to the chin; the unmarried tie their hair with gold and silver lace." evidently the collars styled "bavari," for which vecellio[189] gives patterns "all' usanza veneziana," were {56}not yet in general vogue.[190] the medici collars were supported by fine metal bars called "verghetti," which were so much in demand that the inhabitants of a whole quarter of venice were engaged in their production, and the name which it still bears was given to it in consequence. [illustration: fig. 28. gros point de venise.--(first half of 17th century.)] [illustration: fig. 29. point de venise.--end of 17th century.] [illustration: fig. 30. point plat de venise.--middle of 17th century. _to face page 56._] {57}fifty years later, evelyn speaks of the veils of glittering taffetas, worn by the venetian ladies, to the corners of which hang broad but curious tassels of point laces. according to zedler, an author who wrote about lace in 1742, the price of venice point in high relief varied from one to nine ducats per italian ell. the venetians, unlike the spaniards, thought much of their fine linen and the decorations pertaining to it. "la camicia preme assai più del giubbone," ran the proverb--"la chemise avant le pourpoint." young nobles were not allowed to wear lace on their garments until they put on the robe, which they usually did at the age of five-and-twenty, on being admitted to the council.[191] towards 1770, the venice ladies themselves commenced to forsake the fabrics of their native islands; for on the marriage of the doge's son, in that year, we read that, although the altar was decorated with the richest venice point, the bride and her ladies wore their sleeves covered up to the shoulders with falls of the finest brussels lace, and a tucker of the same material.[192] during the carnival, however, the people, both male and female, wore a camail, or hood of black lace, covering the chin up to the mouth, called a "bauta."[193] it was one of these old black lace hoods that walpole describes lady mary wortley montagu as wearing at florence, 1762, in place of a cap. _point de venise à réseau_ is chiefly distinguished by the conventional treatment of the flowers and ornament, and a general flat look of the work. the outlining thread or cordonnet is stitched to the edge of the pattern and worked in flatly. a minute border to the cordonnet of small meshes intervenes between it and the réseau, which is of square {58}meshes and always very fine. whether the lace was derived from the alençon, and was the result of an attempt to win back the custom the french manufacturers were taking away from venice, or whether it was alençon that imitated the venetian réseau, is a moot point, but certain it is that the venetian product surpassed in fineness both alençon and brussels. its very delicacy has been its destruction, so that very few specimens of this lace survive. plate xii. _mezzo punto_, or mixed venetian guipure, was a mixed point lace, of which the scrolls and flowers were outlined in pillow-lace, or by a tape, and the designs filled in with needle fillings, and connected by pearled brides on a coarse needle-made réseau. this variety of lace was sometimes made of silk. in point de venise, flat or raised, the pattern is always connected by an irregular network of pearled brides. real brides connecting the flowers here and there hardly ever occur; and the number of picots attached to one single branch of the bride network never exceeds two. the elaborately ornamental detached brides and a multiplicity of picots are characteristic of "spanish point" and early point de france. the old burano laces were a coarser outcome of the point de venise à réseau, and alone of all venetian needle laces survived the dark days of the close of the eighteenth century. some fine specimens of these were shown by m. dupont d'auberville in the international exhibition, and marini quotes from a document of the seventeenth century, in which, speaking of merletti, it is said that "these laces, styled 'punti in aria,' or di burano, because the greater part of them were made in the country so called, are considered by lannoni as more noble and of greater whiteness, and for excellency of design and perfect workmanship equal to those of flanders, and in solidity superior." a new departure has been taken in modern times, in the making of hand-made laces at the island of burano, near venice, where a large number of girls were employed in the eighteenth century, both in the town and the convents, in making a point closely resembling that of alençon. here the art lingered on as late as 1845, when a superannuated nun of ninety, with whom mrs. dennistoun, of dennistoun, conversed on the subject, said how in her younger days she and her companions employed their time in the fabric of "punto di burano";[194] how it was ordered long beforehand for great marriages, and even then cost very dear. she showed specimens still tacked on paper: the ground is made right across the thread of the lace. [illustration: fig. 31. point de venise à réseau.--early 18th century. n.b.--mrs. palliser incorrectly described this as brussels in her first editions. _to face page 58._] {59}burano point had not the extreme delicacy of the venetian point à réseau or of alençon, and the late alençon patterns were copied. though needle-made, it was worked on a pillow arranged with a cylinder for convenience of working. the unevenness of the thread gives the réseau a cloudy appearance, and the cordonnet is, like the brussels needlepoint, of thread stitched round the outline instead of the alençon button-hole stitch over horse-hair. the mesh of the réseau is square, as in alençon. fig. 32 is copied from a specimen purchased at burano by the cav. merli, of the maker, an old woman known by the name of cencia scarpariola. in 1866, the industry was extinct, and the "contrada del pizzo," once the headquarters of the lace-makers, was a mystery to the natives, who could no longer account for the denomination. in the church is preserved a splendid series of altar-cloths of so-called burano point in relief, and a fine _storiato_ piece, representing the mysteries of the passion. "venice point is now no more," writes mrs. palliser; "the sole relic of this far-famed trade is the coarse torchon lace, of the old lozenge pattern, offered by the peasant women of palestrina to strangers on their arrival at hotels," the same fabric mentioned by lady mary wortley montagu, when she speaks of "peddling women that come on pretext of selling pennyworths of lace." the formation of the school recently established there,[195] and the revival of the art of lace-making in burano, arose out of the great distress which in 1872 overtook the island. the extraordinary severity of the winter that year rendered it impossible for the poor fishermen, who form the population {60}of the island, to follow their calling. so great was the distress at that time, while the lagoons were frozen, that the fishermen and their families were reduced to a state bordering on starvation, and for their relief contributions were made by all classes in italy, including the pope and the king. this charitable movement resulted in the collection of a fund of money, which sufficed to relieve the immediate distress and leave a surplus for the establishment of a local industry to increase the resources of the burano population. [illustration: fig. 32. burano point.--(late 18th century.)] plate xiii. [illustration: italian. modern point de burano. marriage veil of queen elena of italy. much reduced. length about 7 ft.; width seen about 4 ft. 6 in. photo by the burano school.] _to face page 60._ {61}unfortunately, the industry at first fixed upon, namely, that of making fishermen's nets, gave no practical result, the fishermen being too poor to buy the nets. it was then that a suggestion was made by signor fambri that an effort should be made to revive the ancient industry of lace-making, and princess chigi-giovanelli and the countess andriana marcello were asked to interest themselves in, and to patronise, a school for this purpose. to this application these ladies yielded a ready assent, and at a late period queen margherita graciously consented to become the president of the institution. when countess marcello, who from that time was the life and soul of the undertaking, began to occupy herself with the foundation of the school, she found an old woman in burano, cencia scarpariola, who preserved the traditions of the art of lace-making, and continued, despite her seventy years and upwards, to make burano point. as she, however, did not understand the method of teaching her art, the assistance was secured of madame anne bellorio d'este, a very skilful and intelligent woman, for some time mistress of the girls' school at burano, who in her leisure hours took lessons in lace-making of cencia scarpariola, and imparted her knowledge to eight pupils, who, in consideration of a small payment, were induced to learn to make lace. as the number of scholars increased, madame bellorio occupied herself exclusively in teaching lace-making, which she has continued to do with surprising results. under madame bellorio's tuition, the school, which in 1872 consisted of eight pupils (who received a daily payment to induce them to attend), now, in 1897, numbers four hundred workers, paid, not by the day, but according to the work each performs. in burano everything is extremely cheap, and a humble abode capable of accommodating a small family may be had for from six hundred to one thousand italian lire. it is not a rare occurrence to find a young lace-worker saving her earnings in order to purchase her little dwelling, that she may take it as a dower to her husband. nearly all the young men of burano seek their wives from among the lace-women. the school's diploma of honour speaks of the economical importance of the lace-work "to the poor place of burano," and "the benefit which the gentle industry {62}brings to the inhabitants of the interesting island, whose welfare, having passed through a series of undeserved trials, is due exclusively to the revival of it practised on a large scale." the lace made in the school is no longer confined, as in the origin it was, to burano point, but laces of almost any design or model are now undertaken--point de burano, point d'alençon, point de bruxelles, point d'angleterre, point d'argentan, rose point de venise, italian punto in aria, and italian punto tagliato a fogliami. the school has been enriched by gifts of antique lace, and queen margherita gave the school permission to copy two magnificent specimens of ecclesiastical lace--now crown property--that had formerly belonged to cardinal de retz, and pope clement vii. (rezzonico). in order the better to carry out the character of the different laces, the more apt and intelligent of these pupils, whose task it is to trace out in thread the design to be worked, have the advantage of being taught by professional artists. the four hundred lace-workers now employed are divided into seven sections, in order that each may continue in the same sort of work and, as much as possible, in the same class of lace. by this method each one becomes thoroughly proficient in her own special department, executes it with greater facility, and consequently earns more, and the school gets its work done better and cheaper. while countess marcello was working to re-establish the making of needle-point at burano, cav. michelangelo jesurum was re-organising the bobbin-lace industry at pellestrina, a small fishing-town on the lido. in 1864 the lace of pellestrina might have been described as an inextricable labyrinth of threads with vaguely distinguishable lines and occasional holes. the lace was so imperfect, and made in such small quantities, that two women who went about selling it in venice and the country round sufficed to dispose of all that was made. the pricked papers were prepared by an old peasant woman, who made them more and more imperfect at each repetition, losing gradually all trace of the original design. cav. jesurum, by a careful copying of the old designs, obtained valuable results, and founded a lace-school and a flourishing industry. about 1875 polychrome lace was introduced in venice--bobbin-lace worked in colours with designs of flowers, fruits, leaves, arabesques, and animals, with the various tints and shading required. the women who make bobbin-lace now in venice and in the islands amount to 3,000, but it is difficult to give an exact estimate of their numbers, as many of them are bone-workers, wives and daughters of fishermen, who combine the lace-making with their household duties, with mending of nets, and with field-work. plate xiv. [illustration: italian.--modern reproduction at burano of the flounce now belonging to the crown of italy, formerly to pope clement xiii., rezzonico, 1693-1769. height, 24 in. photo by the burano school.] _to face page 62._ {63}milan ("milano la grande"). "margaret: i saw the duchess of milan's gown that they praise so. "hero: o that exceeds, they say. "margaret: by my troth, it's but a night-gown in respect of yours; cloth o' gold and cuts, and laced with silver."--_much ado about nothing_, iv. 1. one of the earliest records of italian lace belongs to milan, and occurs in an instrument of partition between the sisters angela and ippolita sforza visconti, dated 1493 (see venice). this document is of the highest interest as giving the inventory of an italian wardrobe of the fifteenth century. in it, amidst a number of curious entries, are veils of good network, with cambric pillow-cases, linen sheets, mosquito curtains and various articles, worked _a reticella_ and _a groppi_, with the needle, bobbins, bones, and other different ways[196] mentioned in the pattern-books of the following century. among other items we find, "half of a bundle containing patterns for ladies' work."[197] though the fabric of these fine points dates back for so many centuries, there is little notice of them elsewhere. {64}henry viii. is mentioned as wearing one short pair of hose of purple silk of venice gold, woven like a caul, edged with a passamaine lace of purple silk and gold, worked at milan.[198] in a wardrobe account of lord hay, gentleman of his majesty's robes, 1606,[199] is noted down to james i., "one suit with cannons thereunto of silver lace, shadowed with silk milan lace." again, among the articles furnished against the "queen's lying down," 1606, in the bills of the lady audrye walsingham,[200] is an entry of "lace, milan fashion, for child's waistcoat." a french edict, dated march, 1613, against superfluity in dress, prohibiting the wearing of gold and silver embroidery, specially forbids the use of all "passement de milan, ou façon de milan" under a penalty of one thousand livres.[201] the expression "à point de milan" occurs in the statutes of the passementiers of paris.[202] "les galons, passements et broderies, en or et en argent de milan," says savary,[203] were once celebrated. lalande, who writes some years later, adds, the laces formerly were an object of commerce to the city, now they only fabricate those of an inferior quality.[204] much was consumed by the lombard peasants, the better sorts serving for ruffles of moderate price.[205] so opulent are the citizens, says a writer of the same epoch, that the lowest mechanics, blacksmiths and shoemakers, appear in gold stuff coats with ruffles of the finest point.[206] and when, in 1767, the auvergne lace-makers petition for an exemption from the export duty on their fabrics, they state as a ground that the duty prevents them from competing abroad, especially at cadiz, with the lace-makers of piedmont, the milanais, and imperial flanders. milan must, therefore, have made lace extensively to a late period. plate xv. [illustration: italian. milanese bobbin-made.--late seventeenth century. width, 12 in. photo by a. dryden from private collection.] _to face page 64._ {65}fig. 33 is a specimen of what has been termed old milan point, from the convent of santa maria delle grazie, in that city. it is more often known as greek lace. [illustration: fig. 33. reticella from milan.] the so-called punti di milano--points de milan--were all bobbin-laces, which originated in milan, and, though imitated by genoa and naples, remained unapproached in design and workmanship. after first making passements, milan imitated the venetian points, "a fogliami," in which the pattern has the appearance of woven linen, with à jours occasionally introduced to lighten portions of it. the design was at first connected with bars, but later, meshes (in the seventeenth century large meshes, and, still later, smaller {66}meshes) filled the ground. this réseau varies, but most frequently it has four plaited sides to a mesh, as in valenciennes. like other italian laces, milanese lace frequently has coats-of-arms or family badges woven in it, such as the doge's horn, the baldachino (a special distinction accorded to roman princes), the dogs of the carrara family, and so on, to commemorate a marriage or some other important event in the family. this sort of lace was known as carnival lace when made of venetian point. milan lace is now represented by cantu, near lake como, where the making of white and black pillow-lace gives employment to many thousands of women. the torchon lace of the country is original, and in much request with the peasantry. in the underground chapel of san carlo borromeo, in milan cathedral, are preserved twenty-six "camicie," trimmed with flounces of the richest point, all more or less splendid, and worked in the convents of the city, but many of the contents of this sumptuous wardrobe have rotted away from the effects of the damp atmosphere. florence. of florence and its products we know but little, though the elegy of agnolo firenzuola proves that ladies made raised point at an early period.[207] his expression "scolpì," carved, sculptured in basso rilievo, leaves no doubt upon the matter. plate xvi. [illustration: italian, venetian. needle-made.--very raised and padded. first half of eighteenth century. width, 3¼ in.] plate xvii. [illustration: italian, milanese. bobbin-made.--early eighteenth century. width, 5¾ in. photos by a. dryden from private collections.] _to face page 63_ "this collar was sculptured by my lady {67} in bas reliefs such as arachne and she who conquered her could ne'er excel. look on that lovely foliage, like an acanthus, which o'er a wall its graceful branches trails. look on those lovely flowers of purest white, which, near the pods that open, hang in harmony. that little cord which binds each one about, how it projects! proving that she who wrought it is very mistress of this art. how well distributed are all these points! see the equality of all those little buds which rise like many fair proportioned hills, one like the other.... this hand-made lace, this open-work, is all produced by her, this herring-bone, which in the midst holds down a little cord, was also made by her; all wrought by her." henry viii. granted to two florentines the privilege of importing for three years' time all "manner of fringys and passements wrought with gold and silver or otherwise,"[208] an account of which will be found in the notice of that monarch's reign. beyond this, and the statute already mentioned, passed at the "sute of the browderers" on account of the "deceyptful waight of the gold of luk, florence, jeane, and venice,"[209] there is no allusion to the lace of florence in our english records. in france, as early as 1545, the sister of francis i. purchases "soixante aulnes fine dantelle de florence"[210] for her own use, and some years afterwards, 1582, the queen of navarre pays 17 écus 30 sols for 10 aulnes et demye of the same passement "faict à l'esguille à haulte dantelle pour mettre à des fraizes."[211] on the marriage of elizabeth de france with philip ii. in 1559, purchases were made of "passements et de bisette, en fil blanc de florence." seeing the early date of these french accounts, it may be inferred that catherine de médicis first introduced, on her arrival as a bride, the italian points of her own native city.[212] in florence, in the fifteenth century, savonarola, in his sermons (1484-1491), reproached the nuns with "devoting their time to the vain fabrication of gold laces with which to adorn the houses and persons of the rich." ray mentions that people of quality sent their daughters {68}at eight years old to the florentine nunneries to be instructed in all manner of women's work. lace was also fabricated at sienna, but it appears to have been the _lavoro di maglia_ or lacis, called by the tuscans _modano ricamato_--embroidered network. early in the last century two genoese nuns, of the convent sta. maria degli angeli in sienna, executed pillow laces and gold and silver embroidery of such surpassing beauty, that they are still carefully preserved and publicly exhibited on fête-days. one francesca bulgarini also instructed the schools in the making of lace of every kind, especially the venetian reticella.[213] the abruzzi. in the abruzzi, and also the province of the marche, coarse laces are made. these are worked without any drawing, the rude design being made by skipping the pin-holes on a geometrically perforated card. the pattern is surrounded by a heavy thread, and composed of a close stitch worked between the meshes of a coarse net ground. this lace somewhat resembles dalecarlian lace. in the eighteenth century fine pillow lace was also made in these provinces. the celebrated industry of offida in the marche has sunk into artistic degradation. romagna. lace was made in many parts of romagna. besides the knotted lace already alluded to,[214] which is still made and worn by the peasants, the peasant women wore on their collerettes much lace of that large-flowered pattern and fancy ground, found alike in flanders and on the headdresses of the neapolitan and calabrian peasants. specimens of the lace of the province of urbino resemble in pattern and texture the fine close lace on the collar of christian iv., figured in our notice of denmark. the workmanship is of great beauty. reticella is made at bologna, and was revived in january, 1900, by the aemilia-ars co-operative society. the designs are for the most part taken from old pattern-books, such as parasole. {69}fig. 34 represents a fragment of a piece of lace of great interest, communicated by the countess gigliucci. it is worked with the needle upon muslin, and only a few inches of the lace are finished. this incompleteness makes it the more valuable, as it enables us to trace the manner of its execution, all the threads being left hanging to its several parts. the countess states that she found the work at a villa belonging to count gigliucci, near fermo on the adriatic, and it is supposed to have been executed by the count's great-grandmother above 160 years ago--an exquisite specimen of "the needle's excellency." [illustration: fig. 34. unfinished drawn-work.] though the riches of our lady of loreto fill a volume in themselves,[215] and her image was fresh clad every day of the year, the account of her jewels and plate so overpower any mention of her laces, which were doubtless in accordance with {70}the rest of the wardrobe, that there is nothing to tell on the subject. the laces of the vatican and the holy conclave, mostly presents from crowned heads, are magnificent beyond all description. they are, however, constantly in the market, sold at the death of a cardinal by his heirs, and often repurchased by some newly-elected prelate, each of whom on attaining a high ecclesiastical dignity is compelled to furnish himself with several sets. a lady[216] describing the ceremony of washing the feet by the pope, writes, in 1771, "one of his cardinals brought him an apron[217] of old point with a broad border of mechlin lace, and tied it with a white ribbon round his holiness's waist." in this guise protected, he performed the ceremony. clement ix. was in the habit of making presents of italian lace, at that period still prized in france, to monsieur de sorbière, with whom he had lived on terms of intimacy previous to his elevation. "he sends ruffles," cries the irritated gaul, who looked for something more tangible, "to a man who never has a shirt."[218] naples. when davies, barber surgeon of london,[219] visited naples in 1597, he writes, "among the traffic of this city is lace of all sorts and garters." fynes moryson, his contemporary, declares "the italians care not for foreign apparel, they have ruffles of flanders linen wrought with italian cut-work so much in use with us. they wear no lace in gold and silver, but black"; while lassels says, all they care for is to keep a coach; their point de venise and gold lace are all turned into horses and liveries.[220] plate xviii. [illustration: cushion made at the school.--these coloured silk laces are reproductions of the sixteenth century. size, 20 × 12 in.] plate xix. [illustration: italy.--group of workers of the brazza school, torreano di martignacco, friuli, showing the different kinds of lacework done and pillows in use. photos by contessa di brazza.] _to face page 70._ {71}of this lace we find but scanty mention. in the tailor's bill of sir timothy hutton, 1615, when a scholar at cambridge, a charge is made for "four oz. and a half quarter and dram of naples lace." and in the accounts of laces furnished for the marriage of the princess elizabeth to the elector palatine, 1612, is noted "narrow black naples lace, purled on both sides." the principal fabric of lace was in the island of ischia. vecellio, in 1590, mentions the ladies' sleeves being trimmed with very fine thread lace.[221] ischia lace may still be met with, and serves for trimming toilets, table-covers, curtains, etc., consisting generally of a square netting ground, with the pattern embroidered. black silk lace also used to be made in ischia. much torchon lace, of well-designed patterns, was also made, similar in style to that given in fig. 40. though no longer fabricated in the island, the women at naples still make a coarse lace, which they sell about the streets.[222] the _punto di napoli_ is a bobbin lace, resembling the punto di milano, but distinguished from it by its much rounder mesh and coarser make. towards the middle of the last century, many of the italian sculptors adopted an atrocious system, only to be rivalled in bad taste by those of the lower empire, that of dressing the individuals they modelled in the costume of the period, the colours of the dress represented in varied marbles. in the villa of prince valguarnera, near palermo, were some years since many of these strange productions with rich laces of coffee-coloured point, admirably chiselled, it must be owned, in giallo antico, the long flowing ruffles and head-*tires of the ladies being reproduced in white alabaster.[223] {72}genoa ("genova la superba"). "lost,--a rich needle work called poynt jean, a yard and a half long and half quarter broad."--_the intelligencer_, feb. 29, 1663. "genoa, for points."--_grand tour._ 1756. the art of making gold thread, already known to the etruscans, took a singular development in italy during the fourteenth century. genoa[224] first imitated the gold threads of cyprus. lucca followed in her wake, while venice and milan appear much later in the field. gold of jeane formed, as already mentioned, an item in our early statutes. the merchants mingled the pure gold with spanish "laton," producing a sort of "faux galon," such as is used for theatrical purposes in the present day. they made also silver and gold lace out of drawn wire, after the fashion of those discovered, not long since, at herculaneum. when skippin visited turin, in 1651, he described the manner of preparing the metal wire. the art maintained itself latest at milan, but died out towards the end of the seventeenth century. our earliest mention of genoa lace is,[225] as usual, to be found in the great wardrobe accounts of queen elizabeth, where laces of jeane of black "serico satten," of colours,[226] and billement lace of jeane silk, are noted down. they were, however, all of silk. it is not till after a lapse of nigh seventy years that first point de gênes appears mentioned in an ordinance,[227] and in the wardrobe of mary de médicis is enumerated, among other articles, a "mouchoir de point de gennes frisé."[228] {73}moryson, who visited the republic in 1589, declares "the genoese wear no lace or gardes." as late as 1597, writes vulson de la colombière,[229] "ni les points de gennes, ni de flandre n'etoient en usage." it was not before the middle of the seventeenth century that the points of genoa were in general use throughout europe. handkerchiefs, aprons, collars,[230] seem rather to have found favour with the public than lace made by the yard. no better customer was found for these luxurious articles of adornment than the fair madame de puissieux, already cited for her singular taste in cut-work. "elle étoit magnifique et ruina elle et ses enfans. on portoit en ce temps-la," writes st. simon; "force points de gênes qui étoient extrêmement chers; c'étoit la grande parure--et la parure de tout age: elle en mangea pour 100,000 ecus (£20,000) en une année, à ronger entre ses dents celle qu'elle avoit autour de sa tête et de ses bras."[231] "the genoese utter a world of points of needlework," writes lassels, at the end of the century, and throughout the eighteenth we hear constantly of the gold, silver and thread lace, as well as of the points of genoa, being held in high estimation. gold and silver lace was prohibited to be worn within the walls of the city, but they wear, writes lady mary wortley montagu, exceeding fine lace and linen.[232] indeed, by the sumptuary laws of the republic, the richest costume allowed to the ladies was black velvet trimmed with their home-made point. the _femmes bourgeoises_ still edge their aprons with point lace, and some of the elder women wear square linen veils trimmed with coarse lace.[233] {74}"that decayed city, genoa, makes much lace, but inferior to that of flanders," states anderson in his _origin of commerce_, 1764. the genoese wisely encouraged their own native manufacture, but it was now, however, chiefly for home consumption. savary, speaking of the genoa fabric, says: as regards france, these points have had the same lot as those of venice--ruined by the act of prohibition. in 1840, there were only six lace-sellers in the city of genoa. the women work in their own houses, receiving materials and patterns from the merchant who pays for their labour.[234] lace, in genoa, is called _pizzo_. _punti in aco_ were not made in this city. the points of genoa, so prized in the seventeenth century, were all the work of the pillow, _a piombini_,[235] or _a mazzetta_, as the italians term it, of fine handspun thread brought from lombardy. silk was procured from naples. of this lombardy thread were the magnificent collars of which we give an example (fig. 35), and the fine guipures _à réseau_ which were fashioned into aprons and fichus. the old genoa point still finds favour in the eyes of the clergy, and on fête days, either at genoa or savona, may be seen splendid lace decorating the _camicie_ of the ecclesiastics. the ligurian or genoese guipures have four entirely distinctive characters. the hispano-moresque (or greek) point de gênes frisé, the vermicelli from rapallo and santa margherita, a lace resembling milanese lace with "brides," and a fourth kind, entirely different from these varieties, called _fugio_ (i fly), as it is very soft and airy. it is an adaptation of guipure-like ribbons of weaving, with open-work variations, held together by a very few bars. in all these laces, as in neapolitan and milanese lace, a crochet needle is used to join the bars and design by drawing one thread through a pin-hole in the lace and passing a free bobbin through the loop to draw the knot tight. [illustration: fig. 35. genoa point, bobbin-made. from a collar in the possession of the author. this is an elaborate specimen of point de gênes frisé--italian merletti a piombini. the plaits almost invariably consist of four threads. _to face page 74._] {75}the lace manufacture extends along the coast from albissola, on the western riviera, to santa margherita on the eastern. santa margherita and rapallo are called by luxada[236] the emporium of the lace industry of genoa, and are still the greatest producers of pillow-lace on the coast. the workers are mostly the wives and daughters of the coral-fishers who support themselves by this occupation during the long and perilous voyages of their husbands. in the archives of the parochial church of santa margherita is preserved a book of accounts, in which mention is made, in the year 1592, of gifts to the church, old nets from the coral fishery, together with _pisetti_ (_pizzi_), the one a votive offering of some successful fishermen, the other the work of their wives or daughters, given in gratitude for the safe return of their relatives. there was also found an old worn parchment pattern for a kind of tape guipure (fig. 36).[237] the manufacture, therefore, has existed in the province of chiavari for many centuries. much of this description of lace is assigned to genoa. in these tape guipures the tape or braid was first made, and the ground worked in on the parchment either by the needle or on the pillow. the laces consist of white thread of various qualities, either for wear, church decoration, or for exportation to america. later, this art gave place to the making of black blonde, in imitation of chantilly, of which the centres in italy are now genoa and cantu. in the year 1850 the lace-workers began to make guipures for france, and these now form their chief produce. the exportation is very great, and lace-making is the daily occupation, not only of the women, but of the ladies of the commune.[238] in 1862 santa margherita had 2,210 lace-workers: rapallo, 1,494. the _maestri_, or overseers, receive all orders from the trade, and find hands to execute them. the silk and thread required for the lace is weighed out and given to the lace-makers, and the work when completed is re-weighed to see that it corresponds with that of the material given. the _maestri_ contrive to realise large fortunes, and become in time _signori_; not so the poor lace-makers, whose hardest day's gain seldom exceeds a franc and a half.[239] embroidered lace is also made at genoa. on a band of tulle are embroidered in darning-stitch flowers or small detached springs, and the ground is sometimes _semé_ with little embroidered dots. a coarse thread outlines the embroidery. {76}[illustration: fig. 36. lace pattern found in the church at santa margherita (circ. 1592).] plate xx. [illustration: italian. bobbin tape with needle-made réseau. width, 8 in. photo by a. dryden.] plate xxi. [illustration: italian, genoese. scalloped border of unbleached threads, twisted and plaited.--sixteenth or seventeenth century. width, 5 in. victoria and albert museum.] _to face page 76._ {77}[illustration: fig. 37. parchment pattern used to cover a book, bearing the date 1577. (reduced.)] the laces of albissola,[240] near savona, of black and white thread, or silk of different colours, were once an article of considerable exportation to the principal cities of spain, cadiz, madrid and seville. this industry was of early date. in many of the parochial churches of albissola are specimens of the native fabric dating from 1600, the work of devout ladies; and parchment patterns drawn and pricked for pillow-lace, bearing the earlier date of 1577, have been found covering old law books, the property of a notary of albissola. the designs (fig. 37) are flowing, but poor, and have probably served for some shawl or apron, for it was a custom long handed down for the daughters of great nobles, previous {78}to their marriage, to select veils and shawls of this fabric, and, in the memory of an aged workwoman (1864), the last of these bridal veils was made for a lady of the gentili family. princes and lords of different provinces in italy sent commissions to albissola for these articles in the palmy days of the fabric, and four women would be employed at one pillow, with sixty dozen bobbins at a time.[241] the making of this lace formed an occupation by which women in moderate circumstances were willing to increase their incomes. each of these ladies, called a _maestra_, had a number of workers under her, either at home or out. she supplied the patterns, pricked them herself, and paid her workwomen at the end of the week, each day's work being notched on a tally.[242] the women would earn from ten soldi to two lire a day. the last fine laces made at albissola were bought up by the lace-merchants of milan on the occasion of the coronation of napoleon i. in that city.[243] among the alençon laces is illustrated a beautiful lappet sent from genoa, now in the victoria and albert museum.[244] the pattern is of the louis quinze period, and the lovely diapered ground recalls the mayflower of the dresden and the oeil-de-perdrix of the sèvres china of that time. it was supposed to be of italian workmanship, though the very fine ground introduced in the _modes_ of the riband pattern is the true alençon réseau stitch. m. dupont auberville claimed it for alençon, asserting he had met with the same ground on point undoubtedly of that manufacture. he named it _réseau rosacé_. a considerable quantity of lace was formerly made from {79}the fibre of the aloe (filo d'erba spada)[245] by the peasants of albissola, either of its natural cream colour or dyed black. this lace, however, like that fabricated in the neighbourhood of barcelona, would not stand washing.[246] there exists a beautiful and ingenious work taught in the schools and convents along the riviera. it is carried to a great perfection at chiavari and also at the albergo de' poveri at genoa. you see it in every stage. it is almost the first employment of the fingers which the poor children of either sex learn. this art is principally applied to the ornamenting of towels, termed macramé,[247] a long fringe of thread being left at each end for the purpose of being knotted together in geometrical designs (fig. 38). macramé at the albergo de' poveri were formerly made with a plain plaited fringe, till in 1843, the baroness a. d' asti brought one from rome, richly ornamented, which she left as a pattern. marie picchetti, a young girl, had the patience to unpick the fringe and discover the way it was made. a variety of designs are now executed, the more experienced inventing fresh patterns as they work. some are applied to church purposes. specimens of elaborate workmanship were in the paris exhibition of 1867. these richly-trimmed macramé form an item in the wedding trousseau of a genoese lady, while the commoner sorts find a ready sale in the country, and are also exported to south america and california.[248] {80}cantu. cantu, a small town near lake como, is one of the greatest lace-producing centres in italy. the lace industry was planted there in the sixteenth century by the nuns of the benedictine order, and until fifty years ago was confined to simple and rude designs. during the latter half of the nineteenth century, however, the industry has been revived and the designs improved. thousands of women throughout the province work at it and dispose of their lace independently to travelling merchants, or work under the direction of the cantuese lace-merchants. the laces are all made with bobbins with both thread and silk. [illustration: fig. 38. fringed macramé.--(genoa.)] sicily. sicily was celebrated in olden times for its gold and metal laces, but this fabric has nearly died out. an attempt, however, is now being made to organise a revival of the lace industry as a means of support for the women of palermo and other populous centres. plate xxii. [illustration: ] plate xxiii. [illustration: italian. old peasant laces, bobbin made.--actual size.] plate xxiv. [illustration: italian. modern peasant bobbin lace.--made at the school at asolo near bassano, founded by browning. width about 4 in. photo by a. dryden.] _to face page 80._ {81}at messina, embroidered net (lacis) was made, and bobbin-laces and the antique sicilian drawn-work are now copied in the women's prison there. torchon, a lace which is also made in sicily, has no design worked upon the parchment. the peasant follows the dictates of her fancy, and forms combinations of webs and nets by skipping the holes pricked at regular intervals over the strip of parchment sewed upon the cushion or _ballon_.[249] there are other variations of old italian laces and embroideries which have not been mentioned here on account of space; either they are not often met with--certainly not outside italy--or in some cases they appear to be only local names for the well-known sorts. {82}chapter v. greece. "encor pour vous poincts de raguse il est bon, crainte d'attentat, d'en vouloir purger un estat; les gens aussi fins que vous estes ne sont bons que comme vous faites pour ruiner les estats."--_la révolte des passemens._ we have already spoken of greece as the cradle of embroidery, and in those islands which escaped the domination of the turks, the art still lingered on. cyprus, to which in after times venice gave a queen, was renowned for its gold, its stuffs, and its needlework. as early as 1393, in an inventory of the dukes of burgundy, we find noted "un petit pourpoint de satin noir, et est la gorgerette de maille d'argent de chippre"--a collar of silver network.[250] the peasants now make a coarse thread lace, and some fine specimens have recently been made in white silk, which were exhibited in the cyprus court of the colonial and indian exhibition of 1886, and are now in the possession of the victoria and albert museum. in our own country, in 1423, we have a statute touching the deceitful works of the embroiderers of gold and of silver of cipre, which shall be forfeited to the king.[251] but the secret of these cunning works became, after a time, known throughout europe. of cut-works or laces from cyprus[252] and the islands of the grecian seas, there is no mention; but we hear much of a certain point known to the commerce of the seventeenth century as that of ragusa, which, after an ephemeral existence, disappears from the scene. of ragusa, {83}says anderson, "her citizens, though a popish state, are manufacturers to a man." ragusa, comparatively near the montenegrin sea-board, and north-western coast of greece, was, in the fifteenth and early sixteenth centuries, one of the principal adriatic ports belonging to the venetian republic. certain it is that this little republic, closely allied with the italian branches of the house of austria, served them with its navy, and in return received from them protection. the commerce of ragusa consisted in bearing the products of the greek islands and turkey to venice, ancona, and the kingdom of naples;[253] hence it might be inferred that the fine productions of the greek convents were first introduced into italy by the merchants of dalmatia, and received on that account the denomination of points de raguse. when venice had herself learned the art, these cut-works and laces were no longer in demand; but the fabric still continued, and found favour in its native isles, chiefly for ecclesiastical purposes, the dress of the islanders, and for grave-clothes. in our english statutes we have no allusion to the point de raguse; in those of france[254] it appears twice. "tallemant des réaux"[255] and the "révolte des passemens"[256] both give it honourable notice. judging from the lines addressed to it in the last-named _jeu d'esprit_, point de raguse was of a more costly character, "faite pour ruiner les estats,"[257] than any of those other points present. if, however, from this period it did still form an article of commerce, we may infer that it appeared under the general appellation of point de venise. ragusa had affronted louis quatorze by its attachment to the austro-italian princes; he kicked out her ambassadors,[258] and if the name of the point was unpleasant, we may feel assured it was no longer permitted to offend the royal ears. {84}[illustration: fig. 39. silk gimp lace.] though no manufacture of thread lace is known at ragusa, yet much gold and silver lace is made for ornamenting the bodices of the peasants. they still also fabricate a kind of silk lace or gimp, made of twisted threads of cotton covered with metal, which is sewn down the seams of the coats and the bodices of the peasantry. the specimen, illustrated in fig. 39, may possibly be the old, long-lost point de raguse. its resemblance, with its looped edges, to the pattern given from _le pompe_,[259] published at venice in 1557, is very remarkable. we have seen specimens from italy and turkey. plate xxv. [illustration: sicilian. old drawn-work.--height, 12 in. photo by a. dryden from salviati & co.'s collection.] plate xxvi. [illustration: south italian.--the upper one is seventeenth century church lace--réseau of threads twisted into star-shaped meshes. the three lower are considered eighteenth century cretan. all pillow made of thread and silk. widths: 2, 2½, 1¾, 3¾ in. victoria and albert museum.] _to face page 84._ {85}the conventionally termed greek lace is really the italian _reticella_. "the designs of the earliest greek laces were all geometrical, the oldest being simple outlines worked over ends or threads left after others had been drawn or cut. next in date come the patterns which had the outlines further ornamented with half circles, triangles, or wheels. later, open-work with thick stitches was produced." [illustration: fig. 40. reticella, or greek lace.--(zante.)] the principal seats of the manufacture were the ionian isles, zante, corfu, venice, naples, rome, florence and milan. the ionian islands for many years belonged to venice, which accounts for the similarity in the manufacture. fig. 40 is from a specimen purchased in the island of zante. this lace was much in vogue in naples for curtains, bed-hangings, and coverlets, and even formed a substitute for {86}tapestry. a room hung with bands of greek lace, alternated with crimson or amber silk, has a most effective appearance. the church lace of the ionian isles was not appreciated by the natives, who were only too glad to dispose of it to the english officers in garrison at corfu. "much is still found in cephalonia: the natives bring it on board the steamers for sale, black with age, and unpleasant to the senses. this is not to be wondered at when we consider that it is taken from the tombs, where for centuries it has adorned the grave-clothes of some defunct ionian. this hunting the catacombs has now become a regular trade. it is said that much coarse lace of the same kind is still made in the islands, steeped either in coffee or some drug, and, when thus discoloured, sold as from the tombs" (1869). the greek islands now fabricate lace from the fibre of the aloe, and a black lace similar to the maltese. in athens, and other parts of greece proper, a white silk lace is made, mostly consumed by the jewish church. crete. pillow-lace making in crete would seem to have arisen in consequence of venetian intercourse with the island. "the cretan laces[260] were chiefly of silk, which seems to point to a cultivation of silk in the island, as well as to its importation from the neighbouring districts of asia minor, when laces were made there, at least one hundred years ago." in 1875, the south kensington museum acquired a collection of cretan laces and embroideries, some of which (the white thread laces) bear distinct traces of venetian influence, as, for example, those in which costumed figures are introduced. "as a rule, the motives of cretan lace patterns are traceable to orderly arrangement and balance of simple geometric and symmetrical details, such as diamonds, triangles and quaint polygonal figures, which are displayed upon groundworks of small meshes. the workmanship is somewhat remarkable, especially that displayed in the making of the meshes for the grounds. here we have an evidence of ability to twist and {87}plait threads as marked, almost as that shown by the lace-makers of brussels and mechlin. whether the twisting and plaiting of threads to form the meshes in this cretan lace was done with the help of pins or fine-pointed bones, may be a question difficult to solve." the patterns in the majority of the specimens are outlined with one, two, or three bright-coloured silken threads, which may have been worked in with the other threads as the _cordonnet_ in mechlin. the numerous interlacements which this _cordonnet_ makes with the lace point also to the outline having perhaps been run in with a needle. turkey. "the turks wear no lace or cut stuff," writes moryson (1589), winding up with "neither do the women wear lace or cut-work on their shirts"; but a hundred and fifty years later fashions are changed in the east. the grand turk now issues sumptuary laws against the wearing gold lace "on clothes and elsewhere."[261] a fine white silk guipure is now made in modern turkey at smyrna and rhodes, oriental in its style; this lace is formed with the needle or tambour hook. lace or passementerie of similar workmanship, called "oyah" is also executed in colours representing flowers, fruits and foliage, standing out in high relief from the ground. numerous specimens were in the international exhibition of 1867. the point lace manufactured in the harems is little known and costly in price. it is said to be the only silk guipure made with the needle. edgings of it resemble in workmanship figs. 121 and 122. malta. the lace once made in malta, indigenous to the island, was a coarse kind of mechlin or valenciennes of one arabesque pattern.[262] in 1833, lady hamilton chichester {88}induced a woman named ciglia to copy in white the lace of an old greek coverlet. the ciglia family from that time commenced the manufacture of the black and white silk guipures, so generally known under the name of maltese lace. much maltese is made in the orphanage in the little adjacent island of gozo. malta has certainly the first claim to the invention of these fine guipures, which have since made the fortune of auvergne, where they have been extensively manufactured at le puy, as well as by our own lace-makers of bedfordshire and in the irish schools. the black is made of barcelona silk, the same used in catalonia for the fabrication of the black blonde mantillas of the spanish ladies. fig. 41 represents the lace round the ecclesiastical robe of hugues loubeux de verdale, cardinal and grand master of the knights of malta, who died in 1595, and is buried in the church of st. john, where a magnificent tomb is erected to his memory. [illustration: fig. 41. loubeux de verdale.--(from the cast of his tomb, musée de versailles.)] pillow-laces made by women in ceylon and travancore, as well as elsewhere in india,[263] seem to owe more to the instruction of the portuguese than to the dutch or english. we mention it in this place because the specimens of thread pillow-lace from point de galle and candy bear a striking resemblance to the maltese. plate xxvii. [illustration: italian, rapallo. modern peasant lace, bobbin made, in silk.--actual size.] plate xxviii. [illustration: maltese. modern, bobbin made in silk.--about two-thirds actual size. photos by a. dryden.] _to face page 88._ {89}[illustration: fig. 42. bobbin-lace.--(ceylon.)] the specimens of indian pillow-laces, wrought with white and black threads, in the india museum, are apparently made in single pieces, and not as in honiton laces, by separate flowers, which are subsequently placed together for the ground to be worked in between them.[264] "a missionary taught a few chinese women to make silk lace from the wild silk of this part of china," reports consul bullock from chefoo (at the request of the nottingham chamber of commerce), but the small quantity of lace so produced is sold to europeans only. the chinese do not care to buy it. acting consul trotman also reported from hangkow, that a large quantity of hand-made lace is made in the roman catholic orphanages there, but this was entirely for european consumption. white lace in china is not woven by the natives, for white and blue being the national mourning colours, and severe simplicity of dress being _de rigueur_ on these occasions, lace of these colours has no sale.[265] {90}chapter vi. spain. "of point d'espagne a rich cornet, two night rails and a scarf beset, with a large lace and collaret." --evelyn, _voyage to marryland_. "hat laced with gold point d'espagne."[266] --wardrobe of a pretty fellow, _roderick random_. "the count: 'voglio una punta di spagna, larga, massiccia, ben lavorata. del disegno, della ricchezza, ma niente di luccicante."--goldoni, _l'avaro fastoso_. spanish point, in its day, has been as celebrated as that of flanders and italy. tradition declares spain to have learned the art from italy, whence she communicated it to flanders, who, in return, taught spain how to make pillow-lace. though the dress of the court, guided not by the impulse of fashion, but by sumptuary laws, gave little encouragement to the fabric, on the other hand, the numberless images of our lady and other patron saints, dressed and redressed daily in the richest vestments, together with the albs of the priests and the decorations of the altars, caused an immense consumption of lace for ecclesiastical purposes. "of so great value," says beckford, "were the laces of these favoured madonnas, that in 1787 the marchioness of cogalhudo, wife of the eldest son of the semi-royal race of medino coeli, was appointed mistress of the robes to our lady of la solidad, at madrid, a much-coveted office." {91}[illustration: fig. 43. the work-room.--(from an engraving of the sixteenth century after stradan.)] point d'espagne, in the usual sense of the word, signifies that gold or silver lace, sometimes embroidered in colours, so largely consumed in france during the earlier years of louis xiv.'s reign. ornaments made of plaited and twisted gold and silver threads were produced in spain during the seventeenth century, and mention of them is to be found in the ordinances of that time. towards the end of the century, narciso felin, author of a work published in barcelona, quoted by m. aubry, writes that, "edgings of all sorts of gold, silver, silk thread and aloe fibres are made at barcelona with greater perfection than in flanders." in the sixteenth century, flanders was part of the spanish dominions, and from flanders spain imported artistic goods, linen and lace included. mr. a. s. cole concludes from this that the barcelona lace-making was more or less an imitation of that which had previously existed in spanish flanders. {92}apart from this, the gold and silver lace of cyprus, venice, lucca and genoa preceded that from flanders, and it appears that spain was later in the field of artistic lace-making than either italy, flanders or france. even the celebrity of the gold point d'espagne is probably due more to the use of gold lace by spanish grandees,[267] than to the production in spain of gold lace. the name point d'espagne was, i think, a commercial one, given to gold lace by french makers.[268] dominique de sera, in his _livre de lingerie_, published in 1584, especially mentions that many of the patterns of point couppé and passement given were collected by him during his travels in spain; and in this he is probably correct, for as early as 1562, in the great wardrobe account of queen elizabeth, we have noted down sixteen yards of black spanish _laquei_ (lace) for ruffs, price 5s. the early pattern-books contain designs to be worked in gold and silver,[269] a manufacture said to have been carried on chiefly by the jews,[270] as indeed it is in many parts of europe at the present time; an idea which strengthens on finding that two years after the expulsion of that persecuted tribe from the country, in 1492, the most catholic kings found it necessary to pass a law prohibiting the importation of gold lace from lucca and florence, except such as was necessary for ecclesiastical purposes. mrs. palliser was of opinion that thread lace was manufactured in spain at this epoch, for, "in the cathedral of granada is preserved a lace alb presented to the church by ferdinand and isabella, one of the few relics of ecclesiastical grandeur still extant in the country." the late cardinal wiseman stated to mrs. palliser that he had himself officiated in this vestment, which was valued at 10,000 {93}crowns. but the following passage from señor riano greatly affects the value of what would otherwise be a fact of importance adduced by mrs. palliser. "notwithstanding the opinion of so competent an authority as mrs. palliser, i doubt the statement, finding no evidence to support it, that thread lace of a very fine or artistic kind was ever made in spain, or exported as an article of commerce during early times. the lace alb which mrs. palliser mentions to prove this as existing at granada, a gift of ferdinand and isabella in the fifteenth century, is flemish lace of the seventeenth."[271] the sumptuous "spanish point," the white thread heavy arabesque lace, was an italian production originally. it was imported for the spanish churches and then imitated in the convents by the nuns, but was little known to the commercial world of europe until the dissolution of the spanish monasteries[272] in 1830, when the most splendid specimens of nun's work came suddenly into the market; not only the heavy lace generally designated as "spanish point," but pieces of the very finest description (like point de venise), so exquisite as to have been the work only of those whose "time was not money," and whose devotion to the church and to their favourite saints rendered this work a labour of love, when in plying their needles they called to mind its destination. among the illustrations are some photographs received from rome of some curious relics of old spanish conventual work, parchment patterns with the lace in progress. they were found in the convent of jesù bambino, and belonged to some spanish nuns who, in bygone ages, taught the art to the novices. none of the present inmates can give further information respecting them. the work, like all point, was executed in separate pieces given out to the different nuns and then joined together by a more skilful hand. in fig. 44 we see the pattern traced out by two threads fixed in their places by small stitches made at intervals by a needle and aloe[273] thread working from underneath. the réseau ground is alone worked in. we see the thread left as by sister felice vittoria when she last plied her task. {94}fig. 45 has the pearled ground, the pattern traced as in the other. loops of a coarser thread are placed at the corners, either to fasten the parchment to a light frame, like a schoolboy's slate, or to attach it to a cushion. in fig. 46 the pattern is just worked. [illustration: fig. 44. unfinished work of a spanish nun.] plate xxix. [illustration: spanish. modern thread bobbin lace made at almagro.--slightly reduced.] plate xxx. [illustration: spanish, blonde. white silk darning on machine net.--nineteenth century. much reduced. photos by a. dryden from private collections.] _to face page 94._ {95}a possible reference to lace is found in father fr. marcos antonio de campos,[274] in his book, _microscosmia y gobierno universal del hombre crestiano_, when he writes, "i will not be silent, and fail to mention the time lost these last years in the manufacture of _cadenetas_, a work of thread combined with gold and silver; this extravagance and excess reached such a point that hundreds and thousands of ducats were spent in this work, in which, besides destroying the eyesight, wasting away the lives, and rendering consumptive the women who worked it, and preventing them from spending their time with more advantage to their souls, a few ounces of thread and years of time were wasted with so unsatisfactory a result. i ask myself, after the fancy has passed away, will the lady or gentleman find that the chemises that cost them fifty ducats, or the _basquina_ (petticoats) that cost them three hundred, are worth half their price?" [illustration: fig. 45. unfinished work of a spanish nun.] "the most important of spanish ordinances[275] relating to spanish art and industry are those which appeared in the {96}fifteenth and sixteenth centuries in toleda and seville, both remarkable centres for all kinds of artistic productions. in neither of these, nor in the sixteenth and seventeenth century ordinances relating to granada--another art-centre--is there any mention of lace. [illustration: fig. 46. unfinished work of a spanish nun.] "in the laws which were passed by ferdinand and isabella at the end of the fifteenth and beginning of the sixteenth centuries, no mention is made of lace, though numerous {97}details of costumes are named. it will be seen from these remarks on spanish lace that we give to italy the credit of producing the artistic and valuable point lace, which unexpectedly came out of spain after the dissolution of the monasteries." the ordinance of philip iii, against the wearing of lace, dated 1623, which enjoined "simples rabats, sans aucune invention de point couppé ou passement" for the men, with fraises and manchettes in like trim for the ladies, both too without starch,[276] and which extended to gold and silver lace, was suspended during the matrimonial visit of prince charles;[277] indeed, the queen of spain herself sent him, on his arrival at madrid, ten trunks of richly-laced linen. the prince had travelled incognito, and was supposed to be ill-provided. whether the surmises of her majesty were correct, we cannot presume to affirm; we only know that, on the occasion of the spanish voyage, a charge of two dozen and a half laced shirts, at twelve shillings each, for the prince's eight footmen, appears in the wardrobe accounts.[278] the best account of spanish manners of the seventeenth century will be found in the already-mentioned _letters of a lady's travels in spain_. "under the vertingale of black taffety," she writes, "they wear a dozen or more petticoats, one finer than the other, of rich stuffs trimmed with lace of gold and silver, to the girdle. they wear at all times a white garment called _sabenqua_; it is made of the finest english lace, and four ells in compass. i have seen some worth five or six hundred crowns;... so great is their vanity, they would rather have one of these lace _sabenquas_ than a dozen coarse ones;[279] and either lie in bed till it is washed, or dress themselves without any, which they frequently enough do." a number of portraits exist in the spanish galleries, {98}especially by velasquez and carrêno, in which these extravagant costumes are fully portrayed, but in very few spanish portraits of the seventeenth century does thread lace of the kind known to us as point d'espagne, or de venise ever appear. describing her visit to the princess of monteleon, the author continues: "her bed is of gold and green damask, lined with silver brocade, and trimmed with point de spain.[280] her sheets were laced round with an english lace, half an ell deep. the young princess bade her maids bring in her wedding clothes. they brought in thirty silver baskets, so heavy, four women could carry only one basket; the linen and lace were not inferior to the rest." the writer continues to enumerate the garters, mantle, and even the curtains of the princess's carriage, as trimmed with fine english thread, black and bone lace.[281] judging from this account, spain at that period received her "dentelles d'angleterre" from the low countries. spain was early celebrated for its silk,[282] which with its coloured embroidered laces, and its gold and silver points, have always enjoyed a certain reputation. of the latter, during the seventeenth century, we have constant mention in the wardrobe accounts and books of fashion of the french court. the description of the celebrated gold bed at versailles, the interior lacings of the carriages, the velvet and brocade coats and dresses, "chamarrés de point d'espagne," the laces of gold and coloured silk, would alone fill a volume to themselves.[283] {99}narciso felin, writing in the seventeenth century,[284] says that at that time "edgings of all sorts of gold,[285] silver, silk, thread, and aloe, are made there with greater perfection than in flanders." campany, another old author, carries the number of lace-makers to 12,000. the spaniards are said, nevertheless, in 1634, to have derived a great part of their laces from the île de france, while the french, on their part, preferred those of flanders.[286] that the lace import was considered excessive is evident by the tariff of 1667; the import duty of twenty-five reals per pound on lace was augmented to two hundred and fifty reals. much point was introduced into spain at this time by way of antwerp to cadiz, under the name of "puntos de mosquito e de transillas." madame des ursins, 1707, in a letter to madame de maintenon, ordering the layette of the queen of spain from paris, writes: "if i were not afraid of offending those concerned in the purchase, in my avarice for the king of spain's money, i would beg them to send a low-priced lace for the linen." {100}this gold point d'espagne was much fabricated for home consumption. the oldest banner of the inquisition--that of valladolid--is described as bordered with real point d'espagne, of a curious gothic (geometric) design. at the auto-da-fè, the grandees of spain and officers of the holy office marched attired in cloaks, with black and white crosses, edged with this gold lace. silver point d'espagne was also worn on the uniform of the maestranza, a body of nobility formed into an order of chivalry at seville, ronda, valencia and granada. even the saints were rigged out, especially st. anthony, at valencia, whose laced costume, periwig and ruffles are described as "glorious." [illustration: fig. 47. old spanish pillow-lace.] point d'espagne was likewise made in france, introduced by one simon châtelain, a huguenot, about 1596, in return for which good services he received more protection than his advanced opinions warranted. colbert, becoming minister in 1662, guaranteed to simon his safety--a boon already refused to many by the intolerant spirit of the times. he died in 1675, having amassed a large fortune.[287] that the fabric prospered, the following entry in the wardrobe accounts of the duke de penthièvre, 1732, gives proof:[288] "un bord de point d'espagne d'or de paris, à fonds de réseau." "france," writes anderson, "exports much lace into spain." plate xxxi. [illustration: portrait of the duchesse de montpensier, infanta of spain, showing mantilla. middle of nineteenth century. m. de versailles.] _to face page 100._ {101}"the sumptuary law of 1723 has taken away," writes the author of two thick books on spanish commerce, "all pretence for importing all sorts of point and lace of white and black silk which are not the manufactures of our kingdom. the spaniards acted on lord verulam's policy--that foreign superfluities should be prohibited[289]--for by so doing you either banish them or gain the manufacture." but towards the middle of the eighteenth century there are notices of constant seizures of vessels bound from st. malo to cadiz, freighted with gold and silver lace. the _eagle_, french vessel, taken by captain carr, in 1745, bore cases to the value of £150,000.[290] in 1789 we also read that the exports of lace from the port of marseilles alone to cadiz exceeded £500,000,[291] and the author of the _apendice a la educacion popular_[292] states that "all the five qualities (of lace) come from foreign lands, and the greater varieties of coarser ones." gold and silver lace were made at barcelona, talavera de la reyna, valencia and seville. in 1808 that of seville was flourishing. the gold is badly prepared, having a red cast. the manufacture of blonde is almost entirely confined to catalonia, where it is made in many of the villages along the sea-coast, and especially in the city of barcelona. in 1809 it gave employment to 12,000 persons, a number which in 1869 was augmented to 34,000. there are no large manufactories, and the trade is in the hands of women and children, who make it on their own account, and as they please.[293] swinburne, who visited spain in 1775, writes: "the women of the hamlets were busy with their bobbins making black lace, some of which, of the coarser kind, is spun out of the leaf of the aloe. it is curious, but of little use, for it grows mucilaginous with washing." he adds: "at barcelona there is a great trade in thread lace."[294] larruga, in his {102}_memorias_,[295] mentions a manufacture of gold and silver lace which had been set up lately in madrid, and in another place he[296] mentions lace made at la mancha,[297] where "the industry of lace has existed at almagro from time immemorial." don manuel fernandez and donna rita lambert, his wife, natives of madrid, established in this town in 1766 a manufacture of silk and thread lace. this industry also existed at granatula, manzanares and other villages in la mancha. at zamora "lace and blonde were made in private houses." in _sempere historia del lujo_[298] we find that in the ordinance issued in 1723 the "introduction of every sort of edgings or foreign laces was prohibited; the only kinds allowed were those made in the country." cabanillas writes[299] that at novelda a third part of the inhabitants made lace, and that "more than 2,000 among women and children worked at this industry, and the natives themselves hawked their wares about the country."[300] the laces of new castile were exported to america, to which colonies, in 1723, the sumptuary laws were extended, as more necessary than in spain, "many families having been ruined," says ustariz, "by the great quantities of fine lace and gold stuffs they purchased of foreign manufacture, by which means spanish america is drained of many millions of dollars."[301] a spanish lace-maker does not earn on an average two reals (5d.) a day.[302] the national mantilla is, of course, the principal piece manufactured. of the three kinds which, _de rigueur_, form the toilette of the spanish lady, the first is composed of white blonde, a most unbecoming contrast to their sallow, olive complexion; this is only used on state occasions--birthdays, bull-fights, and easter mondays. the second is black {103}blonde, trimmed with a deep lace. the third, "mantilla de tiro," for ordinary wear, is made of black silk, trimmed with velvet. a spanish woman's mantilla is held sacred by law, and cannot be seized for debt.[303] the silk employed for the lace is of a superior quality. near barcelona is a silk-spinning manufactory, whose products are specially used for the blondes of the country. spanish silk laces do not equal in workmanship those of bayeux and chantilly, either in the firmness of the ground or regularity of the pattern. the annual produce of this industry scarcely amounts to £80,000.[304] specimens of barcelona white lace have been forwarded to us from spain, bearing the dates of 1810, 1820, 1830 and 1840. some have much resemblance to the fabric of lille--clear hexagonal ground, with the pattern worked in one coarse thread; others are of a double ground, the designs flowers, bearing evidence of a flemish origin.[305] spain sent to the international exhibitions, together with her black and white mantillas, fanciful laces gaily embroidered in coloured silks and gold thread--an ancient fabric lately revived, but constantly mentioned in the inventories of the french court of the seventeenth century, and also by the lady whose letters we have already quoted. when describing a visit to donna teresa de toledo, who received her in bed, she writes: "she had several little pillows tied with ribbons and trimmed with broad fine lace. she had 'lasses' all of flowers of point de spain in silk and gold, which looked very pretty."[306] the finest specimen of spanish work exhibited in 1862 {104}was a mantilla of white blonde, the ground a light guipure, the pattern, wreaths of flowers supported by cupids. in the official report on lace and embroidery at the international exhibition of that year, we read that "the manufacture of black and white spanish lace shows considerable progress since 1851, both in respect of design and fabrication. the black mantillas vary in value from £4 to £50, and upwards of 20,000 persons are said to be employed in their manufacture." before concluding our account of spanish lace, we must allude to the "dentelles de moresse," supposed by m. francisque michel[307] to be of iberian origin, fabricated by the descendants of the moors who remained in spain and embraced christianity. these points are named in the above-mentioned "révolte des passemens," where the author thus announces their arrival at the fair of st. germain:- "il en vint que, le plus souvent. on disoit venir du levant; il en vint des bords de l'ibère. il en vint d'arriver n'agueres des pays septentrionaux." what these points were it would be difficult to state. in the inventory of henry viii. is marked down, "a purle of morisco work." one of the pattern-books gives on its title-page- "dantique et roboesque en comprenant aussi moresque." a second speaks of "moreschi et arabesche."[308] a third is entitled, "un livre de moresque."[309] a fourth, "un livre de feuillages entrelatz et ouvrages moresques."[310] all we can say on the subject is, that the making cloths of chequered lace formed for a time the favourite employment of moorish maidens, and they are still to be purchased, yellow with age, in the african cities of tangier and tetuan. they may be distinguished from those worked by christian fingers from the absence of all animals in the pattern, the representation of living creatures, either in painting, sculpture, or embroidery, being strictly forbidden by mahommedan law. plate xxxii. [illustration: jewish.--made in syria. the pattern is only modern torchon, but the knotting stitch is their peculiar tradition. same size.] plate xxxiii. [illustration: spanish.--the upper one is a copy of italian lace clumsily made. the lower is probably a "dentelle de moresse." widths about 3½ in. photo by a. dryden from salviati & co.'s collection.] _to face page 104._ {105}portugal. point lace was held in high estimation in portugal. there was no regular manufacture; it formed the amusement of the nuns and a few women who worked at their own houses. the sumptuary law of 1749 put an end to all luxury among the laity. even those who exposed such wares as laces in the streets were ordered to quit the town.[311] in 1729,[312] when barbara, sister of joseph, king of portugal, at seventeen years of age, married ferdinand, prince of spain, before quitting lisbon, she repaired to the church of the madre de dios, on the tagus, and there solemnly offered to the virgin the jewels and a dress of the richest portuguese point she had worn on the day of her espousals. this lace is described as most magnificent, and was for near a century exhibited under a glass case to admiring eyes, till, at the french occupation of the peninsula, the duchesse d'abrantès, or one of the imperial generals, is supposed to have made off with it.[313] when lisbon arose from her ashes after the terrible earthquake of 1755, the marquis de pombal founded large manufactures of lace, which were carried on under his auspices. wraxall, in his _memoirs_, mentions having visited them. the fine points in relief of italy and spain were the result of such time and labour as to render them too costly for moderate means. hence they were extensively counterfeited. the principal scroll of the pattern was formed by means of tape or linen cut out and sewn on, and the reliefs were produced by cords fixed and overcast after the work was finished, thus substituting linen and cords for parts of {106}the needlework. these counterfeit points were in france the occasion in 1669 of an ordinance. [illustration: fig. 48. bobbin-lace.--(madeira.)] the modern laces of portugal and madeira closely resemble those of spain; the wider for flounces are of silk: much narrow lace is made after the fashion of mechlin. both spain and portugal enjoy a certain reputation for their imitation white chantilly lace. a considerable quantity of coarse white lace, very effective in pattern, was formerly made in lisbon and the environs;[314] this was chiefly exported, _viâ_ cadiz, to south america. both black and white are {107}extensively made in the peninsula of peniche, north of lisbon (estremadura province), and employ the whole female population. children at four years of age are sent to the lace school, and are seated at _almofadas_ (pillows) proportioned to their height, on which they soon learn to manage the bobbins, sometimes sixty dozen or more, with great dexterity.[315] the nuns of odivales were, till the dissolution of the monasteries, famed for their lace fabricated of the fibres of the aloe. [illustration: fig. 49. bobbin-lace.--(brazil.)] pillow-lace was made at madeira at the beginning of the nineteenth century. the coarse kind, a species of _dentelle torchon_, served for trimming pillow-cases and sheets--"seaming lace," as it was called (fig. 49). sometimes the threads of the linen were drawn out after the manner of cut-work; but the manufacture had entirely ceased until 1850 (circ.), when it was re-established by mrs. bayman.[316] {108}brazil makes a coarse narrow pillow-lace for home consumption. the republics of central and south america show indications of lace-making, consisting chiefly of darned netting and drawn-work, the general characteristic of the lace of these countries. the lace-bordered handkerchiefs of brazil, and the productions of venezuela, with the borders of the linen trousers of the guachos, and the creva lace of the blacks of the province of minas geraes, are the finest specimens of drawn-work. the lace of chili is of the old lozenge pattern, and men also appear to be employed on the work. in paraguay there are two sorts of work--nanduti or "toile d'arraignée," made in silk or thread by a needle on a cardboard pattern by the copper-coloured natives as an industry; also embroidery and drawn thread-work on linen, of which there are specimens in the victoria and albert museum--all traditions of the european missionaries and traders who first colonised the country. plate xxxiv. [illustration: spanish.--pillow made nineteenth century. réseau of two threads twisted and crossed. slightly reduced.] plate xxxv [illustration: paraguay. "nanduti."--end of nineteenth century. reduced rather over half. photos by a. dryden from private collections.] _to face page 108._ {109}chapter vii. flanders. "for lace, let flanders bear away the belle." --sir c. hanbury williams. "in french embroidery and in flanders lace i'll spend the income of a treasurer's place." --_the man of taste_, rev. w. bramstone. flanders and italy together dispute the invention of lace. in many towns of the low countries are pictures of the fifteenth century, in which are portrayed personages adorned with lace,[317] and baron reiffenberg, a belgian writer, asserts that lace cornettes, or caps, were worn in that country as early as the fourteenth century. as evidence for the early origin of pillow-lace in the low countries, baron reiffenberg mentions an altar-piece, attributed to quentin matsys (in a side chapel of the choir of st. peter's, at louvain), in which a girl is represented making lace with bobbins on a pillow with a drawer, similar to that now in use.[318] there exists a series of engravings after martin de vos (1580-85), giving the occupations of the seven ages of life: in the third,[319] assigned to _âge mûr_, is seen a girl, sitting with a pillow on her knees, making lace (fig. 50). the occupation must have been then common, or the artist would scarcely have chosen it to characterise the habits of his country. of the two paintings attributed to matsys--that in st. peter's, at louvain, and that in lierre, only the former is now assigned to the artist. both pictures are said to be of the end of the fifteenth century or beginning of the sixteenth. {110}[illustration: fig. 50. lace-making.--(after martin de vos.)] the triptych at louvain is reproduced and described in detail by van even in his work, _louvain dans le passé et dans le présent_;[320] it consists of five panels, the centre panel representing "la famille de sainte anne"; but among all the figures none, however, appear to be engaged in making lace or, indeed, in any form of needlework. plate xxxvi. [illustration: flemish. portion of bed cover, bobbin-made.--first half of seventeenth century. this is said to have belonged to philip iv. of spain. above the austrian eagle and crown is the collar of the golden fleece. the workmanship is of great skill. victoria and albert museum.] _to face page 110._ {111}it has been suggested that the "lace-maker making lace with bobbins on a pillow with a drawer" (alluded to by baron reiffenberg) in the triptych is taken from the above-mentioned engravings by nicholas de bruyel and assuerus van londonzeel, after the drawings of martin de vos. the historian of the duke of burgundy[321] declares charles the bold to have lost his _dentelles_ at the battle of granson, 1476; he does not state his authority. probably they were gold or silver, for no other exist among his relics. in vecellio's _corona_ of 1593 and 1596 are two designs of geometrical lace--"ponto fiamengho" and "manegetti di ponto fiamengo," point de flandre. in 1651, jacob v. eyck, a flemish poet, sang the praises of lace-making in latin verse. "of many arts one surpasses all; the threads woven by the strange power of the hand, threads which the dropping spider would in vain attempt to imitate, and which pallas would confess she had never known;" and a deal more in the same style.[322] the lace-manufacture of the netherlands, as baron reiffenberg writes, has a glorious past. after exciting the jealousy of other european nations, in the sixteenth century, when every industrial art fled from the horrors of religious persecution, the lace fabric alone upheld itself, and by its prosperity saved flanders from utter ruin. every country of northern europe,[323] germany, and england, has learned the art of lace-making from flanders. after the establishment of the points de france by colbert, flanders was alarmed at the number of lace-makers who emigrated, and passed an act, dated brussels, december 26th, 1698, {112}threatening with punishment any who should suborn her workpeople. lace-making forms an abundant source of national wealth to belgium, and enables the people of its superannuated cities to support themselves, as it were, on female industry.[324] one-fourth of the whole population (150,000 women) were said to be thus engaged, in 1861. but a small number assemble in the ateliers; the majority work at home. the trade now flourishes as in the most palmy days of the netherlands. [illustration: fig. 51. cap of the emperor charles v.--(musée de cluny.) this engraving is not accurately drawn. the spaces contain birds and crosses, and not sprigs.] [illustration: fig. 52. isabella clara eugenia, daughter of philip ii., archduchess of austria, governess of the netherlands.--died 1633. _to face page 112._] {113}lace forms a part of female education in belgium. charles v. commanded it to be taught in the schools and convents. examples of the manufactures of his period may be seen in the cap said to be worn by him under his crown, and in the contemporary portrait of his sister mary, queen of hungary. this cap, long preserved in the treasury of the bishop-princes of basle, has now passed into the musée de cluny (fig. 51). it is of fine linen; the imperial arms are embroidered in relief, alternate with designs in lacis of exquisite workmanship.[325] [illustration: fig. 53. mary, queen of hungary, governess of the low countries. +1558.--(from her portrait, musée de versailles.)] queen mary's cuffs (fig. 53) are of the geometric pattern of the age, and we may presume, of flanders make, as she was governess of the low countries from 1530 till her death. the grand-daughter of charles v., the infanta isabella, who brought the low countries as her dower,[326] appears in her portraits (fig. 52) most resplendent in lace, and her ruff rivals in size those of our queen elizabeth, or reine margot. but to return to our subject. of the lace schools there were nearly 900 in 1875, either in the convents or founded by private charity. at the age of five small girls commence {114}their apprenticeship; by ten they earn their maintenance; and it is a pretty sight, an "école dentellière," the children seated before their pillows, twisting their bobbins with wonderful dexterity. (fig. 54.) [illustration: fig. 54. a belgian lace school.] in a tract of the seventeenth century entitled, _england's improvement by sea and land, to outdo the dutch without fighting_,[327] we have an amusing account of one of these establishments. "joining to this spinning school is one for maids weaving bone lace, and in all towns there are schools according to the bigness and multitude of the children. i will show you how they are governed. first, there is a large room, and in the middle thereof a little box like a pulpit. second, there are benches built about the room as they are in our playhouses. and in the box in the middle of the room the grand mistress, with a long white wand in her hand. if she observes any of them idle, she reaches them a tap, and if that will not do, she rings a bell, which, by a little cord, is attached to the box. she points out the offender, and she is taken into another room and chastised. and i believe this way of ordering the young women in germany (flanders) is one great cause that the german women have so little twit-twat,[328] and i am sure it will be as well were it so in england. there the children emulate the father--here they beggar him. child," he winds up, "i charge you tell this to thy wyfe in bed, and it may be that she, understanding the benefit it will be to her and her children, will turn dutchwoman and endeavour to save moneys." notwithstanding this good advice, in 1768 england received from flanders lace-work £250,000 to her disadvantage, as compared to her exports. [illustration: fig. 55. old flemish bobbin lace. _to face page 114._] {115}[illustration: fig. 56. old flemish (trolle kant). the piece of lace from which this woodcut is taken has five or six different designs all joined together; probably patterns sent round for orders.] the old flemish laces are of great beauty, some of varied grounds. fig. 56 represents a description of lace called in the country "trolle kant," a name which has been transferred to our own lace counties, where lace of a peculiar {116}make is styled trolly, with a heavy cordonnet which is called gimp or trolly. _kant_ in flemish is "lace." at one period much lace was smuggled into france from belgium by means of dogs trained for the purpose. a dog was caressed and petted at home, fed on the fat of the land, then after a season sent across the frontier, where he was tied up, half-starved and ill-treated. the skin of a bigger dog was then fitted to his body, and the intervening space filled with lace. the dog was then allowed to escape and make his way home, where he was kindly welcomed with his contraband charge. these journeys were repeated till the french custom house, getting scent, by degrees put an end to the traffic. between 1820 and 1836 40,278 dogs were destroyed, a reward of three francs being given for each.[329] according to some authorities the earliest lace made in flanders was of the kind known as pillow guipure. the pattern is made as of tape, in flowing renaissance style, sometimes connected by brides, and sometimes altogether without brides, when the points of the pattern touch each other. in the specimens of this type of lace in the victoria and albert museum there is apparently little in the laces by which the country of their origin may be identified. sometimes they have been considered french, sometimes flemish, and sometimes italian. [see the specimens of tape-lace in the catalogue of the lace in the victoria and albert museum, p. 49, by a. s. cole.] (plate xxxviii.) brussels (brabant). "more subtile web arachne cannot spin."--spenser. "from lisle i came to brussels, where most of the fine laces are made you see worn in england."--lord chesterfield, 1741. at what period the manufacture of brussels lace commenced we are ignorant; but, judging from the earlier patterns, it may be placed at the beginning of the sixteenth century. the ancient churches of brabant possess, it is said, many precious specimens, the gifts of munificent princes who have at all periods shown a predilection for brussels lace, and in every way promoted its manufacture. in usage it is termed point d'angleterre, an error explained to us by history. plate xxxvii. [illustration: brussels. point d'angleterre à brides. crown of a cap.--last half of seventeenth century. the property of mr. arthur blackborne.] plate xxxviii. [illustration: flemish. tape lace, bobbin-made.--seventeenth century. photos by a. dryden.] _to face page 116._ {117}in 1662 the english parliament, alarmed at the sums of money expended on foreign point, and desirous to protect the english bone-lace manufacture, passed an act prohibiting the importation of all foreign lace. the english lace-merchants, at a loss how to supply the brussels point required at the court of charles ii., invited flemish lace-makers to settle in england and there establish the manufacture. the scheme, however, was unsuccessful. england did not produce the necessary flax, and the lace made was of an inferior quality. the merchants therefore adopted a more simple expedient. possessed of large capital, they bought up the choicest laces of the brussels market, and then smuggling them over to england, sold them under the name of point d'angleterre, or "english point."[330] this fact is, curiously enough, corroborated in a second memorandum given by the venetian ambassador to the english court in 1695, already mentioned by an informant in london, who states that venetian point is no longer in fashion, but "that called english point, which, you know, is not made here, but in flanders, and only bears the name of english to distinguish it from the others." "questo chiamato punto d'inghilterra, si sappia che non si fa qui, ma in fiandra, et porta solamente questo nome d'inghilterra per distintione dagli altri." the account of the seizure made by the marquis de nesmond of a vessel laden with flanders lace, bound for england, in 1678[331] will afford some idea of the extent to which this smuggling was carried on. the cargo comprised 744,953 ells of lace, without enumerating handkerchiefs, collars, fichus, aprons, petticoats, fans, gloves, etc., all of the same material. from this period "point de bruxelles" became more and more unknown, and was at last effaced by "point d'angleterre,"[332] a name it still retains.[333] on consulting, however, the english royal inventories of {118}the time, we find no mention of "english point." in france, on the other hand, the fashion books of the day[334] commend to the notice of the reader, "corsets chamarrés de point d'angleterre," with vests, gloves, and cravats trimmed with the same material. among the effects of madame de simiane, dated 1681, were many articles of english point;[335] and monseigneur the archbishop of bourges, who died some few years later, had two cambric toilettes trimmed with the same.[336] the finest brussels lace can only be made in the city itself. antwerp, ghent, and other localities have in vain tried to compete with the capital. the little town of binche, long of lace-making celebrity, has been the most successful. binche, however, now only makes pillow flowers (point plat), and those of an inferior quality. when, in 1756, mrs. calderwood visited the béguinage at brussels, she wrote to a friend describing the lace-making. "a part of their work is grounding lace; the manufacture is very curious. one person works the flowers. they are all sold separate, and you will see a very pretty sprig, for which the worker only gets twelve sous. the masters who have all these people employed give them the thread to make them; this they do according to a pattern, and give them out to be grounded; after this they give them to a third hand, who 'hearts' all the flowers with the open work. that is what makes this lace so much dearer than the mechlin, which is wrought all at once."[337] the thread used in brussels lace is of extraordinary fineness. it is made of flax grown in brabant, at hal and rebecq-rognon.[338] the finest quality is spun in dark underground rooms, for contact with the dry air causes the thread to break, so fine is it as almost to escape the sight. the feel of the thread as it passes through the fingers is the surest guide. the thread-spinner closely examines every inch drawn from her distaff, and when any inequality occurs stops her wheel to repair the mischief. every artificial help is given to the eye. a background of dark paper is placed to throw out the thread, and the room so arranged as to admit one single ray of light upon the work. the life of a flemish thread-spinner is unhealthy, and her work requires the greatest skill; her wages are therefore proportionably high. [illustration: fig. 57. brussels needle-point. _to face page 118._] {119}it is the fineness of the thread which renders the real brussels ground (_vrai réseau_, called in flanders, "droschel") so costly.[339] the difficulty of procuring this fine thread at any cost prevented the art being established in other countries. we all know how, during the last fifty years of the bygone century, a mania existed in the united kingdom for improving all sorts of manufactures. the anti-gallican society gave prizes in london; dublin and edinburgh vied with their sister capital in patriotism. every man would establish something to keep our native gold from crossing the water. foreign travellers had their eyes open, and lord garden, a scotch lord of session, who visited brussels in 1787, thus writes to a countryman on the subject: "this day i bought you ruffles and some beautiful brussels lace, the most light and costly of all manufactures. i had entertained, as i now suspect, a vain ambition to attempt the introduction of it into my humble parish in scotland, but on inquiry i was discouraged. the thread is of so exquisite a fineness they cannot make it in this country. it is brought from cambrai and valenciennes in french flanders, and five or six different artists are employed to form the nice part of this fabric, so that it is a complicated {120}art which cannot be transplanted without a passion as strong as mine for manufactures, and a purse much stronger. at brussels, from one pound of flax alone they can manufacture to the value of £700 sterling." there were two kinds of ground used in brussels lace, the bride and the réseau. the bride was first employed, but, even a century back,[340] had been discontinued, and was then only made to order. nine ells of "angleterre à bride" appear in the bills of madame du barry.[341] the lace so made was generally of most exquisite workmanship, as many magnificent specimens of "bas d'aube,"[342] now converted into flounces, attest. sometimes bride and réseau were mixed.[343] in the inventories the description of ground is always minutely specified.[344] (see plates xxxvii., xlvii., xlviii., xlix., li.) [illustration: fig. 58. brussels needle-point. _to face page 120._] [illustration: fig. 58a. brussels. point à l'aiguille.--formerly belonged to h.m. queen charlotte. _to face page 120._] {121}the réseau was made in two ways,[345] by hand (à l'aiguille), and on the pillow (au fuseau). the needleground is worked from one flower to another, as in fig. 44. the pillow is made in small strips of an inch in width, and from seven to forty-five inches long, joined together by a stitch long known to the lace-makers of brussels and bayeux only,[346] called "point de raccroc"--in english, "fine joining"--and consisting of a fresh stitch formed with a needle between the two pieces to be united. it requires the greatest nicety to join the segments of shawls and other large pieces. since machine-made net has come into use the "vrai réseau" is rarely made, save for royal trousseaux (figs. 57 and 58). there are two kinds of flowers: those made with the needle are called "point à l'aiguille"; those on the pillow, "point plat."[347] the best flowers are made in brussels itself, where they have attained a perfection in the relief (point brodé) unequalled by those made in the surrounding villages and in hainault. the last have one great fault. coming soiled from the hands of the lace-makers, they have a reddish-yellow cast. in order to obviate this evil the workwoman, previous to sewing the flowers on the ground, places them in a packet of white lead and beats them with the hand, an operation injurious to the health of the lace-cleaner. it also causes the lace to turn black when laid in trunks or wardrobes in contact with flannel or other woollen tissues bleached with sulphur, which discolours the white lead. bottles containing scent, the sea air, or a heated room, will produce the same disagreeable change, and the colour is with difficulty restored. this custom of powdering yellow lace is of old date. we read in 1782[348]: "on tolère en même temps les dentelles jaunes et fort sales, poudrez-les à blanc pour cacher leur vetusté, dut la fraude paroître, n'importe, vous avez des dentelles vous êtes bien dispensé de la propreté mais non du luxe." mrs. delany writes in 1734: "your head and ruffles are being made up, but brussels always look yellow;" and she was right, for flax thread soon returns to its natural "crêmée" hue. yet, "how curled her hair, how clean her brussels lace!" exclaims the poet.[349] later, the taste for discoloured lace became general. the "isabelle" or cream-coloured tint was found to be more becoming than a dazzling white, and our coquettish grandmothers, who prided themselves upon the colour of their point, when not satisfied with the richness of its hue, had their lace dipped in coffee. {122}in the old laces the plat flowers were worked in together with the ground. (fig. 59.) application lace was unknown to our ancestors.[350] the making of brussels lace is so complicated that each process is, as before mentioned, assigned to a different hand, who works only at her special department. the first, termed-1. drocheleuse (flemish, drocheles), makes the vrai réseau. 2. dentelière (kantwerkes), the footing. 3. pointeuse (needlewerkes), the point à l'aiguille flowers. 4. platteuse (platwerkes), makes the plat flowers. 5. fonneuse (grondwerkes), is charged with the open work (jours) in the plat. 6. jointeuse, or attacheuse (lashwerkes), unites the different sections of the ground together. 7. striqueuse, or appliqueuse (strikes), is charged with the sewing (application) of the flowers upon the ground. the pattern is designed by the head of the fabric, who, having cut the parchment into pieces, hands it out ready pricked. the worker has no reflections to make, no combinations to study. the whole responsibility rests with the master, who selects the ground, chooses the thread, and alone knows the effect to be produced by the whole. the pattern of brussels lace has always followed the fashion of the day. the most ancient is in the gothic style (_gothique pur_), its architectural ornaments resembling a pattern cut out in paper. this style was replaced by the flowing lines which prevailed till the end of the last century. (fig. 60.) in its turn succeeded the _genre fleuri_ of the first empire, an assemblage of flowers, sprigs, columns, wreaths, and petits semés, such as spots, crosses, stars, etc. in flowers, the palm and pyramidal forms predominated. under the restoration the flowery style remained in fashion, but the palms and pyramids became more rare. since 1830 great changes have taken place in the patterns, which every year become more elegant and more artistic. [illustration: fig. 59. old brussels. (point d'angleterre. bobbin-made, circ. 1750.) _to face page 122._] {123}the lace industry of brussels is now divided into two branches, the making of detached sprigs, either point or pillow, for application upon the net ground, and the modern _point à l'aiguille gazée_, also called point de venise, a needlework lace in which the flowers are made simultaneously with the ground, by means of the same thread, as in the old brussels. it is made in small pieces, the joining concealed by small sprigs or leaves, after the manner of the old point, the same lace-worker executing the whole strip from beginning to end. point gaze is now brought to the highest perfection, and the specimens in the paris exhibition of 1867 were remarkable for the precision of the work, the variety and richness of the "jours," and the clearness of the ground. _brussels point à l'aiguille, point de gaze_, is the most filmy and delicate of all point lace. its forms are not accentuated by a raised outline of button-hole stitching, as in point d'alençon and point d'argentan, but are simply outlined by a thread. the execution is more open and slight than in early lace, and part of the _toilé_ is made is close, part in open stitch, to give an appearance of shading. the style of the designs is naturalistic. (plate lii.) "point duchesse" is a bobbin lace of fine quality, in which the sprigs resemble honiton lace united by "brides." duchesse is a modern name. the work less resembles the old brussels laces than the "guipure de flandre," made at bruges in the seventeenth and eighteenth centuries, which was much used for cravats, being exceedingly rich and soft in effect. bobbin lace is sometimes named point plat; the word point in this case signifies the fine quality of the lace, and has nothing to do with the needle-point. point plat appliqué is the name given to belgian bobbin-made sprigs which are afterwards applied to machine-made net. bobbin lace is not now made in brussels itself. brussels was a favoured lace at the court of the first empire.[351] when napoleon and the empress marie louise made their first public entry into the belgian capital, they {124}gave large orders for albs of the richest point, destined as a present for the pope. the city, on its part, offered to the empress a collection of its finest lace, on vrai réseau, of marvellous beauty; also a curtain of brussels point, emblematic of the birth of the king of rome, with cupids supporting the drapery of the cradle. after the battle of waterloo, monsieur troyaux, a manufacturer at brussels, stopped his lace fabric, and, having turned it into a hospital for forty english soldiers, furnished them with linen, as well as other necessaries, and the attendance of trained nurses. his humane conduct did not go unrewarded; he received a decoration from his sovereign, while his shop was daily crowded with english ladies, who then, and for years after, made a point of purchasing their laces at his establishment when passing through brussels. monsieur troyaux made a large fortune and retired from business.[352] mechlin. "and if disputes of empire rise between mechlin, the queen of lace, and colberteen, 'tis doubt, 'tis darkness! till suspended fate assumes her nod to close the grand debate." --young, _love of fame_. "now to another scene give place; enter the folks with silk and lace, fresh matter for a world of chat right indian this, right macklin that." --swift, _journal of a modern lady_. "mechlin, the finest lace of all!" --anderson, _origin of commerce_. "rose: pray, what may this lace be worth a yard? "balance: right mechlin, by this light!" --farquhar, _the recruiting officer_. [illustration: fig. 60. old brussels. (point d'angleterre. formerly belonging to queen charlotte.) _to face page 124._] {125}mechlin is the prettiest of laces, fine, transparent, and effective. it is made in one piece, on the pillow, with various fancy stitches introduced. its distinguishing feature is the cordonnet or flat silky thread which outlines the pattern, and gives to this lace the character of embroidery (hence it is sometimes called broderie de malines[353]); and secondly, the hexagonal mesh of the réseau. "this is made of two threads twisted twice on four sides, and four threads plaited three times on the two other sides. thus the plait is shorter and the mesh consequently smaller than that of brussels lace." mechlin was sometimes grounded with an ornamental réseau called _fond de neige_, or _oeil de perdrix_, and also with the six-pointed _fond chant_; but these varieties are not common. the earliest mechlin has the _points d'esprit_, and is very rare. it was made at mechlin, antwerp, lierre and turnhout, but the manufacture has long been on the decline. in 1834 there were but eight houses where it was fabricated, but at a later date it appears to have partially revived. there was a fine collection of mechlin lace in the paris exhibition of 1867 from turnhout (prov. antwerp), and some other localities. very little is now manufactured. it is difficult to trace the real point de malines. previous to 1665, as elsewhere stated, all flanders laces, with some exceptions, were known to the french commercial world as "malines." according to savary, the laces of ypres, bruges, dunkirk and courtrai passed at paris under that name--hence we have in the inventories of the time, "malines à bride,"[354] as well as "malines à rézeau."[355] the statute of charles ii. having placed a bar to the introduction of flanders lace into england, mechlin neither appears in the advertisements nor inventories of the time. we find mention of this fabric in france as early as anne of austria, who is described in the memoirs of marion {126}de l'orme as wearing a veil "en frizette de malines."[356] again, the maréchal de la motte, who died in 1657, has, noted in his inventory,[357] a pair of mechlin ruffles. regnard, who visited flanders in 1681, writes from this city: "the common people here, as throughout all flanders, occupy themselves in making the white lace known as malines, and the béguinage, the most considerable in the country, is supported by the work of the béguines, in which they excel greatly."[358] when, in 1699, the english prohibition was removed, mechlin lace became the grand fashion, and continued so during the succeeding century. queen mary anticipated the repeal by some years, for, in 1694, she purchased two yards of knotted fringe for her mechlin ruffles,[359] which leads us to hope she had brought the lace with her from holland; though, as early as 1699, we have advertised in the _london gazette_, august 17th to 21st: "lost from barker's coach a deal box containing," among other articles, "a waistcoat and holland shirt, both laced with mecklin lace." queen anne purchased it largely; at least, she paid in 1713[360] £247 6s. 9d. for eighty-three yards, either to one margaret jolly or one francis dobson, "millenario regali"--the royal milliner, as he styles himself. george i. indulges in a "macklin" cravat.[361] "it is impossible," says savary about this time, "to imagine how much mechlin lace is annually purchased by france and holland, and in england it has always held the highest favour." of the beau of 1727 it is said: "right macklin must twist round his bosom and wrists." plate xxxix. [illustration: mechlin.--four specimens of seventeenth and eighteenth centuries. arranged by age, the oldest at the top. the upper one is the end of a lappet, the property of mr. arthur blackborne. width about 3½ in. widths of smaller pieces, 1¾ in., lower 2½ in. photos by a. dryden.] _to face page 126._ {127}while captain figgins of the 67th, a dandy of the first water, is described, like the naval puppy of smollett in _roderick random_, "his hair powdered with maréchal, a cambric shirt, his malines lace dyed with coffee-grounds." towards 1755 the fashion seems to have been on the decline in england. "all the town," writes mr. calderwood, "is full of convents; mechlin lace is all made there; i saw a great deal, and very pretty and cheap. they talk of giving up the trade, as the english, upon whom they depended, have taken to the wearing of french blondes. the lace merchants employ the workers and all the town with lace. though they gain but twopence halfpenny daily, it is a good worker who will finish a flemish yard (28 inches) in a fortnight." [illustration: fig. 61. mechlin.--(period louis xvi.)] mechlin is essentially a summer lace, not becoming in itself, but charming when worn over colour. it found great favour at the court of the regent, as the inventories of the period attest. much of this lace, judging from these accounts, was made in the style of the modern insertion, with an edging on both sides, "campané," and, being light in texture, was well adapted for the gathered trimmings, later termed[362] "quilles," now better known as "plissés à la {128}vieille."[363] mechlin can never have been used as a "dentelle de grande toilette"; it served for coiffures de nuit, garnitures de corset, ruffles and cravats.[364] lady mary wortley montagu, describing an admirer, writes: "with eager beat his mechlin cravat moves- he loves, i whisper to myself, he loves!" [illustration: fig. 62. mechlin.--(formerly belonging to h. m. queen charlotte.)] it was the favourite lace of queen charlotte (fig. 62) and of the princess amelia. napoleon i. was also a great admirer of this fabric, and when he first saw the light gothic tracery of the cathedral spire of antwerp, he exclaimed, "c'est comme de la dentelle de malines." [illustration: plate xl. mechlin.--three specimens of last half of eighteenth century. victoria and albert museum. width, 5 in. photos by a. dryden from mrs. ellis' collection. width, 4 ½ in. width, 4 in.] _to face page 123._ {129}antwerp. "at antwerp, bought some ruffles of our agreeable landlady, and set out at 2 o'clock for brussels."--_tour_, by g. l., 1767. before finishing our account of the laces of brabant, we must touch upon the produce of antwerp, which, though little differing from that of the adjoining towns, seems at one time to have been known in the commercial world.[365] in the year 1560 we have no mention of lace among the fabrics of antwerp, at that period already flourishing, unless it be classed under the head of "mercery, fine and rare."[366] the cap, however, of an antwerp lady[367] of that period is decorated with the fine lace of geometric pattern. (fig. 63.) as early as 1698 the _flying postman_ advertises as follows: "yesterday, was dropped between the mitre tavern and the corner of princes-street, five yards and better of antwerp lace, pinner breadth. one guinea reward." according to savary, much lace without ground, "dentelle sans fond," a guipure of large flowers united by "brides," was fabricated in all the towns of brabant for especial exportation to the spanish indies, where the "gothic" taste continued in favour up to a very late period. these envoys {130}were expedited first to cadiz, and there disposed of. in 1696, we find in a seizure made by monsieur de la bellière, on the high seas, "2181 pieces de dentelles grossières à l'espagnole assorties."[368] (plate xli.) since the cessation of this spanish market, antwerp lace would have disappeared from the scene had it not been for the attachment evinced by the old people for one pattern, which has been worn on their caps from generation to generation, generally known by the name of "pot lace" (potten kant). it is made in the béguinages of three qualities, mostly "fond double." the pattern has always a vase (fig. 64), varied according to fancy.[369] antwerp now makes brussels lace. [illustration: fig. 63. a lady of antwerp.--(ob. 1598. after crispin de passe.)] one of the earliest pattern-books, that printed by vorsterman[370]--the title in english--was published at antwerp, but it only contains patterns for spanish stitch and other embroidery--no lace. there is no date affixed to the title-page, which is ornamented with six woodcuts representing women, and one a man, working at frames. this work is most rare; the only copy known may be found in the library of the arsenal at paris. [illustration: fig. 64. antwerp pot lace (potten kant). _to face page 130._] {131}turnhout, which with antwerp and mechlin form the three divisions of the modern province of antwerp, seems to have largely manufactured lace up to the present century; as we find in 1803, out of forty lace thread and lace fabrics in the province, there were thirteen at antwerp, twelve at turnhout, and nine at malines.[371] turnhout now produces mechlin. flanders (west). the most important branch of the pillow-lace trade in belgium is the manufacture of valenciennes, which, having expired in its native city, has now spread over east and west flanders. the art was originally imported into flanders from french hainault in the seventeenth century. as early as 1656, ypres began to make valenciennes lace. when, in 1684, a census was made by order of louis xiv., there were only three forewomen[372] and sixty-three lace-makers. in 1850, there were from 20,000 to 22,000 in ypres and its environs alone. the productions of ypres are of the finest quality and most elaborate in their workmanship. on a piece not two inches wide, from 200 to 300 bobbins are employed, and for the larger widths as many as 800 or more are used on the same pillow. in the exhibition of 1867, one exhibited with the lace in progress had 1,200 bobbins,[373] while in the international exhibition of 1874 there were no less than 8,000 bobbins on a courtrai pillow used for making a parasol cover. the ground is in large clear squares, which admirably throws up the even tissue of the patterns. in these there was little variety until 1833, when a manufacturer[374] adopted a clear {132}wire ground with bold flowing designs, instead of the thick _treille_[375] and scanty flowers of the old laces. (fig. 65.) the change was accepted by fashion, and the valenciennes lace of ypres has now attained a high degree of perfection. courtrai has made great advances towards rivalling ypres in its productions. [illustration: fig. 65. valenciennes lace of ypres.] not a hundred years since, when the laces of valenciennes prospered, those of belgium were designated as "fausses valenciennes." belgium has now the monopoly to a commercial value of more than £800,000.[376] the other principal centres of the manufacture are bruges, courtrai, and menin in west, ghent and alost in east, flanders. when peuchet wrote in the eighteenth century, he cites "les dentelles à l'instar de valenciennes" of courtrai as being in favour, and generally sought after both in england and france, while those of bruges are merely alluded to as "passing for mechlin." from this it may be inferred the tide had not then flowed so far north. the valenciennes of bruges, from its round ground, has never enjoyed a high reputation. plate xli. [illustration: flemish. flat spanish bobbin lace.--made in flanders. seventeenth century. from a photo the property of a. dryden.] _to face page 132._ {133}in forming the ground, the bobbins are only twisted twice, while in those of ypres and alost, the operation is performed four and five times.[377] the oftener the bobbins are twisted the clearer and more esteemed is the valenciennes. the "guipure de flandres" made at bruges in "point plat" is now in high repute, and has proved from its low price a formidable rival to honiton, which it resembles, but the workmanship is coarser and inferior than in the best honiton. it is of a brilliant white, and composed of bobbin-made flowers united by _barettes_ or _brides à picot_. in the _l'industrie dentellière belge_ (1860), it is stated that west flanders has now 180 fabrics and 400 lace schools. of these, 157 are the property of religious communities, and number upwards of 30,000 apprentices.[378] flanders (east). no traveller has passed through the city of ghent for the last hundred years without describing the béguinage and its lace school. "the women," writes the author of the _grand tour_, 1756, "number nigh 5,000, go where they please, and employ their time in weaving lace." savary cites the "fausses valenciennes," which he declares to equal the real in beauty. "they are," continues he, "moins serrées, un peu moins solides, et un peu moins chères." the best account, however, we have of the ghent manufactures is contained in a letter addressed to sir john sinclair by mr. hey schoulthem in 1815. "the making of lace," he writes, "at the time the french entered the low countries, employed a considerable number of people of both sexes, and great activity prevailed in ghent. the lace was chiefly for daily use; it was sold in holland, france and england. a large quantity of 'sorted' laces of a peculiar quality were exported to spain and the colonies. it is to be feared that, after an interruption of twenty years, this lucrative branch of commerce will be at an end: the changes of fashion have even reached the west indian colonists, {134}whose favourite ornaments once consisted of flemish laces[379] and fringes. these laces were mostly manufactured in the charitable institutions for poor girls, and by old women whose eyes did not permit them to execute a finer work. as for the young girls, the quality of these spanish laces, and the facility of their execution, permitted the least skilful to work them with success, and proved a means of rendering them afterwards excellent workwomen. at present, the best market for our laces is in france; a few also are sent to england." he continues to state that, since the interruption of the commerce with spain, to which ghent formerly belonged, the art has been replaced by a trade in cotton; but that cotton-weaving spoils the hand of the lace-makers, and, if continued, would end by annihilating the lace manufacture.[380] grammont and enghien formerly manufactured a cheap white thread lace, now replaced by the making of laces of black silk. this industry was introduced towards 1840 by m. lepage, and black silk and cotton-thread lace is now made at grammont, enghien, and oudenarde in the southern part of eastern flanders. the lace of grammont is remarkable for its regularity, the good quality of its silk, and its low price, but its grounds are coarse, and the patterns want relief and solidity, and the bobbins are more often twisted in making the ground, which deprives it of its elasticity. grammont makes no small pieces, but shawls, dresses, etc., principally for the american market. the "industrie dentellière" of east flanders is now most flourishing. in 1869 it boasted 200 fabrics directed by the laity, and 450 schools under the superintendence of the nuns. even in the poor-houses (hospices) every woman capable of using a bobbin passes her day in lace-making. hainault. the laces of mons and those once known as "les figures de chimay" both in the early part of the eighteenth century enjoyed a considerable reputation. mrs. palliser, on visiting chimay in 1874, could find no traces of the manufacture beyond an aged lace-maker, an inmate of the hospice, who made black lace--"point de paris"--and who said that until lately brussels lace had also been made at chimay. plate xlii. [illustration: flemish. guipure de flandre, bobbin-made.--seventeenth century. in the musée cinquantenaire, brussels.] _to face page 134._ {135}the first binche lace has the character of flanders lace, so it has been supposed that the women who travelled from ghent in the train of mary of burgundy, the daughter of charles le téméraire, created the taste for lace at binche, and that the stay of the great ladies, on their visits to the royal lady of the manor, made the fortune of the lace-makers. afterwards there was much traffic between the lace-workers of brussels and binche, and there is a great resemblance between the laces of the two towns. sometimes the latter is less light, richer, and more complex in effect, and the design is closely sprinkled with open-work, the ground varied and contrasted. binche was, as early as 1686, the subject of a royal edict, leading one to infer that the laces it produced were of some importance. in the said edict, the roads of verviers, gueuse, and le catelet, to those persons coming from binche, are pronounced "faux passages."[381] savary esteems the products of this little village. the same laces, he adds, are made in all the _monastères_ of the province, that are partly maintained by the gains. the lace is good, equal to that of brabant and flanders. the characteristic peculiarities of binche are, that there is either no cordonnet at all outlining the pattern, or that the cordonnet is scarcely a thicker thread than that which makes the _toilé_.[382] the design itself is very indefinite, and is practically the same as the early valenciennes laces. varieties of the _fond de neige_ ground were used instead of the regular _réseau_ ground. dentelle de binche appears to have been much in vogue in the last century. it is mentioned in the inventory of the duchesse de modène,[383] daughter of the regent, 1761; and in that of mademoiselle de charollais, 1758, who has a "couvrepied, mantelet, garniture de robe, jupon," etc., all of the same lace. in the _misérables_ of victor hugo, the old grandfather routs out {136}from a cupboard "une ancienne garniture de guipure de binche" for cosette's wedding-dress.[384] the binche application flowers have already been noticed. the lace industry of binche will soon be only a memory. but before 1830 it "was a hive of lace-makers, and the bees of this hive earned so much money by making lace that their husbands could go and take a walk without a care for the morrow," as it is curiously phrased in an account of binche and its lace. (plate xliii.) we have now named the great localities for lace-making throughout the low countries. some few yet remain unmentioned. the needle-point of liège should be mentioned among the flanders laces. at the cathedral of liège there is still to be seen a flounce of an alb unequalled for the richness and variety of its design and its perfection. liège in her days of ecclesiastical grandeur carried on the lace trade like the rest.[385] we read, in 1620, of "english jesuitesses at liège, who seem to care as much for politics as for lace-making."[386] an early pattern-book, that of jean de glen, a transcript of vinciolo, was published in that city in 1597. it bears the mark of his printing-press--three acorns with the motto, "cuique sua præmia," and is dedicated to madame loyse de perez. he concludes a complimentary dedication to the lady with the lines:- "madame, dont l'esprit modestement subtil, vigoureux, se délecte en toutes choses belles, prenez de bonne part ces nouvelles modelles que vous offre la main de ce maistre gentil." he states that he has travelled and brought back from italy some patterns, without alluding to vinciolo. at the end, in a chapter of good advice to young ladies, after exhorting them to "salutairement passer la journée, tant pour l'âme que pour le corps," he winds up that he is aware that other exercises, such as stretching the hands and feet, "se frotter un peu les points des bras," and combing the hair, are good for the health; that to wash the hands occasionally in cold water is both "civil et honnête," etc. [illustration: plate xliii. binche.--width, 2-1/8 in.] [illustration: plate xliv. belgian, bobbin-made. marche.--end of eighteenth century. in the musée cinquantenaire, brussels.] belgian, bobbin-made. plate xlv. [illustration: drawn and embroidered muslin, resembling fine lace.--flemish work. end of eighteenth century. width, 2½ in., not including the modern heading. photos by a. dryden from private collections.] _to face page 136._ {137}"dentelles de liège, fines et grosses de toutes sortes," are mentioned with those of lorraine and du comté (franche-comté) in the tariff fixed by a french edict of september 18th, 1664.[387] mrs. calderwood, who visited liège in 1756, admires the point-edging to the surplices of the canons, which, she remarks, "have a very genteel appearance." the manufacture had declined at liège, in 1802, when it is classed by the french commissioners among the "fabriques moins considérables," and the lace-makers of the rue pierreuse, who made a "garniture étroite"--the "caïeteresses"[388]--had died out in 1881. the same work is now carried on at laroche.[389] the lace products of st. trond, in the province of limburgh, appear by the report of the french commission of 1803 to have been of some importance. lace, they say, is made at st. trond, where from 800 to 900 are so employed, either at their own homes or in the workshops of the lace-manufacturers. the laces resemble those of brussels and mechlin, and although they have a lesser reputation in commerce, several descriptions are made, and about 8,000 metres are produced of laces of first quality, fetching from twelve to fourteen francs the metre. these laces are chiefly made for exportation, and are sold mostly in holland and at the frankfort fairs. the report concludes by stating that the vicissitudes of war, in diminishing the demand for objects of luxury, has much injured the trade; and also suggests that some provisions should be made to stop the abuses arising from the bad faith of the lace-makers, who often sell the materials given them to work with.[390][391] {138}many of the belgian churches have lace among the _trésors d'église_. a great number of the convents also possess beautiful lace, for girls who have been educated in them often give their bridal lace, after their marriage, to the chapel of the convent. at bruges, an ancient turreted house of the fifteenth century, the gruuthus mansion, now restored, contains one of the finest collections of lace in the world--a collection of flemish laces presented to the town by the baroness liedts. bruges itself, and the country round, is full of lace-workers, some working in factories or _ateliers_ at the guipure de flandres, others working at the coarse cheap torchon, sitting in the sun by the quiet canal-sides, or in the stone-cobbled lanes of the old city, where their house-door opens into a room as dark and narrow as a fox-earth, and leading a life so poor that english competition in the cheaper forms of lace is impossible. within the last few years the immense development of the belgian lace trade has overthrown the characteristic lace of each city. lace, white and black, point and pillow, may at the present time be met with in every province of the now flourishing kingdom of belgium.[392] {139}chapter viii. france to louis xiv. "il est une déesse inconstante, incommode, bizarre dans ses goûts, folle en ses ornements, qui parait, fuit, revient, et renaît, en tout temps: protée était son père, et son nom est la mode."--voltaire. "to-day the french all clinquant, all in gold."--shakespeare. to the italian influences of the sixteenth century france owes the fashion for points coupés and lace.[393] it was under the valois and the médicis that the luxury of embroidery, laces of gold, silver, and thread, attained its greatest height, and point coupé was as much worn at that epoch, as were subsequently the points of italy and flanders. ruffs and cuffs, according to quicherat, first appeared in france in 1540. the ruff or fraise, as it was termed from its fancied resemblance to the caul[394] or frill of the calf, first {140}adopted by henry ii. to conceal a scar, continued in favour with his sons. the queen-mother herself wore mourning from the day of the king's death; no decoration therefore appears upon her wire-mounted ruff,[395] but the fraises of her family and the _escadron volante_ are profusely trimmed with the geometric work of the period, and the making of laces and point coupé was the favourite employment of her court. it is recorded that the girls and servants of her household consumed much time in making squares of _réseuil_, and catherine de médicis had a bed draped with these squares of _réseuil_ or _lacis_. catherine encouraged dress and extravagance, and sought by brilliant fêtes to turn people's minds from politics. in this she was little seconded either by her husband or gloomy son, king charles; but henry iii. and his "mignons frisés et fraisés" were tricked out in garments of the brightest colours--toques and toquets, pearl necklaces and earrings. the ruff was the especial object of royal interest. with his own hand he used the poking-sticks and adjusted the plaits. "gaudronneur des collets de sa femme" was the soubriquet bestowed on him by the satirists of the day.[396] by 1579 the ruffs of the french court had attained such an outrageous size, "un tiers d'aulne,"[397] in depth that the wearers could scarcely turn their heads.[398] "both men and women wore them intolerably large, being a quarter of a yard deep and twelve lengths in a ruff," writes stone. in london the fashion was termed the "french ruff"; in france, on the other hand, it was the "english monster." blaise de viginière describes them as "gadrooned like organ-pipes, contorted or crinkled like cabbages, and as big as the sails of a windmill." so absurd was the effect, the {141}journalist of henry iii.[399] declares "they looked like the head of john the baptist in a charger." nor could they eat so encumbered. it is told how reine margot one day, when seated at dinner, was compelled to send for a spoon with a handle two feet in length wherewith to eat her soup.[400] these monstrosities, "so stiffened that they cracked like paper,"[401] found little favour beyond the precincts of the louvre. they were caricatured by the writers of the day; and when, in 1579, henry iii. appeared thus attired at the fair of st. germain, he was met by a band of students decked out in large paper cuffs, shouting, "à la fraise on connoit le veau"--for which impertinence the king sent them to prison.[402] suddenly, at the court of henry, the fraise gave way to the rabat, or turn-down collar.[403] in vain were sumptuary edicts issued against luxury.[404] the court set a bad example; and in 1577, at the meeting of the states of blois, henry wore on his own dress four thousand yards of pure gold lace. his successor, henry iv., issued several fresh ordinances[405] against "clinquants [406] et dorures." touching the last, regnier, the satirist, writes:- "a propos, on m'a dit que contre les clinquants le roy faict un edict."[407] better still, the king tried the effect of example: he wore a coat of grey cloth with a doublet of taffety, without either {142}trimming or lace--a piece of economy little appreciated by the public. his dress, says an author, "sentait des misères de la ligue." sully, anxious to emulate the simplicity of the king, laughed at those "qui portoient leurs moulins et leurs bois de haute futaie sur leurs dos."[408] "it is necessary," said he, "to rid ourselves of our neighbours' goods, which deluge the country." so he prohibited, under pain of corporal punishment, any more dealings with the flemish merchants. but edicts failed to put down point coupé; reine margot, madame gabrielle, and bassompierre were too strong for him. the wardrobe accounts of henry's first queen are filled with entries of point coupé and "passements à l'aiguille";[409] and though henry usually wore the silk-wrought shirts of the day,[410] we find in the inventory of his wife one entered as trimmed with cut-work.[411] wraxall declares to have seen exhibited at a booth on the boulevart de bondy, the shirt worn by henry when assassinated. "it is ornamented," he writes, "with a broad lace round the collar and breast. the two wounds inflicted by the assassin's knife are plainly visible."[412] plate xlvi. [illustration: ruff, edged with lace.--in the musée de cluny, paris.] _to face page 142._ {143}in the inventory[413] made at the death of madame gabrielle, the fair duchesse de beaufort, we find entered sleeves and towels of point couppé, with fine handkerchiefs, gifts of the king to be worn at court, of such an extraordinary value that henry requires them to be straightway restored to him. in the same list appears the duchess's bed of ivory,[414] with hangings for the room of rézeuil.[415] the chancellor herault,[416] who died at the same period, was equally extravagant in his habits; while the shirts of the combatants in the duel between m. de crequy and don philippe de savoie are specially vaunted as "toutes garnies du plus fin et du plus riche point coupé qu'on eust pu trouver dans ce temps là, auquel le point de gennes et de flandres n'estoient pas en usage."[417] the enormous collarette, rising behind her head like a {144}fan, of mary de médicis, with its edgings of fine lace, are well known to the admirers of rubens:- "cinq colets de dentelle haute de demy-piè l'un sur l'autre montez, qui ne vont qu'a moitié de celuys de dessus, car elle n'est pas leste, si le premier ne passe une paulme la teste."[418] on the accession of louis xiii, luxury knew no bounds. the queen regent was magnificent by nature, while richelieu, anxious to hasten the ruin of the nobles, artfully encouraged their prodigality. but mary was compelled to repress this taste for dress. the courtiers importuned her to increase their pensions, no longer sufficient for the exigencies of the day. the queen, at her wits' end, published in 1613 a "réglement pour les superfluités des habits," prohibiting all lace and embroidery.[419] france had early sent out books of patterns for cut-work and lace. that of francisque pelegrin was published at paris in the reign of francis i. six were printed at lyons alone. the four earlier have no date,[420] the two others bear those of 1549[421] and 1585.[422] it was to these first that vinciolo so contemptuously alludes in his dedication, "aux benevolles lecteurs," saying, "si les premiers ouvrages que vous avez vus out engendré quelque fruit et utilité je m'assure que les miens en produiront davantage." various editions of vinciolo were printed at paris from 1587 to 1623; the earlier dedicated to queen louise de lorraine; a second to catherine de bourbon, sister of henry iv.; the last to anne of austria. the _pratique de leguille de milour m. mignerak_ was published by the same printer, 1605; and we have another work, termed _bèle prerie_, also printed at paris, bearing date 1601.[423] the points of italy and flanders now first appear at court, and the church soon adopted the prevailing taste for the decoration of her altars and her prelates.[424] plate xlvii. [illustration: brussels. flounce, bobbin-made.--late seventeenth century. given by madame de maintenon to fénélon, archbishop of cambrai. now in the victoria and albert museum. height, 2 ft. 2 in.] _to face page 146._ {145}the ruff is finally discarded and replaced by the "col rabattu," with its deep-scalloped border of point. the "manchettes à revers" are trimmed in the same manner, and the fashion even extends to the tops of the boots. of these lace-trimmed boots the favourite, cinq-mars, left three hundred pairs at his death, 1642. from his portrait, after lenain, which hangs in the gallery of versailles, we give one of these boots (fig. 66), and his rich collerette of point de gênes (fig. 67). [illustration: fig. 66. cinq-mars.--(m. de versailles.)] the garters, now worn like a scarf round the knee, have the ends adorned with point. a large rosette of lace completes the costume of the epoch (fig. 68). {146}gold lace shared the favour of the thread fabric on gloves,[425] garters and shoes.[426] "de large taftas la jartière parée aux bouts de demy-pied de dentelle dorée."[427] the cuffs, collars of the ladies either falling back or rising behind their shoulders in double tier, caps, aprons descending to their feet (fig. 69), are also richly decorated with lace. [illustration: fig. 67. cinq-mars.--(after his portrait by le nain. m. de versailles.)] the contemporary engravings of abraham bosse and callot faithfully portray the fashions of this reign. in the prodigal son, of abraham bosse, the mother, waiting his {147}return, holds out to her repentant boy a collar trimmed with the richest point. the foolish virgins weep in lace-trimmed handkerchiefs, and the table-cloth of the rich man, as well as his dinner-napkins, are similarly adorned. again, the accouchée recovers in a cap of italian point under a coverlet of the same. at the retour de baptême, point adorns the christening-dress of the child and the surplice of the priest. when, in 1615, louis xiii. married anne of austria, the collerettes of the queen-mother were discarded--the reign of italy was at an end--all was now à l'éspagnole and the court of castile. [illustration: fig. 68. lace rose and garter.--(after abraham bosse.)] the prodigality of the nobles[428] having called down royal ordinances on their heads,[429] these new edicts bring forth {148}fresh satires, in which the author deplores the prohibition of cut-work and lace:- "ces points couppez, passemens et dentelles, las! que venaient de l'isle et de bruxelles, sont maintenant descriez, avilis, et sans faveur gisent ensevelis;"[430] but "pour vivre heureux et à la mode il faut que chacun accommode ses habits aux editz du roi." [illustration: fig. 69. young lady's apron, time of henry iii.--(after gaignières. bib. nat. grav.)] edict now follows on edict.[431] one known as the code michaud, entering into the most minute regulations for the toilet, especially excited the risibility of the people. it was never carried out. the caricatures of this period are admirable: one represents a young courtier fresh rigged in his {149}plain-bordered linen, according to the ordinance. his _valet de chambre_ is about to lock up his laced suit:- "c'est avec regret que mon maître quitte ses beaux habillemens semés de riches passemens."[432] another engraving of abraham bosse shows a lady of fashion with her lace discarded and dressed in plain linen cuffs and collar:- "quoique l'âge assez de beauté pour asseurer sans vanité qu'il n'est point de femme plus belle il semble pourtant, à mes yeux, qu'avec de l'or et la dantelle je m'ajuste encore bien mieux." alluding to the plain-bordered collars now ordered by the prohibition of 1639, the "satyrique de la court" sings:- "naguères l'on n'osoit hanter les damoiselles que l'on n'eust le colet bien garni de dentelles; maintenant on se rit et se moque de ceux là qui desirent encore paroistre avec cela. les fraises et colets à bord sont en usage, sans faire mention de tous en dentellage." france at this time paying large sums to italy and flanders for lace, the wearing of it is altogether prohibited, under pain of confiscation and a fine of 6,000 livres.[433] the queen-mother, regardless of edicts, has over _passements d'or_ and all sorts of forbidden articles, "pour servir à la layette que sa majesté à envoyé en angleterre."[434] within scarce one year of each other passed away marie de médicis, richelieu, and louis xiii. the king's effigy was exposed on its "lit de parade vêtue d'une chemise de toile de hollande avec de tres belles dantelles de point de gennes au collet et aux manches."[435]--so say the chroniclers. {150}chapter ix. louis xiv. the courtiers of the regency under anne of austria vied with the frondeurs in extravagance. the latter, however, had the best of it. "la fronde," writes joly, "devint tellement à la mode qu'il n'y avoit rien de bien fait qu'on ne dist être de la fronde. les étoffes, les dentelles, etc., jusqu'au pain,--rien n'estoit ni bon, ni bien si n'estoit à la fronde."[436] nor was the queen regent herself less profuse in her indulgence in lace. she is represented in her portraits with a berthe of rich point, her beautiful hand encircled by a double-scalloped cuff (fig. 70). the boot-tops had now reached an extravagant size. one writer compares them to the farthingales of the ladies, another to an inverted torch. the lords of the regent's court filled up the apertures with two or three rows of genoa point (fig. 71). in 1653,[437] we find mazarin, while engaged in the siege of a city, holding a grave correspondence with his secretary colbert concerning the purchase of some points from flanders, venice, and genoa. he considers it advisable to advance thirty or forty thousand livres "à ces achapts," adding, that by making the purchases in time he will derive great advantage in the price; but as he hopes the siege will soon be at an end, they may wait his arrival at paris for his final decision.[438] plate xlviii. [illustration: brussels. bobbin-made.--period louis xiv., 1643-1715. in the musée cinquantenaire, brussels.] plate xlix. [illustration: brussels. point d'angleterre à réseau.--eighteenth century. widths, 2 in. and 3½ in. photo by a. dryden.] _to face page 150._ {151}[illustration: fig. 70. anne of austria.--(m. de versailles.)] colbert again writes, november 25th, pressing his eminence on account of the "quantité de mariages qui se feront l'hyver." a passage in tallemant des réaux would lead one to suppose these laces were destined as patterns for the improvement of french manufactures. "per mostra di farne in francia," as the cardinal expressed himself. certainly in the inventory of mazarin[439] there are no mention of italian points, no lace coverlets to his "lict d'ange moire tabizée, couleur de rose chamarrée de {152}dentelles d'or et d'argent." we may almost imagine that the minister and his secretary combined were already meditating the establishment of points de france. in this reign, fresh sumptuary ordinances are issued. that of november 27th, 1660, is the most important of all,[440] and is highly commended by sganarelle in the "ecole des maris" of molière which appeared the following year:- "oh! trois et quatre fois soit béni cet édit, par qui des vêtemens le luxe est interdit; les peines des maris ne seront pas si grandes, et les femmes auront un frein à leurs demandes. oh! que je sais au roi bon gré de ses décrets; et que, pour le repos de ces mêmes maris, je voudrais bien qu'on fit de la coquetterie comme de la guipure et de la broderie." [illustration: fig. 71. a courtier of the regency.--(after abraham bosse.)] this ordinance, after prohibiting all foreign "passemens, points de gênes, points coupés," etc., or any french laces or passements exceeding an inch in width, allows the use of the "collerettes and manchettes" persons already possess for the space of one year, after which period they are only to be trimmed with a lace made in the kingdom, not exceeding an {153}inch in width. the ordinance then goes on to attack the "canons," which it states have been introduced into the kingdom, with "un excès de dépense insupportable, par la quantité de passemens, points de venise et gênes," with which they are loaded.[441] their use of them is now entirely prohibited, unless made of plain linen or of the same stuff as the coat, without lace or any ornament. the lace-trimmed "canons" of louis xiv., as represented in the picture of his interview with philip iv., in the island of pheasants, previous to his marriage, 1660 (fig. 72), give a good idea of these extravagant appendages. these "canons à trois étages a leurs jambes faisoient d'ombrages."[442] and, what was worse, they would cost 7,000 livres a pair. "at the court of france," writes savinière, "people think nothing of buying rabats, manchettes, or canons to the value of 13,000 crowns."[443] these canons, with their accompanying rheingraves, which after the prohibition of venice point were adorned with the new productions of france, suddenly disappeared. in 1682, the _mercure_ announces, "les canons et les rheingraves deviennent tout à fait hors de mode." at the marriage of the young king with the infanta, 1660, black lace,[444] probably in compliment to the spanish[445] {154}court, came into favour, the nobles of the king's suite wearing doublets of gold and silver brocade, "ornés," says the _chronique_,[446] "de dentelles noires d'un point recherché."[447] the same writer, describing the noviciate of la vallière at the carmelites, writes, "les dames portoient des robes de brocard d'or, d'argent, ou d'azur, par dessus lesquelles elles avoient jetées d'autres robes et dentelles noires transparentes."[448] under louis xiv., the gold and silver points of spain and aurillac rivalled the thread fabrics of flanders and italy; but towards the close of the century,[449] we are informed, they have fallen from fashion into the "domaine du vulgaire." the ordinance of 1660 had but little effect, for various others are issued in the following years with the oft-repeated prohibitions of the points of genoa and venice.[450] but edicts were of little avail. no royal command could compel people to substitute the coarse inferior laces of france[451] for the fine artistic productions of her sister countries. colbert therefore wisely adopted another expedient. he determined to develop the lace-manufacture of france, and to produce fabrics which should rival the coveted points of italy and flanders, so that if fortunes were lavished upon these luxuries, at all events the money should not be sent out of the kingdom to procure them. he therefore applied to monseigneur de bonzy, bishop of béziers, then ambassador at venice, who replied that in venice "all the convents and poor families make a living out of this lace-making." in another letter he writes to the minister, "je vois que vous seriez bien aise d'establir dans le royaume la manufacture des points de venise, ce qui se pourrait faire en envoyant d'icy quelques filles des meilleures ouvrières qui pussent instruire celles de france avec le temps."[452] [illustration: fig. 72. canons of louis xiv.--(m. de versailles, 1660.) _to face page 154._] {155}monseigneur de bonzy's suggestion was accepted, and a few years later (1673) colbert writes to m. le comte d'avaux, who succeeded m. de bonzy as ambassador at venice: "i have gladly received the collar of needlepoint lace worked in relief that you have sent me, and i find it very beautiful. i shall have it compared with those new laces being made by our own lace-makers, although i may tell you beforehand that as good specimens are now made in this kingdom."[453] alençon, an old lace-making centre, was chosen as the seat of the new manufacture.[454] favier-duboulay writes to colbert that, before the introduction of the new points de france, lace-making was to the peasants "une manne, et une vraie bénédiction du ciel, qui s'est espandue sur tout ce pays." the art had spread far and wide through the district about alençon; children of seven years of age and aged men earned their daily bread by it, and the shepherdesses worked at their lace while herding their flocks. {156}[illustration: fig. 73. château de lonrai, dép. orne.] m. odolent desnos gives the following account of the invention and establishment of point d'alençon:--[455] "in 1665, at the recommendation of the sieur ruel, he (colbert) selected a madame gilbert, a native of alençon, already acquainted with the manner of making venice point, and making her an advance of 50,000 crowns, established her at his château of lonrai (fig. 73), near alençon, with thirty forewomen, whom he had, at great expense, caused to be brought over from venice. in a short time madame gilbert arrived at paris with the first specimens of her fabric. the king, inspired by colbert with a desire to see the work, during supper at versailles announced to his courtiers he had just established a manufacture of point more beautiful than that of venice, and appointed a day when he would inspect the specimens. the laces were artistically arranged over the walls of a room hung with crimson damask, and shown to the best advantage. the king expressed himself delighted. he ordered a large sum to be given to madame gilbert, and desired that no other lace should appear at court except the new fabric, upon which he bestowed the name of point de france.[456] scarcely had louis retired than the courtiers eagerly stripped the room of its contents. the approval of the monarch was the fortune of alençon: point de france adopted by court etiquette, the wearing of it became compulsory. all who had the privilege of the 'casaque bleue'--all who were received at versailles or were attached to the royal household, could only appear, the ladies in trimmings and headdresses, the gentlemen in ruffles and cravats of the royal manufacture." plate l. [illustration: chenille run on a bobbin ground.--taken from an early eighteenth century court dress, and typical of a french dress passementerie of that date. about half size.] plate li. [illustration: brussels. bobbin-made.--early eighteenth century. width, 3 in. photos by a. dryden from private collections.] _to face page 156._ {157}unfortunately for this story, the château de lonrai came into the family of colbert fourteen years after the establishment of the lace-industry at alençon,[457] and the name of gilbert is not found in any of the documents relating to the establishment of point de france, nor in the correspondence of colbert.[458] an ordinance of august 5th, 1665, founded upon a large scale the manufacture of points de france,[459] with an exclusive privilege for ten years and a grant of 36,000 {158}francs. a company was formed,[460] its members rapidly increased, and in 1668 the capital amounted to 22,000 livres. eight directors were appointed at salaries of 12,000 livres a year to conduct the manufacture, and the company held its sittings in the hôtel de beaufort at paris. the first distribution of profits took place in october, 1669, amounting to fifty per cent. upon each share. in 1670 a fresh distribution took place, and 120,000 livres were divided among the shareholders. that of 1673 was still more considerable. in 1675 the ten years' privilege ceased, the money was returned, and the rest of the profits divided. colbert likewise set up a fabric at the château de madrid, built by francis i., on the bois de boulogne. such was the origin of point lace in france. the difficulties met by colbert in establishing his manufactories can only be estimated by reading his correspondence, in which there are no less than fifty letters on the subject. the apathy of the town authorities and the constant rebellions of the lace-workers who preferred their old stitch were incessant sources of trouble to him, but eventually colbert's plan was crowned with success. he established a lucrative manufacture which brought large sums of money into the kingdom[461] instead of sending it out. well might he say that[462] "fashion was to france what the mines of peru were to spain."[463] {159}boileau alludes to the success of the minister in his "epistle to louis xiv":- "et nos voisins frustrés de ces tributs serviles que payait à leur art le luxe de nos villes."[464] the point de france supplanted that of venice,[465] but its price confined its use to the rich, and when the wearing of lace became general those who could not afford so costly a production replaced it by the more moderate pillow-lace. this explains the great extension of the pillow-lace manufacture at this period--the production did not suffice for the demand. encouraged by the success of the royal manufactures, lace fabrics started up in various towns in the kingdom. the number of lace-workers increased rapidly. those of the towns being insufficient, they were sought for in the surrounding country, and each town became the {160}centre of a trade extending round it in a radius of several miles, the work being given out from the manufactory to be executed by the cottagers in their own homes.[466] {161}chapter x. louis xiv.--_continued_. "tout change: la raison change aussi de méthode; écrits, habillemens, systèmes: tout est mode." racine fils, _epître à rousseau_. point de france continued to be worn in the greatest profusion during the reign of louis xiv. the king affected his new-born fabric much as monarchs of the present day do their tapestries and their porcelains. it decorated the church and her ministers. ladies offered "tours de chaire à l'église de la paroisse."[467] albs, "garnies d'un grand point de france brodé antique";[468] altar-cloths trimmed with argentan[469] appear in the church registers.[470] in a painting at versailles, by rigaud, representing the presentation of the grand dauphin to his royal father, 1668, the infant is enveloped in a mantle of the richest point (fig. 74); and point de france was selected by royal command to trim the sheets of holland used at the ceremony of his "nomination."[471] at the marriage of the prince de conti and of mademoiselle de blois the toilette[472] presented {162}by the king was "garnie de point de france si haut qu'on ne voyait point de toile."[473] the valance, too, and the coverlet of the bed were of the same material.[474] in this luxury, however, england followed her sister kingdom, for we read in the _royal magazine_ of 1763 that on the baptism of the young prince, afterwards duke of york, the company went to the council chamber at st. james's, where a splendid bed was set up for the queen to sit on, the counterpane of which is described as of inimitable workmanship, the lace alone costing £3,783 sterling.[475] "what princes do themselves, they engage others to do," says quintilian, and the words of the critic were, in this case, fully verified: jupes,[476] corsets, mantles, aprons with their bibs,[477] shoes,[478] gloves,[479] even the fans were now trimmed with point de france.[480] at the audience given by the dauphine to the siamese ambassadors, "à ses relevailles," she received them in a bed "presque tout couvert d'un tres beau point de france, sur lesquels on avoit mis des riches carreaux."[481] on the occasion of their visit to versailles, louis, proud of his fabric, presented the ambassadors with cravats and ruffles of the finest point.[482] these cravats were either worn of point, in one piece, or partly of muslin tied, with falling lace ends.[483] (fig. 75.) [illustration: fig. 74. le grand bébé. (m. de versailles.) _to face page 162._] {163}in 1679 the king gave a fête at marly to the élite of his brilliant court. when, at sunset, the ladies retired to repair their toilettes, previous to the ball, each found in her dressing-room a robe fresh and elegant, trimmed with point of the most exquisite texture, a present from that gallant monarch not yet termed "l'inamusable." nor was the veuve scarron behind the rest. when, in 1674, she purchased the estate from which she afterwards derived her title of maintenon, anxious to render it productive, she enticed flemish workers from the frontier to establish a lace manufacture upon her newly-acquired marquisate. how the fabric succeeded history does not relate, but the costly laces depicted in her portraits (fig. 76) have not the appearance of home manufacture. [illustration: fig. 75. louvois. 1691.--(from his statue by girardon. m. de versailles.)] point lace-making became a favourite employment among ladies. we have many engravings of this reign; one, 1691, of a "fille de qualité" thus occupied, with the motto, "apres {164}dîner vous travaillez au point." another,[484] an engraving of le paultre, dated 1676, is entitled "dame en déshabille de chambre" (fig. 77). "la france est la tête du monde" (as regards fashion), says victor hugo, "cyclope dont paris est l'oeil"; and writers of all ages seem to have been of the same opinion. it was about the year 1680 that the "mode féconde en mille inventions, monstre, prodige étrange et difforme," was suddenly exemplified in france. [illustration: fig. 76. madame de maintenon.--(from her portrait. m. de versailles.)] all readers of this great reign will recall to mind the story of the "fontanges." how in the hurry of the chase the locks of the royal favourite burst from the ribbon that bound them--how the fair huntress, hurriedly tying the lace kerchief round her head, produced in one moment a coiffure so light, so artistic, that louis xiv., enchanted, prayed her to retain it for that night at court. the lady obeyed the royal command. this mixture of lace and ribbon, now worn for the first time, caused a sensation, and the next day all {165}the ladies of the court appeared "coiffées à la fontange." (see madame du lude, fig. 79.) [illustration: fig. 77. a lady in morning déshabille.--(from an engraving by le paultre. 1676.)] but this head-dress, with its tiers of point mounted on wires,[485] soon ceased to be artistic; it grew higher and higher. poets and satirists attacked the fashion much as they did the high head-dresses of the roman matrons more than a thousand years ago.[486] of the extinction of this mode {166}we have various accounts, some asserting it to have been preached down by the clergy, as were the _hennins_ in the time of charles vi.; but the most probable story is that which relates how, in october, 1699, louis xiv. simply observed, "cette coiffure lui paroissoit désagréable." the ladies worked all night, and next evening, at the duchess of burgundy's reception,[487] appeared for the first time in a low head-dress. fashion,[488] which the author of the before-quoted _consolation_ would call _pompeux_, was "aujourd'hui en reforme." louis xiv. never appreciated the sacrifice; to the day of his death he persisted in saying, "j'ai eu beau crier contre les coiffures trop hautes." no one showed the slightest desire to lower them till one day there arrived "une inconnue, une guenille d'angleterre" (lady sandwich, the english ambassadress!!), "avec une petite coiffure basse--tout d'un coup, toutes les princesses vont d'une extrémité a l'autre."[489] be the accusation true or not, the _mercure_ of november, 1699, announces that "la hauteur des anciennes coiffures commence á paroître ridicule"; and st. simon, in his _memoirs_, satirises the fontange as a "structure of brass wire, ribbons, hair, and baubles of all sorts, about two feet high, which made a woman's face look as if it were in the middle of her body." in these days lace was not confined to versailles and the court.[490] "le gentilhomme," writes capefigue, "allait au feu en manchettes poudré à la maréchale, les eaux se senteur sur son mouchoir en point d'angleterre, l'élégance n'a jamais fait tort au courage, et la politesse s'allie noblement à la bravoure." but war brings destruction to laces as well as finances, {167}and in 1690 the loyal and noble army was found in rags. then writes dangeau: "m. de castanaga, à qui m. de maine et m. de luxembourg avoient demandé un passeport pour fair venir des dentelles à l'armée, a refusé le passeport, mais il a envoyé des marchands qui ont porté pour dix mille écus de dentelles, et après qu'on les eut achetées, les marchands s'en retournèrent sans vouloir prendre d'argent, disant qu'ils avoient cet ordre de m. de castanaga." "j'avois une steinkerque de malines," writes the abbé de choisy, who always dressed in female attire. we hear a great deal about these steinkirks at the end of the seventeenth century. it was a twisted lace necktie, and owed its origin to the battle of that name in 1692,[491] when the young french princes of the blood were suddenly ordered into action. hastily tying their lace cravats--in peaceful times a most elaborate proceeding--they rushed to the charge, and gained the day. in honour of this event, both ladies and cavaliers wore their handkerchiefs knotted or twisted in this careless fashion. "je trouve qu'en été le steinkerque est commode, j'aime le falbala,[492] quoiqu'il soit critiqué," says somebody. steinkirks became the rage, and held good for many years, worn alike in england[493] and france by the women and the men. fig. 78 represents the grand dauphin in his "longue steinkerque à replis tortueux";[494] fig. 79 the duchesse du lude[495] in similar costume and high fontange, both copied from prints of the time. we find constant mention now of the fashion of wearing a lace ruffle to the ladies' sleeves, concerning the wearing of which "à deux rangs," or "à trois rangs," there was much etiquette. the falbalas were not given up until after the regency; the use of them was frequently carried to such an excess {168}that a caricaturist of that period drew a lady so enveloped in them that she "looked like a turkey shaking its feathers and spreading its comb." this caricature gave rise to a popular song called "la dinde aux falbalas"; but in despite of song and caricature, the flounce continued in popularity. "les manches plates se font de deux tiers de tour, avec une dentelle de fil de point fort fin et fort haut. on nomme ces manches engageantes."[496] this fashion, though introduced in 1688, continued in vogue till the french revolution. we see them in the portrait of madame palatine, mother of the regent (fig. 80), and in that of madame sophie de france, daughter of louis xv., taken in 1782 by drouais. [illustration: fig. 78. le grand dauphin en steinkerque.] [illustration: fig. 79. madame du lude en steinkerque. _to face page 168._] {169}[illustration: fig. 80. madame palatine (eliz. charlotte de bavière), duchesse d'orléans. (by rigaud. m. de versailles.)] before finishing with point de france, we must allude to the équipage de bain, in which this fabric formed a great item. as early as 1688, madame de maintenon presents madame de chevreuse with an "équipage de bain de point de france" of great magnificence. it consisted not only of a peignoir, but a broad flounce, which formed a valance round the bath itself. you can see them in old engravings of the day. then there were the towels and the _descente_, all equally costly,[497] for the french ladies of the seventeenth and eighteenth centuries admitted their _habitués_ not only to the _ruelle_,[498] but also to the bath-room.[499] in the latter case the bath {170}was _au lait_, _i.e._, clouded by the mixture of some essence. "aux autres temps, autres moeurs." the "fameuse poupée" of the reign of louis xiv. must not be forgotten. the custom of dressing up these great dolls originated in the salons of the hôtel rambouillet, where one, termed "la grande pandore," at each change of fashion was exhibited "en grand tenue"; a second, the little pandore, in morning _déshabille_. these dolls were sent to vienna and italy, charged with the finest laces france could produce. as late as 1764 we read in the _espion chinois_, "il a débarqué à douvres un grand nombre de poupées de hauteur naturelle habillées à la mode de paris, afin que les dames de qualité puissent régler leurs goûts sur ces modèles."[500] even when english ports were closed in war-time, a special permission was given for the entry of a large alabaster doll four feet high, the grand courrier de la mode.[501] in the war of the first empire this privilege was refused to our countrywomen; and from that time englishwomen, deprived of all french aid for a whole generation, began to dress badly. pitt has much to answer for. with this notice finishes our account of the reign of louis xiv. plate lii. [illustration: brussels. modern point de gaze.--actual size. photo by a. dryden.] _to face page 170._ {171}chapter xi. louis xv. "le luxe corrompt tout, et le riche qui en jouit, et le pauvre qui le convoite." --j. j. rousseau. louis xiv. is now dead, to the delight of a wearied nation: we enter on the regency and times of louis xv.--that age of "fourchettes," manchettes, and jabots--in which the butterfly abbés, "les porte-dentelles par excellence," played so conspicuous a part. the origin of the weeping ruffles, if mercier[502] is to be credited, may be assigned to other causes than royal decree or the edicts of fashion. "les grandes manchettes furent introduites par des fripons qui voulaient filouter au jeu et escamoter des cartes." it never answers to investigate too deeply the origin of a new invented mode,--sufficient to say, ruffles became a necessary adjunct to the toilet of every gentleman. so indispensable were they, the parisians are accused of adopting the custom of wearing ruffles and no shirts. "les parisiens," writes mercier, "achètent quatre ajustemens contre une chemise. un beau monsieur se met une chemise blanche tous les quinze jours. il coud ses manchettes de dentelle sur une chemise sale," and powders over his point collar till it looks white.[503] this habit passed into a proverb. the maréchal de richelieu, who, though versed in astronomy, could not spell, said of himself, "qu'on ne lui avoit pas fourni des chemises, mais qu'il avoit acheté des {172}manchettes."[504] this account tallies well with former accounts[505] and with a letter of madame de maintenon to the princess des ursins, 1710.[506] at this period it was the custom for grisettes to besiege the paris hotels, bearing on their arms baskets decked out with ruffles and jabots of malines, angleterre, and point. what reader of sterne will not recollect the lace-seller in his _sentimental journey_? the jabot and manchettes of points were the customary "cadeau de noces" of the bride to her intended for his wedding dress--a relic of which practice may be found in the embroidered wedding shirt furnished by the lady, in the north of europe.[507] the sums expended in these articles would now appear fabulous. the archbishop of cambray[508] alone possessed four dozen pairs of ruffles, malines, point, and valenciennes. the wardrobe bills of the duke de penthièvre of 1738 make mention of little else. an ell and a quarter of lace was required for one pair of ruffles. a yard, minus 1/16, sufficed for the jabot.[509] there were manchettes de jour, manchettes tournantes,[510] and manchettes de nuit: these last-named were mostly of valenciennes.[511] the {173}point d'alençon ruffles of buffon, which he always wore, even when writing, were exhibited in 1864 at falaise, being carefully preserved in the family to whom they have descended. even, if a contemporary writer may be credited, "monsieur de paris," the executioner, mounted the scaffold in a velvet suit, powdered, with point lace jabot and ruffles. "les rubans, les miroirs, les dentelles sont trois choses sans lesquelles les françois ne peuvent vivre. le luxe démesuré a confondu le maître avec le valet,"[512] says an unknown writer, quoted by dulaure.[513] the servants of the last century had on their state liveries lace equal in richness to that worn by their masters.[514] of a prussian gentleman, we read, "his valets, who according to the reigning tastes were the prettiest in the world, wore nothing but the most costly lace."[515] this custom was not confined, however, to france or the continent. "our very footmen," writes the angry _world_, "are adorned with gold and {174}silver bags and lace ruffles. the valet is only distinguished from his master by being better dressed;" while the _connoisseur_ complains of "roast beef being banished from even 'down stairs,' because the powdered footmen will not touch it for fear of daubing their lace ruffles."[516] but the time, of all others, for a grand display of lace was at a visit to a parisian lady on her "relevailles," or "uprising," as it was called, in the days of our third edward. reclining on a chaise longue, she is described as awaiting her visitors. nothing is to be seen but the finest laces, arranged in artistic folds, and long bows of ribbon. an attendant stationed at the door asks of each new arrival, "have you any perfumes?" she replies not, and passes on--an atmosphere of fragrance. the lady must not be spoken to, but, the usual compliments over, the visitors proceed to admire her lace. "beautiful, exquisite!"--but, "hist! speak low," and she who gave the caution is the first, in true french style, to speak the loudest.[517] lace "garnitures de lit" were general among great people as early as 1696. the _mercure_ speaks of "draps garnis d'une grande dentelle de point d'angleterre." in 1738 writes the duc de luynes,[518] "aujourd'hui madame de luynes s'est fait apporter les fournitures qu'elle avoit choisies pour la reine, et qui regardent les dames d'honneur. elles consistent en couvrepieds[519] garnis de dentelle pour le grand lit et pour les petits, en taies d'oreiller[520] garnies du {175}même point d'angleterre, etc. cette fourniture coûte environ 30,000 livres, quoique madame de luynes n'ait pas fait renouveler les beaux couvrepieds de la reine." these garnitures were renewed every year, and madame de luynes inherited the old ones. [illustration: fig. 81. madame sophie de france, 1782, daughter of louis xv. by drouais. m. de versailles. (in this picture the hexagonal brides and heavy relief of point d'argentan are clearly to be seen.)] {176}[illustration: fig. 82. madame adélaïde de france, daughter of louis xv.--(m. de versailles.)] madame de créquy, describing her visit to the duchesse douairière de la ferté, says, when that lady received her, she was lying in a state bed, under a coverlet made of point de venise in one piece. "i am persuaded," she adds, "that the trimming of her sheets, which were of point d'argentan, were worth at least 40,000 écus."[521] to such a pitch had the taste for lace-trimmed linen attained, that when, in 1739, madame, eldest daughter of louis xv., espoused the prince of spain, the bill for these articles alone amounted to £25,000; and when cardinal fleury, a most economical prelate, saw the trousseau, he observed, "qu'il croyait que c'etait pour marier toutes les sept mesdames."[522] (figs. 81, 82). again, swinburne writes from paris:[523] "the trousseau of mademoiselle de matignon will cost 100,000 crowns (£25,000). the expense here of rigging[524] out a bride is equal to a handsome portion in england. five thousand pounds' worth of lace, linen, etc., is a common thing among them." plate liii. [illustration: madame louise de france. trimmings and tablier of point d'argentan. painted by nattier at the age of eleven, 1748. m. de versailles.] _to face page 176._ {177}[illustration: fig. 83. marie thérèse ant. raph., infanta of spain, first wife of louis dauphin, son of louis xv. --by tocqué. dated 1748. m. de versailles.] the masks worn by the ladies at this period were of black blonde lace[525] of the most exquisite fineness and design.[526] they were trimmed round the eyes, like those described by scarron:- "dirai-je comme ces fantasques qui portent dentelle à leurs masques, en chamarrent les trous des yeux, croyant que le masque en est mieux." in the reign of louis xv., point de france was rivalled {178}by the productions of angleterre[527] and malines. argentan and alençon (fig. 83) were declared by fashion to be "dentelles d'hiver:" each lace now had its appointed season.[528] "on porte le point en hiver," says the dictionary of the academy. there was much etiquette, too, in the court of france, as regards lace, which was never worn in mourning. dangeau chronicles, on the death of the princess of baden, "le roi qui avoit repris les dentelles et les rubans d'or et d'argent, reprend demain le linge uni et les rubans unis aussi."[529] "madame" thus describes the "petit deuil" of the margrave of anspach: "avec des dentelles blanches sur le noir, du beau ruban bleu, à dentelles blanches et noires. c'etoit une parure magnifique."[530] {179}chapter xii. louis xvi. to the empire. "proud versailles! thy glory falls."--pope. [illustration: fig. 84. marie-antoinette.--from a picture by madame le brun. m. de versailles.] in the reign of louis xvi. society, tired out with ceremony and the stately manners of the old court, at last began to emancipate itself. marie-antoinette (fig. 84) first gave the signal. rid herself of the preaching of "madame etiquette" she could not on state occasions, so she did her best to amuse herself in private. the finest indian muslin now supplanted the heavy points of the old court. madame du barry, in her _memoirs_, mentions the purchase of indian muslin so fine {180}that the piece did not weigh fifteen ounces, although sufficient to make four dresses. "the ladies looked," indignantly observed the maréchale de luxembourg, "in their muslin aprons and handkerchiefs like cooks and convent porters."[531] to signify her disapproval of this new-fangled custom, the maréchale sent her grand-daughter, the duchesse de lauzun, an apron of sailcloth trimmed with fine point and six fichus of the same material similarly decorated. tulle and marli[532] were much worn during the latter years of the queen's life, and entries of tulle, marli, blondes, and embroidered linens occur over and over again in madame eloffe's accounts with the queen. the richer ornamental laces were not worn, and one reads of items such as "a gauze fichu trimmed with white _prétention_." on leaving versailles for the last time (october 6th, 1789), marie antoinette distributed among her suite all that remained of her fans and laces. the arrangement of the lace lappets was still preserved by rule. "lappets to be pinned up"--lappets to be let down on grand occasions.[533] later madame de staël, like a true _bas-bleu_--without speaking of her curtsey to marie antoinette, which was all wrong--on her first visit of ceremony to madame de polignac, in defiance of all etiquette, left her lace lappets in the carriage. the democratic spirit of the age now first creeps out in {181}the fashions. among the rich _parures_ of du barry[534] we find "barbes à la paysanne"--everything now becomes "à coquille," "à papillon." even the queen's hairdresser, léonard, "qui "portait jusques au ciel l'audace de ses coiffures," did not venture to introduce much lace. the affected phraseology of the day is very "precious" in its absurdity. we read of the toilette of mademoiselle duthé in which she appeared at the opera. she wore a robe "soupirs étouffés," trimmed with "regrets superflus"; a point of "candeur parfaite, garnie en plaintes indiscrètes"; ribbons en "attentions marquées"; shoes "cheveux de la reine,"[535] embroidered with diamonds, "en coups perfides" and "venez-y-voir" in emeralds. her hair "en sentiments soutenus," with a cap of "conquête assurée," trimmed with ribbons of "oeil abattu"; a "chat[536] sur le col," the colour of "gueux nouvellement arrivé," and upon her shoulders a médicis "en bienséance," and her muff of "agitation momentanée." in the accounts of mademoiselle bertin, the queen's milliner, known for her saying, "il n'y a rien de nouveau dans ce monde que ce qui est oublié," we have little mention of lace.[537] {182}"blond à fond d'alençon semé à poix, à mouches," now usurps the place of the old points. even one of the "grandes dames de la vieille cour," madame adélaïde de france herself, is represented in her picture by madame guiard with a spotted handkerchief, probably of blonde (fig. 85). [illustration: fig. 85. madame adélaïde de france.--after a picture by madame guiard, dated 1787. m. de versailles.] the church alone protects the ancient fabrics. the lace of the rohan family, almost hereditary princes archbishops of strasburg, was of inestimable value. "we met," writes the baroness de oberkirch, "the cardinal coming out of his chapel dressed in a soutane of scarlet moire and rochet of english lace of inestimable value. when on great occasions he officiates at versailles, he wears an alb of old lace 'en point à l'aiguille' of such beauty that his assistants were almost afraid to touch it. his arms and device are worked in a medallion above the large flowers. this alb is estimated at 100,000 livres. on the day of which i speak he wore the rochet of english lace, one of his least beautiful, as his {183}secretary, the abbé georget, told me."[538] on his elevation to the see of bourges (1859), monseigneur de la tour d'auvergne celebrated mass at rome arrayed with all the sacerdotal ornaments of point d'alençon of the finest workmanship. this lace descended to him from his uncle, cardinal de la tour d'auvergne, who had inherited it from his mother, madame d'aumale, so well known as the friend of madame de maintenon. under the first empire, a complete suit of lace was offered to the prelate for sale, which had belonged to marie-antoinette. this lace is described as formed of squares of old point d'angleterre or de flandre, each representing a different subject. the beauty of the lace and its historic interest decided his eminence to speak of it to his colleague, cardinal de bonald, and these two prelates united their resources, bought the lace, and divided it. but this extravagance and luxury were now soon to end. the years of '92 and '93 were approaching. the great nobility of france, who patronised the rich manufactures of the kingdom at the expense of a peasantry starving on estates they seldom if ever visited, were ere long outcasts in foreign countries. the french revolution was fatal to the lace trade. for twelve years the manufacture almost ceased, and more than thirty different fabrics entirely disappeared.[539] its merits were, however, recognised by the etats généraux in 1789, who, when previous to meeting they settled the costume of the three estates, decreed to the _noblesse_ a lace cravat. it was not until 1801, when napoleon wished to "faire revenir le luxe," that we again find it chronicled in the annals of the day: "how charming caroline murat looked in her white mantelet of point de bruxelles et sa robe garnie des mêmes dentelles," etc. the old laces were the work of years, and transmitted as heirlooms[540] from generation to generation. {184}they were often heavy and overloaded with ornament. the ancient style was now discarded and a lighter description introduced. by an improvement in the point de raccroc several sections of lace were joined together so as to form one large piece; thus ten workers could now produce in a month what had formerly been the work of years. napoleon especially patronised the fabrics of alençon, brussels, and chantilly. he endeavoured, too, without success, to raise that of valenciennes. after the example of louis xiv., he made the wearing of his two favourite points obligatory at the court of the tuileries, and it is to his protection these towns owe the preservation of their manufactures. the lace-makers spoke of the rich orders received from the imperial court as the most remarkable epoch in their industrial career. never was the beauty and costliness of the laces made for the marriage of marie-louise yet surpassed. to reproduce them now would, estimates m. aubry, cost above a million of francs. napoleon was a great lover of lace: he admired it as a work of art, and was proud of the proficiency of his subjects. mademoiselle d'avrillion relates the following anecdote:--the princess pauline had given orders to the empress joséphine's lace-maker for a dress and various objects to the value of 30,000 francs. when the order was completed and the lace brought home, the princess changed her mind and refused to take them. madame lesoeur, in despair, appealed to the empress. she, thinking the price not unreasonable, considering the beauty of the points, showed them to napoleon, and told him the circumstance. "i was in the room at the time," writes the authoress of the _mémoires_. the emperor examined minutely each carton, exclaiming at intervals, "comme on travaille bien en france, je dois encourager un pareil commerce. pauline a grand tort." he ended by paying the bill and distributing the laces among the ladies of the court.[541] indeed, it may be said that never {185}was lace more in vogue than during the early days of the empire. the morning costume of a french duchesse of that court is described in the following terms:--"elle portait un peignoir brodé en mousseline garni d'une angleterre très-belle, une fraise en point d'angleterre. sur sa tête la duchesse avait jeté en se levant une sorte de 'baigneuse,' comme nos mères l'auraient appelée, en point d'angleterre, garnie de rubans de satin rose pâle."[542] the fair sister of napoleon, the princess pauline borghese, "s'est passionnée," as the term ran, "pour les dentelles."[543] that napoleon's example was quickly followed by the _élégantes_ of the directory, the following account, given to the brother of the author by an elderly lady who visited paris during that very short period[544] when the english flocked to the continent, of a ball at madame récamier's, to which she had an invitation, will testify. the first consul was expected, and the _élite_ of paris early thronged the _salons_ of the charming hostess, but where was madame récamier? "_souffrante_," the murmur ran, retained to her bed by a sudden indisposition. she would, however, receive her guests _couchée_. the company passed to the bedroom of the lady, which, as still the custom in france, opened on one of the principal _salons_. there, in a gilded bed, lay madame récamier, the most beautiful woman in france. the bed-curtains were of the finest brussels lace, bordered with garlands of honeysuckle, and lined with satin of the palest rose. the _couvrepied_ was of the same material; from the pillow of embroidered cambric fell "des flots de valenciennes." the lady herself wore a _peignoir_ trimmed with the most exquisite english point. never had she looked more lovely--never had she done the honours of her hotel more gracefully. and so she received napoleon--so she received the heroes of that great empire. all admired her "fortitude," her _dévouement_, in thus sacrificing herself to society, and on the following day "tout paris s'est fait inscrire chez elle." never had such anxiety been expressed--never had woman gained such a triumph. {186}the duchesse d'abrantès, who married in the year 1800, describing her trousseau,[545] says she had "des mouchoirs, des jupons, des canezous du matin, des peignoirs de mousseline de l'inde, des camisoles de nuit, des bonnets de nuit, des bonnets de matin, de toutes les couleurs, de toutes les formes, et tout cela brodé, garni de valenciennes ou de malines, ou de point d'angleterre." in the corbeille de mariage, with the cachemires were "les voiles de point d'angleterre, les garnitures de robes en point à l'aiguille, et en point de bruxelles, ainsi qu'en blonde pour l'été. il y avait aussi des robes de blonde blanche et de dentelle noire," etc. when they go to the mairie, she describes her costume: "j'avais une robe de mousseline de l'inde brodée au plumetis et en points à jour, comme c'était alors la mode. cette robe était à queue, montante et avec de longues manches, le lé de devant entièrement brodé ainsi que le tour du corsage, le bout des manches, qu'on appelait alors amadis. la fraise était en magnifique point à l'aiguille, sur ma tête j'avais un bonnet en point de bruxelles.... au sommet du bonnet était attachée une petite couronne de fleurs d'oranger, d'où partait un long voile en point d'angleterre qui tombait à mes pieds et dont je pouvais presque m'envelopper." madame junot winds up by saying that "cette profusion de riches dentelles, si fines, si déliées ne semblaient être qu'un réseau nuageux autour de mon visage, où elles se jouaient dans les boucles de mes cheveux." hamlet always used to appear on the stage in lace cravat and ruffles, and talma, the french tragedian, was very proud of his wardrobe of lace. dr. doran relates of him that on one occasion, when stopped by the belgian custom-house officers at the frontier, an official, turning over his wardrobe, his stage costumes, etc., contemptuously styled them "habits de polichinelle." talma, in a rage exclaimed, "habits de polichinelle! why, the lace of my jabot and ruffles alone is worth fifty louis a yard, and i wear it on my private costume." "and must pay for it accordingly," added the official. "punch's clothes might pass untaxed, but monsieur talma's lace owes duty to our king." talma was forced to submit. the french lace manufacture felt the political events of {187}1813 to 1817, but experienced a more severe crisis in 1818, when bobbin net was first made in france. fashion at once adopted the new material, and pillow lace was for a time discarded. for fifteen years lace encountered a fearful competition. the manufacturers were forced to lower their prices and diminish the produce. the marts of europe were inundated with tulle; but happily a new channel for exportation was opened in the united states of north america. in time a reaction took place, and in 1834, with the exception of alençon, all the other fabrics were once more in full activity.[546] but a cheaper class of lace had been introduced. in 1832-33 cotton thread first began to be substituted for flax.[547] the lace-makers readily adopted the change; they found cotton more elastic and less expensive. it gives, too, a brilliant appearance, and breaks less easily in the working. all manufacturers now use the scotch cotton, with the exception of alençon, some choice pieces of brussels, and the finer qualities of mechlin and valenciennes. the difference is not to be detected by the eye; both materials wash equally well. we now turn to the various lace manufactures of france, taking each in its order. {188}chapter xiii. the lace manufactures of france. france is a lace-making, as well as a lace-wearing, country. of the half a million of lace-makers in europe, nearly a quarter of a million are estimated as belonging to france. under the impulse of fashion and luxury, lace receives the stamp of the special style of each country. italy furnished its points of venice and genoa. the netherlands, its brussels, mechlin, and valenciennes. spain, its silk blondes. england, its honiton. france, its sumptuous point d'alençon, and its black lace of bayeux and chantilly. now, each style is copied by every nation; and though france cannot compete with belgium in the points of brussels, or the valenciennes of ypres, she has no rival in her points of alençon and her white blondes, or her black silk laces. to begin with alençon, the only french lace not made on the pillow. alençon (dép. orne), normandy. "alenchon est sous sarthe assis, il luic divise le pays."--_romant de rou._ we have already related how the manufacture of point lace was established by colbert. the _entrepreneurs_ had found the lace industry flourishing at the time of the point de france. (page 155.) plate liv. [illustration: french. border of point plat de france to a baptismal veil of embroidered muslin.--the orderly arrangement of the "brides" differs from the venetian, and foreshadows the "grande maille picotée." in the musée cinquantenaire, brussels.] _to face page 188._ {189}[illustration: fig. 86. colbert + 1683.--m. de versailles.] point d'alençon is mentioned in the _révolte des passemens_, 1661, evidently as an advanced manufacture; but the monopoly of the privileged workmen--the new-comers--displeased the old workwomen, and colbert[548] was too despotic in his orders prohibiting to make any kind of point except that of the royal manufactory, and made the people so indignant that they revolted. the intendant, favier-duboulay, writes to colbert, august 1665, that one named le prevost, of this town, having given suspicion to the people that he was about to form an establishment of "ouvrages de fil," the women to the number of above a thousand assembled, and pursued him so that, if he had not managed to escape their fury, he would assuredly have suffered from their violence. "he took refuge with me," he writes, "and i with difficulty appeased the multitude by assuring them that they would not be deprived of the liberty of working. it is a fact that for many years the town of alençon subsists only by means of these small works of lace: that the same people make and sell, and in years of scarcity they subsist only by this little industry, and that wishing to {190}take away their liberty, they were so incensed i had great difficulty in pacifying them." the act, it appears, had come from the parliament of paris, but as alençon is in normandy, it was necessary to have the assent of the parliament of rouen. the remonstrance of the intendant (see his letter in chap. ix., page 155) met with the attention it deserved. on september 14th following, after a meeting headed by prevost and the marquis de pasax, intendant of the city, it was settled that after the king had found 200 girls, the rest were at liberty to work as they pleased; none had permission to make the fine point of the royal pattern, except those who worked for the manufactory; and all girls must show to the authorities the patterns they intended working, "so that the king shall be satisfied, and the people gain a livelihood." the "maîtresse dentellière," catherine marcq, writes to colbert, november 30th, 1665, complaining of the obstinacy of the people, who prefer the old work. "out of 8,000 women, we have got but 700, and i can only count on 250 who at least will have learnt to perfection the venetian point, the remainder merely working a month and then leaving the establishment." the new points are duly chronicled.[549] in 1677 the _mercure_ announces, "they make now many points de france without grounds, and 'picots en campannes' to all the five handkerchiefs. we have seen some with little flowers over the large, which might be styled 'flying flowers,' being only attached in the centre." in 1678 it says: "the last points de france have no brides, the fleurons are closer together. the flowers, which are in higher relief in the centre, and lower at the edges, are united by small stalks and flowers, which keep them in their places, instead of brides. the manner of disposing the branches, called 'ordonnances,' is of two kinds: the one is a twirling stalk, which throws out flowers; the other is regular--a centre flower, throwing out regular branches on each side." in october of the same year, the _mercure_ says: {191}"there has been no change in the patterns," and it does not allude to them again. what can these be but venice patterns? the flower upon flower--like "fleurs volante"--exactly answers to the point in high relief (fig. 87). [illustration: fig. 87. venice point.--"dentelle volante."] a memoir drawn up in 1698 by m. de pommereu[550] is the next mention we find of the fabric of alençon. "the manufacture of the points de france is also," he says, "one of the most considerable in the country. this fabric began at alençon, where most of the women and girls work at it, to the number of more than eight to nine hundred, without counting those in the country, which are in considerable numbers. it is a commerce of about 500,000 livres per annum. this point is called 'vilain'[551] in the country; the principal sale was in paris during the war, but the demand increases very much since the peace, in consequence of its exportation to foreign countries." the number of lace-workers given by m. pommereu appears small, but alençon {192}manufacture was then on the decline. the death of its protector, colbert (1683), and the revocation of the edict of nantes, which reduced the population one-third, the industrial families (qui faisaient le principal commerce) retiring to england and scotland, the long wars of louis xiv., and, finally, his death in 1715, all contributed to diminish its prosperity.[552] savary, writing in 1726, mentions the manufacture of alençon as not being so flourishing, but attributes it to the long wars of louis xiv. he adds, "it still, however, maintains itself with some reputation at alençon; the magnificence, or, if you like, the luxury of france, sufficing to keep it up even in war-time; but it flourishes principally in peace, in consequence of the large exports to foreign countries." russia and poland were its great marts: and before the revolution, poland estimates the annual value of the manufacture at 11,000,000 to 12,000,000 livres.[553] the workwomen earned from three sous to three livres per day. in 1680, in _britannia languens_, a discourse upon trade, it states that "the laces commonly called points de venise now come mostly from france, and amount to a vast sum yearly." plate lv. [illustration: french. point d'alençon.--eighteenth century. period louis xv. needle-point lappet end and border. these show in combination the "alençon," "réseau," and the "argentan" hexagonal "brides." the ribands in the border show varieties of diaper pattern stitches similar to those in the "modes" of heavy venetian points. widths: lappet 4½ in., border 3½ in. victoria and albert museum.] _to face page 192._ {193}point d'alençon is made entirely by hand, with a fine needle, upon a parchment pattern, in small pieces, afterwards united by invisible seams. there are twelve processes, including the design, each of which is executed by a special workwoman. these can again be subdivided, until the total number of processes is twenty or twenty-two.[554] the design, engraved upon a copper plate, is printed off in divisions upon pieces of parchment ten inches long, each numbered according to its order. green parchment is now used, and has been in vogue since 1769, at which date it is noted in an inventory of simon geslin (april 13th, 1769). the worker is better able to detect any faults in her work than on white. the pattern is next pricked upon the parchment, which is stitched to a piece of very coarse linen folded double. the outline of the pattern is then formed by two flat threads, which are guided along the edge by the thumb of the left hand, and fixed by minute stitches passed, with another thread and needle, through the holes of the parchment. when the outline is finished, the work is given over to the "réseleuse" to make the ground, which is of two kinds, bride and réseau. the delicate réseau is worked backwards and forwards from the footing to the picot--of the bride, more hereafter. besides the hexagonal bride ground, and the ground of meshes, there was another variety of grounding used in alençon lace. "this ground consists of buttonhole-stitched skeleton hexagons, within each of which was worked a small solid hexagon connected with the surrounding figure by means of six little tyes or brides." lace with this particular ground has been called argentella.[555] in making the flowers of alençon point, the worker supplies herself with a long needle and a fine thread; with these she works the "point noué" (buttonhole stitch) from left to right, and when arrived at the end of the flower, the thread is thrown back from the point of departure, and she works again from left to right over the thread. this gives a closeness and evenness to the work unequalled in any other point. then follow the "modes," and other different operations, which completed, the threads which unite lace, {194}parchment and linen together, are cut with a sharp razor passed between the two folds of linen, any little defects repaired, and then remains the great work of uniting all these segments imperceptibly together. this task devolves upon the head of the fabric, and is one requiring the greatest nicety. an ordinary pair of men's ruffles would be divided into ten pieces; but when the order must be executed quickly, the subdivisions are even greater. the stitch by which these sections are worked is termed "assemblage," and differs from the "point de raccroc," where the segments are united by a fresh row of stitches. at alençon they are joined by a seam, following as much as possible the outlines of the pattern. when finished, a steel instrument, called a picot, is passed into each flower, to polish it and remove any inequalities in its surface. the more primitive lobster-claw or a wolf's tooth was formerly used for the same purpose. point d'alençon is of a solidity which defies time and washing, and has been justly called the queen of lace. it is the only lace in which horsehair is introduced along the edge to give firmness and consistency to the cordonnet, rendered perhaps necessary to make the point stand up when exposed to wind, mounted on the towering fabrics then worn by the ladies. the objection to horsehair is that it shrinks in washing and draws up the flower from the ground. it is related of a collar made at venice for louis xiii. that the lace-workers, being unsuccessful in finding sufficiently fine horsehair, employed some of their own hair instead, in order to secure that marvellous delicacy of work which they aimed at producing. the specimen, says lefébure, cost 250 golden écus (about sixty pounds). in 1761, a writer, describing the point de france, says that it does not arrive at the taste and delicacy of brussels, its chief defect consisting in the thickness of the cordonnet, which thickens when put into water. the horsehair edge also draws up the ground, and makes the lace rigid and heavy. he likewise finds fault with the "modes" or fancy stitches of the alençon, and states that much point is sent from there to brussels to have the modes added, thereby giving it a borrowed beauty; but connoisseurs, he adds, easily detect the difference.[556] [illustration: fig. 88. argentella, or point d'alençon à réseau rosacé.--period louis xv. _to face page 194._] {195}when the points of alençon and argentan dropped their general designations of "points de france"[557] it is difficult to say. an eminent writer states the name was continued till the revolution, but this is a mistake. the last inventory in which we have found mention of point de france is one of 1723,[558] while point d'argentan is noted in 1738,[559] and point d'alençon in 1741, where it is specified to be "à réseau."[560] in the accounts of madame du barry, no point d'alençon is mentioned--always point à l'aiguille--and "needle point" is the name by which point d'alençon was alone known in england during the last century. the purchases of needle point of madame du barry were most extensive. sleeves (engageantes) and lappets for 8,400 livres; court ruffles at 1,100; a mantelet at 2,400; a veste at 6,500; a grande coëffe, 1,400; a garniture, 6,010, etc.[561] in the description of the department of the orne drawn up in 1801, it is stated, "fifteen years back there were from 7,000 to 8,000 lace-workers at alençon and its environs: the fabric of argentan, whose productions are finer and more costly, had about 2,000." almost all these lace-makers, some of whom made réseau, others the bride ground, passed into england, spain, italy, germany, and the courts of the north, especially to russia. these united fabrics produced to the annual value of at least 1,800,000 fr., and when they had extraordinary orders, such as "parures" for beds and other large works, it increased to 2,000,000 fr. (£80,000). but this commerce, subject to the variable empire of fashion, had declined one-half even before the revolution. now it is almost nothing, and cannot be estimated at more than 150,000 to 200,000 fr. per annum. "it supported three {196}cities and their territory, for that of séez[562] bore its part. some black laces are still made at séez, but they are of little importance.--p.s. these laces have obtained a little favour at the last leipsic fair."[563] the manufacture of alençon was nearly extinct when the patronage of napoleon caused it to return almost to its former prosperity. among the orders executed for the emperor on his marriage with the empress marie louise, was a bed furniture of great richness. tester, curtains, coverlet, pillow-cases. the principal subject represented the arms of the empire surrounded by bees. from its elaborate construction, point d'alençon is seldom met with in pieces of large size; the amount of labour therefore expended on this bed must have been marvellous. mrs. palliser, when at alençon, was so fortunate as to meet with a piece of the ground powdered with bees, bought from the ancient fabric of mercier, at lonray, when the stock many years back was sold off and dispersed (fig. 89). the point d'alençon bees are appliqué upon a pillow ground, "vrai réseau," executed probably at brussels. part of the "équipage" of the king of rome excited the universal admiration of all beholders at the paris exhibition of 1855. alençon again fell with the empire. no new workers were trained, the old ones died off, and as it requires so many hands to execute even the most simple lace, the manufacture again nearly died out. in vain the duchesse d'angoulême endeavoured to revive the fabric, and gave large orders herself; but point lace had been replaced by blonde, and the consumption was so small, it was resumed on a very confined scale. so low had it fallen in 1830, that there were only between 200 and 300 lace-workers, whose products did not exceed the value of 1,200 francs (£48). again, in 1836, baron mercier, thinking by producing it a lower price to procure a more favourable sale, set up a lace school, and caused the girls to work the patterns on bobbin net, as bearing some resemblance to the old "point de bride," but fashion did not favour "point de bride," so the plan failed. in 1840 fresh attempts were made to revive the {197}manufacture. two hundred aged women--all the lace-makers remaining of this once flourishing fabric--were collected and again set to work. a new class of patterns was introduced, and the manufacture once more returned to favour and prosperity. but the difficulties were great. the old point was made by an hereditary set of workers, trained from their earliest infancy to the one special work they were to follow for life. now new workers had to be procured from other lace districts, already taught the ground peculiar to their fabrics. the consequence was, their fingers never could acquire the art of making the pure alençon réseau. they made a good ground, certainly, but it was mixed with their own early traditions: as the alençon workers say, "elles bâtardisent les fonds." [illustration: fig. 89. bed made for napoleon i.] in the exhibition of 1851 were many fine specimens of {198}the revived manufacture. one flounce, which was valued at 22,000 francs, and had taken thirty-six women eighteen months to complete, afterwards appeared in the "corbeille de mariage" of the empress eugénie. in 1856 most magnificent orders were given for the imperial layette, a description of which is duly chronicled.[564] the young prince was "voué au blanc"; white, therefore, was the prevailing colour in the layette. the curtains of the imperial infant's cradle were of mechlin, with alençon coverlet lined with satin. the christening robe, mantle, and head-dress were all of alençon; and the three _corbeilles_, bearing the imperial arms and cipher, were also covered with the same point. twelve dozen embroidered frocks, each in itself a work of art, were all profusely trimmed with alençon, as were also the aprons of the imperial nurses. a costly work of alençon point appeared in the exhibition of 1855--a dress, purchased by the emperor for 70,000 francs (£2,800), and presented by him to the empress. a few observations remain to be made respecting the dates of the patterns of alençon point, which, like those of other laces, will be found to correspond with the architectural style of decoration of the period. the "corbeilles de mariage" preserved in old families and contemporary portraits are our surest guides. in the eighteenth century the réseau ground was introduced, and soon became universally adopted. after carefully examining the engravings of the time, the collection of historical portraits at versailles and other galleries, we find no traces of point d'alençon with the réseau or network ground in the time of louis xiv. the laces are all of the venetian character, à bride, and colbert himself is depicted in a cravat of italian design; while, on the other hand, the daughters of louis xv. (mesdames de france) and the "filles du régent" all wear rich points of alençon and argentan.[565] the earlier patterns of the eighteenth century are flowery and undulating[566] (fig. 91), scarcely {199}begun, never ending, into which haphazard are introduced patterns of a finer ground, much as the medallions of boucher or vanloo were inserted in the gilded panellings of a room. twined around them appear a variety of _jours_, filled up with patterns of endless variety, the whole wreathed and garlanded like the decoration of a theatre. such was the taste of the day. "après moi le déluge"; and the precept of the favourite was carried out in the style of design: an _insouciance_ and _laisser-aller_ typical of a people regardless of the morrow. towards the latter end of the reign a change came over the national taste. it appears in the architecture and domestic decoration. as the cabriole legs of the chairs are replaced by the "pieds de daim," so the running patterns of the lace give place to compact and more stiff designs. the flowers are rigid and angular, of the style called _bizarre_, of almost conventional form. with louis xvi. began the ground _semé_ with compact little bouquets, all intermixed with small patterns, spots (_pois_), fleurons, rosettes, and tears (_larmes_) (fig. 90), which towards the end of the century entirely expel the bouquets from the ground. the semés continued during the empire. this point came into the highest favour again during the second empire. costly orders for trousseaux were given not only in france, but from russia and other countries. one amounted to 150,000 francs (£6,000)--flounce, lappets and trimmings for the body, pocket-handkerchief, fan, parasol, all _en suite_, and, moreover, there were a certain number of metres of _aunage_, or border lace, for the layette. the making of point d'alençon being so slow, it was impossible ever to execute it "to order" for this purpose. great as is the beauty of the workmanship of alençon, it was never able to compete with brussels in one respect: its designs were seldom copied from nature, while the fabric of brabant sent forth roses and honeysuckles of a correctness worthy of a dutch painter. {200}this defect is now altered. the designs of the lace are admirable copies of natural flowers, intermixed with grasses and ferns, which give a variety to the form of the leaves. [illustration: fig. 90. alençon point, à petites brides.--louis xvi.] [illustration: fig. 91. point d'alençon.--louis xv. period. _to face page 200._] {201}alençon point is now successfully made at burano near venice, in brussels, at alençon itself, and at bayeux, where the fabric was introduced, in 1855, by m. auguste lefébure, a manufacturer of that town. departing from the old custom of assigning to each lace-maker a special branch of the work, the lace is here executed through all its stages by the same worker. perhaps the finest example of point d'alençon exhibited in 1867 was the produce of the bayeux fabric; a dress consisting of two flounces, the pattern, flowers, and foliage of most artistic and harmonious design, relieved by the new introduction of shaded tints, giving to the lace the relief of a picture.[567] the ground (point à l'aiguille) was worked with the greatest smoothness and regularity, one of the great technical difficulties when such small pieces have to be joined together. the price of the dress was 85,000 francs (£3,400). it took forty women seven years to complete. in the exhibition of 1889 in paris, alençon itself showed the best piece of lace that had taken 16,500 working days to make. {202}chapter xiv. argentan (dép. orne). "vous qui voulez d'argentan faire conte, a sa grandeur arrêter ne faut; petite elle est, mais en beauté surmonte maintes cités, car rien ne lui defaut; elle est assise en lieu plaisant et haut, de tout côtè à prairie, à campaigne, un fleuve aussi, où maint poisson se baigne, des bois épais, suffisans pour nourrir biches et cerfs qui sont prompts à courir; plus y trouvez, tant elle est bien garnie, plus au besoin nature secourir bon air, bon vin, et bonne compagnie!" --_des maisons._ 1517. the name of the little town of argentan, whose points long rivalled those of alençon, is familiar to english ears as connected with our norman kings. argentan is mentioned by old robert wace as sending its sons to the conquest of england.[568] it was here the mother of henry ii. retired in 1130; and the imperial eagle borne as the arms of the town is said to be a memorial of her long sojourn. here the first plantagenet held the "cour plénière," in which the invasion of ireland was arranged; and it was here he uttered those rash words which prompted his adherents to leave argentan to assassinate thomas à becket.[569] but, apart from historic recollections, argentan is celebrated for its point lace. a "bureau" for points de france was established at argentan at the same time as the bureau at alençon (1665), and was also under the direction of madame raffy. in a letter dated november 23rd, 1665, she writes to colbert: "je suis très satisfaite de la publication à son de trompe d'un arrêt qui ordonne aux ouvrières d'argentan de travailler uniquement pour la bureau de la manufacture royale." plate lvi. [illustration: ] [illustration: point d'argentan.--modern reproduction at burano of the flounce now belonging to the crown of italy, said formerly to have belonged to paul de gondy, cardinal de retz 1614-79. this is evidently wrong, as the design and execution is of fifty years later date, but it is a fine specimen of an ecclesiastical flounce. height, 24 in. photo by burano school.] _between pages 202 and 203._ {203}point d'argentan has been thought to be especially distinguished by its hexagonally-arranged brides; but this has also been noticed as a peculiarity of certain venetian point laces. the bride ground, to which we have before alluded in the notice of alençon, was of very elaborate construction, and consists of a large six-sided mesh, worked over with the buttonhole stitch. it was always printed on the parchment pattern, and the upper angle of the hexagon is pricked. after the hexagon is formed, by passing the needle and thread round the pins in a way too complicated to be worth explaining, the six sides are worked over with seven or eight buttonhole stitches in each side. the bride ground was consequently very strong. it was much affected in france; the réseau was more preferred abroad.[570] at the present time, it is usual to consider the point d'alençon as a lace with a fine réseau, the mesh of which is more square than hexagonal in form, worked by looped stitches across horizontal lines of thread, with the flower or ornament worked in fine point stitches, closely resembling the gimp or ornament in the point de venise à réseau, and outlined by a cordonnet of the finest buttonhole stitches worked over a horsehair or threads, while point d'argentan is a lace with similar work as regards flower, ornament, and cordonnet, but with a hexagonal bride ground, each side of the hexagon being of the finest buttonhole stitchings. regarding the date of the introduction of the réseau, the large hexagonal "grande bride" would appear to follow from the points de venise, argentan being named before alençon à réseau. madame despierres, however, is of opinion that argentan simplified the usual réseau by adopting the bride tortillé (_i.e._, twisting the threads round each mesh instead of the more arduous buttonhole stitching). alençon would then {204}have copied back the petites brides of small hexagonal twisted or buttonholed meshes in louis xvi.'s reign. to this again succeeded the looped réseau of very thick thread. with the view of showing that alençon and argentan were intimately connected the one with the other in the manufacture of lace, m. dupont says that, whereas considerable mention has been made in various records of the establishment at alençon of a lace factory, trace of such records with regard to alençon cannot be found. a family of thread and linen dealers, by name monthulay, are credited with the establishment of a branch manufactory or _succursale_ for lace at argentan. the monthulays, then, sowed alençon seeds at argentan, which developed into the so-called argentan lace. in almost all respects it is the same as alençon work.[571] the two towns, separated by some ten miles, had communications as frequent as those which passed between alençon and the little village of vimoutier, eighteen miles distant, where one workman in particular produced what is known as the true alençon lace. if a work were made at argentan, it was called argentan, if at alençon, alençon, though both might have been produced from the same designs. in 1708, the manufacture had almost fallen to decay, when it was raised by one sieur mathieu guyard, a merchant mercer at paris, who states that "his ancestors and himself had for more than 120 years been occupied in fabricating black silk and white thread lace in the environs of paris." he applies to the council of the king for permission to re-establish the fabric of argentan and to employ workwomen to the number of 600. he asks for exemption from lodging soldiers, begs to have the royal arms placed over his door, and stipulates that monthulay, his draughtsman and engraver, shall be exempted from all taxes except the capitation. the arrêt obtained by guyard is dated july 24th, 1708. [illustration: fig. 92. point d'argentan. _to face page 204._] {205}guyard's children continued the fabric. monthulay went over to another manufacturer, and was replaced in 1715 by jacques james, who, in his turn, was succeeded by his daughter, and she took as her partner one sieur de la leu. other manufactures set up in competition with guyard's; among others that of madame wyriot, whose factor, du ponchel, was in open warfare with the rival house. the marriage of the dauphin, in 1744, was a signal for open hostilities. du ponchel asserted that mademoiselle james enticed away his workmen, and claimed protection, on the ground that he worked for the king and the court. but on the other side, "it is i," writes de la leu to the intendant, on behalf of mademoiselle james, "that supply the 'chambre du roi' for this year, by order of the duke de richelieu. i too have the honour of furnishing the 'garderobe du roi,' by order of the grand master, the duke de la rochefoucault. besides which, i furnish the king and queen of spain, and at this present moment am supplying lace for the marriage of the dauphin."[572] du ponchel rejoins, "that he had to execute two 'toilettes et leurs suites, nombre de bourgognes[573] et leurs suites' for the queen, and also a cravat, all to be worn on the same occasion." du ponchel appears to have had the better interest with the controller-general; for the quarrel ended in a prohibition to the other manufacturers to molest the women working for du ponchel, though the maison guyard asked for reciprocity, and maintained that their opponents had suborned and carried off more than a hundred of their hands.[574] the number of lace-makers in the town of argentan and its environs at this period amounted to nearly 1,200. in a list of 111 who worked for the maison guyard appear the {206}names of many of the good bourgeois families of the county of alençon, and even some of noble birth, leading one to infer that making point lace was an occupation not disdained by ladies of poor but noble houses. de la leu, who, by virtue of an ordinance, had set up a manufacture on his own account, applies, in 1745, to have 200 workwomen at argentan, and 200 at carrouges, delivered over to his factor, in order that he may execute works ordered for the king and the dauphin for the approaching fêtes of christmas. this time the magistrate resists. "i have been forced to admit," he writes to the intendant, "that the workmen cannot be transferred by force. we had an example when the layette of the dauphin was being made. you then gave me the order to furnish a certain number of women who worked at these points to the late sieur de monthulay. a detachment of women and girls came to my house, with a female captain (capitaine femelle) at their head, and all with one accord declared that if forced to work they would make nothing but cobbling (bousillage). partly by threats, and partly by entreaty, i succeeded in compelling about a dozen to go, but the sieur de monthulay was obliged to discharge them the next day.[575] i am therefore of opinion that the only way is for m. de la leu to endeavour to get some of the workwomen to suborn others to work for him under the promise of higher wages than they can earn elsewhere. m. de la leu agrees with me there is no other course to pursue; and i have promised him that, in case any appeal is made to me, i shall answer that things must be so, as the work is doing for the king." from this period we have scarcely any notices concerning the fabric of argentan. in 1763 the widow louvain endeavoured to establish at mortagne (orne) a manufacture of lace like that of alençon and argentan, and proposed to send workers from these two towns to teach the art gratuitously to the girls of mortagne. we do not know what became of her project; but at the same period the epoux malbiche de boislaunay applied for permission to establish an office at argentan, with the ordinary exemptions, under the title of royal manufacture. the title and exemptions were refused. there were then (1763) at argentan three manufactures of point de france, without counting the general hospital of st. louis, in which it was made for the profit of the institution, and evidently with success; for in 1764, a widow roger was in treaty with the hospital to teach her two daughters the fabrication of point d'argentan. they were to be boarded, and give six years of their time. the fine on non-performance was 80 livres. in 1781, the sieur gravelle desvallées made a fruitless application to establish a manufacture at argentan; nor could even the children of the widow wyriot obtain a renewal of the privilege granted to their mother.[576] gravelle was ruined by the revolution, and died in 1830. [illustration: fig. 93. point d'argentan.--grande bride ground. eighteenth century. _to face page 206._] {207}arthur young, in 1788, estimates the annual value of argentan point at 500,000 livres. taking these data, we may fix the reigns of louis xv. and louis xvi. as the period when point d'argentan was at its highest prosperity. it appears in the inventories of the personages of that time; most largely in the accounts of madame du barry (from 1769 to 1773), who patronized argentan equally with point d'angleterre and point à l'aiguille. in 1772, she pays 5,740 francs for a complete garniture. lappets, flounces, engageantes, collerettes, aunages, fichus, are all supplied to her of this costly fabric.[577] one spécialité in the argentan point is the "bride picotée," a remnant, perhaps, of the early venetian teaching. it consists of the six-sided button-hole bride, fringed with a little row of three or four picots or pearls round each side. it was also called "bride épinglée," because pins were pricked in the parchment pattern, to form these picots or boucles (loops) on; hence it was sometimes styled "bride bouclée."[578] {208}the "écaille de poisson" réseau was also much used at alençon and argentan. the manner of making "bride picotée" is entirely lost. attempts were made to recover the art some years since (1869), and an old workwoman was found who had made it in her girlhood, but she proved incapable of bringing the stitch back to her memory, and the project was given up.[579] point d'argentan disappeared, and was re-established in 1708; but though a few specimens were produced at the exhibition of industry in 1808, the industry died out in 1810.[580] it was again revived with some success by m. m. lefébure in 1874. in january 1874, with the assistance of the mayor, he made a search in the greniers of the hôtel dieu, and discovered three specimens of point d'argentan in progress on the parchment patterns. one was of bold pattern with the "grande bride" ground, evidently a man's ruffle; the other had the barette or bride ground of point de france; the third picotée, showing that the three descriptions of lace were made contemporaneously at argentan. the author of a little pamphlet on argentan, m. eugène[581] de lonlay, remembers having seen in his youth in the holy week, in the churches of st. martin and st. germain, the statues of the apostles covered from head to foot with this priceless point. argentan is now much made at burano. plate lvi. illustrates one of their fine reproductions. plate lvii. [illustration: french. point d'argentan.--eighteenth century. period louis xv. needle-point borders. both these have the hexagonal ground of the genre "argentan." the upper one is chiefly filled in with the "oeil de perdrix" or "réseau rosacé." width, 3-3/8 in. the lower one has been pieced together. width, 7 in. victoria and albert museum.] _to face page 208._ {209}chapter xv. isle de france.--paris (dép. seine). "quelle heure est-il? passé midi. qui vous l'a dit? une petite souris. que fait-elle? de la dentelle. pour qui? la reine de paris."--_old nursery song._ early in the seventeenth century, lace was extensively made in the environs of paris, at louvres, gisors, villiers-le-bel, montmorency, and other localities. of this we have confirmation in a work[582] published 1634, in which, after commenting upon the sums of money spent in flanders for "ouvrages et passemens,[583] tant de point couppé que d'autres," which the king had put a stop to by the sumptuary law of 1633, the author says:--"pour empescher icelle despence, il y a toute l'isle de france et autres lieux qui sont remplis de plus de dix mille familles dans lesquels les enfans de l'un et l'autre sexe, dès l'âge de dix ans ne sont instruits qu'à la manufacture desdits ouvrages, dont il s'en trouve d'aussi beaux et bien faits que ceux des étrangers; les espagnols, qui le sçavent, ne s'en fournissent ailleurs." who first founded the lace-making of the isle de france it is difficult to say; a great part of it was in the hands of the huguenots, leading us to suppose it formed one of the numerous "industries" introduced or encouraged by {210}henry iv. and sully. point de paris, mignonette, bisette, and other narrow cheap laces were made, and common guipures were also fabricated at st. denis, écouen, and groslay. from 1665 to the french revolution, the exigencies of fashion requiring a superior class of lace, the workwomen arrived gradually at making point of remarkable fineness and superior execution. the lappet (fig. 94) is a good example of the delicacy of the fine point de paris. the ground resembles the fond chant, the six-pointed star meshed réseau. [illustration: fig. 94. point de paris.--reduced.] [illustration: fig. 95. point de france.--bobbin lace. seventeenth century. with portraits of louis xiv. and marie thérèse. mrs. palliser gives this illustration the above designation in her last edition; in her former ones, that of flemish lace. the lace has lately come into the possession of mr. arthur blackborne. it appears to be flemish work made for the french queen. _to face page 210._] {211}savary, who wrote in 1726, mentions how, in the château de madrid, there had long existed a manufacture of points de france.[584] a second fabric was established by the comte de marsan,[585] in paris, towards the end of the same century. having brought over from brussels his nurse, named dumont, with her four daughters, she asked him, as a reward for the care she had bestowed upon him in his infancy, to obtain for her the privilege of setting up in paris a manufactory of point de france. colbert granted the request: dumont was established in the faubourg st. antoine--classic land of embroidery from early times--cited in the "révolte des passemens," "telle broderie qui n'avoit jamais esté plus loin que du faubourg s. antoine au louvre." a "cent suisse" of the king's was appointed as guard before the door of her house. in a short time dumont had collected more than 200 girls, among whom were several of good birth, and made beautiful lace called point de france. her fabric was next transferred to rue saint sauveur, and subsequently to the hôtel saint-chaumont, near the porte st. denis. dumont afterwards went to portugal, leaving her fabric under the direction of mademoiselle de marsan. but, adds the historian, as fashion and taste often change in france, people became tired of this point. it proved difficult to wash; the flowers had to be raised each time it was cleaned; it was thick and unbecoming to the face. points d'espagne were now made instead, with small flowers, which, being very fine, was more suitable for a lady's dress. lastly, the taste for mechlin lace coming in, the manufacture of dumont was entirely given up.[586] in the time of louis xiv. the commerce of lace was distributed in different localities of paris, as we learn from the "livre commode"[587] already quoted. the gold laces, forming of themselves a special commerce, had their shops in the "rue des bourdonnais (in which silk laces were especially sold) and the rue sainte-honoré, entre la place aux chats et les piliers des halles," while the rue bétizy retained for itself the spécialité of selling "points et dentelles." the gold and silver laces of paris, commonly known as points d'espagne,[588] often embellished with pearls and other {212}ornaments, were for years renowned throughout all europe; and, until the revocation of the edict of nantes, an object of great commerce to france. its importance is shown by the sumptuary edicts of the seventeenth century forbidding its use, and also by its mention in the _révolte des passemens_. it was made on the pillow. much was exported to spain and the indies. how those exiled workmen were received by the protestant princes of europe, and allowed to establish themselves in their dominions, to the loss of france and the enrichment of the lands of their adoption, will be told in due time, when we touch on the lace manufactures of holland and germany. (plate lviii.) since 1784, little lace has been made in paris itself, but a large number of lace-makers are employed in applying the flowers of binche and mirecourt upon the bobbin-net grounds. chantilly (dép. oise). "dans sa pompe élégante admirez chantilli, de héros en héros, d'âge en âge embelli." --delille. _les jardins._ although there long existed lace-makers in the environs of paris, the establishment for which chantilly was celebrated owes its formation to catherine de rohan, duchesse de longueville, who sent for workwomen from dieppe and havre to her château of étrepagny, where she retired at the beginning of the seventeenth century, and established schools. the town of chantilly, being the centre of a district of lace-makers, has given its name to the laces of the surrounding district, the trade being distributed over more than a hundred villages, the principal of which are saint-maximien, viarmes, méric, luzarches, and dammartin. the proximity to paris, affording a ready sale for its productions, caused the manufacture to prosper, and the narrow laces which they first made--gueuse and point de paris--were soon replaced by guipures, white thread, and black silk lace.[589] plate lviii. [illustration: french (or dutch).--borders of gold and silver thread and gimp lace. eighteenth century. from the treasury of st. mary's church, dantzig. widths: 1-1/8, 1¾ and 4¼ in. victoria and albert museum.] _to face page 212._ {213}some twenty years since there dwelt at chantilly an elderly lady, grand-daughter of an old proprietor, who had in her possession one of the original pattern-books of the fabric, with autograph letters of marie antoinette, the princess de lamballe, and other ladies of the court, giving their orders and expressing their opinion on the laces produced. we find in the inventories of the last century, "coëffure de cour de dentelle de soye noire," "mantelet garni de dentelles noires," a "petite duchesse et une respectueuse," and other "coëffes," all of "dentelle de soye noire."[590] white blonde appears more sparingly. the duchesse de duras has "une paire de manchettes à trois rangs, deux fichus et deux paires de sabots en blonde."[591] the latter to wear, probably, with her "robe en singe." du barry purchases more largely.[592] see pages 181, 182, and 224. fig. 96 is a specimen taken from the above-mentioned pattern-book; the flowers and ground are of the same silk, the flowers worked en grillé (see chap. iii., grillé), or open stitch, instead of the compact tissue of the "blondes mates," of the spanish style. the cordonnet is a thicker silk strand, flat and untwisted. this is essentially "chantilly lace." the fillings introduced into the flowers and other ornaments in chantilly lace are mesh grounds of old date, which, according to the district where they were made, are called vitré, mariage, and cinq trous. chantilly first created the black silk lace industry, and deservedly it retains her name, whether made there or in calvados. chantilly black lace has always been made of silk, but from its being a grenadine, not a shining silk, a common error prevails that it is of thread, whereas black thread lace has never been made {214}either at chantilly or bayeux. the distinguishing feature of this lace is the _fond chant_ (an abbreviation of chantilly), the six-pointed star réseau, or, as it is better described, a diamond crossed by two horizontal threads. chantilly fell with '93. being considered a royal fabric, and its productions made for the nobility alone, its unfortunate lace-workers became the victims of revolutionary fury, and all perished, with their patrons, on the scaffold. we hear no more of the manufacture until the empire, a period during which chantilly enjoyed its greatest prosperity. in 1805, white blonde became the rage in paris, and the workwomen were chiefly employed in its fabrication. the chantilly laces were then in high repute, and much exported, the black, especially, to spain and her american colonies; no other manufactories could produce mantillas, scarfs, and other large pieces of such great beauty. it was then they made those rich large-patterned blondes called by the french "blondes mates," by the spaniards "trapeada," the prevailing style since the first empire. [illustration: fig. 96. chantilly.--reduced.--from one of the order books, temp. louis xvi.] about 1835 black lace again came into vogue, and the lace-makers were at once set to work at making black silk laces with double ground, and afterwards they revived the hexagonal ground of the last century, called fond d'alençon,[593] for the production of which they are celebrated. the lace industry has been driven away from chantilly by the increase in the price of labour consequent on its vicinity to the capital. the lace manufacturers, unable to {215}pay such high salaries, retired to gisors, where in 1851 there were from 8,000 to 9,000 lace-makers. they continued to make the finest lace some years longer at chantilly; but now she has been supplanted by the laces of calvados, caen, and bayeux, which are similar in material and in mode of fabrication. the generally so-called chantilly shawls are the production of bayeux. {216}chapter xvi. normandy. "dangling thy hands like bobbins before thee." --congreve, _way of the world_. seine inférieure. lace forms an essential part of the costume of the normandy peasants. the wondrous "bourgoin,"[594] with its long lappets of rich lace, descended from generation to generation, but little varied from the cornettes of the fourteenth and fifteenth centuries (fig. 97). the countrywomen wore their lace at all times, when it was not replaced by the cotton nightcap, without much regard to the general effect of their daily clothes. "madame the hostess," writes a traveller in 1739, "made her appearance in long lappets of bone lace, with a sack of linsey wolsey." the manufactures of the pays de caux date from the beginning of the sixteenth century. it appears to have been the first centre in normandy, as in 1661 havre laces occur in the _révolte des passemens_. lace-making was the principal occupation of the wives and daughters of the mariners and fishermen. in 1692, m. de sainte-aignan, governor of havre, found it employed 20,000 women.[595] {217}[illustration: fig. 97. cauchoise.--from an engraving of the eighteenth century.] it was in the province of normandy, as comprised in its ancient extent, that the lace trade made the most rapid increase in the eighteenth century. from arras to st. {218}malo more than thirty centres of manufacture established themselves, imitating with success the laces of mechlin; the guipures of flanders; the fond clair, or single ground, then called point de bruxelles; point de paris; black thread laces, and also those guipures enriched with gold and silver, so much esteemed for church ornament. the manufactures of havre, honfleur, bolbec, eu, fécamp, and dieppe were most thriving. they made double and single grounds, guipure, and a kind of thick valenciennes, such as is still made in the little town of honfleur and its environs. in 1692 the number of lace-makers at havre and its environs was not less than 22,000. corneille,[596] 1707, declares the laces of havre to be "très recherchées"; and in an engraving, 1688, representing a "marchande lingère en sa boutique,"[597] among the stock in trade, together with the points of spain and england, are certain "cartons" labelled "point du havre." it appears also in the inventory of colbert, who considered it worthy of trimming his pillow-cases and his camisoles;[598] and madame de simiane[599] had two "toilettes garnies de dentelle du hâvre," with an "estuy à peigne," en suite. next in rank to the points du havre came the laces of dieppe and its environs, which, says an early writer of the eighteenth century, rivalled the "industrie" of argentan and caen. the city of dieppe alone, with its little colony of saint-nicolas-d'aliermont (a village two leagues distant, inhabited by the descendants of a body of workmen who retired from the bombardment of dieppe),[600] employed 4,000 lace-makers. a writer in 1761[601] says, "a constant trade is that of laces, which yield only in precision of design and fineness to those of mechlin; but it has never been so considerable as it was at the end of the seventeenth century. although it has slackened since about 1745 for the amount of its productions, which have diminished in value, it has not altogether fallen. as this work is the occupation of women and girls, a great number of whom have no other means of subsistence, there is also a large number of dealers who buy their laces, to send them into other parts of the kingdom, to spain, and the islands of america. this trade is free, without any corporation; but those who make lace without being mercers cannot sell lace thread, the sale of which is very lucrative."[602] plate lix. [illustration: french, chantilly. flounce, black silk, bobbin-made.--much reduced.] plate lx. [illustration: french, le puy. black silk guipure, bobbin-made. photos by a. dryden from laces the property of mr. arthur blackborne.] _to face page 218._ {219}[illustration: fig. 98. petit poussin.--dieppe.] about twenty years later we read, "the lace manufacture, which is very ancient, has much diminished since the points, embroidered muslins, and gauzes have gained the preference; yet good workers earn sufficient to live comfortably; but those who have not the requisite dexterity would do well to seek some other trade, as inferior lace-workers are unable to earn sufficient for a maintenance."[603] m. feret writes in 1824,[604] "dieppe laces are in little request; nevertheless there is a narrow kind, named 'poussin,' the habitual resource and work of the poor lace-makers of this town, and which recommends itself by its cheapness and pleasing effect when used as a trimming to collars and morning dresses. strangers who visit our town make an ample provision of this lace" (fig. 98). the lace-makers of dieppe love to give their own {220}names to their different laces--vierge, ave maria, etc. (fig. 99)--and the designation of poussin (chicken) is given to the lace in question from the delicacy of its workmanship. point de dieppe (fig. 100) much resembles valenciennes, but is less complicated in its make. it requires much fewer bobbins, and whereas valenciennes can only be made in lengths of eight inches without detaching the lace from the pillow, the dieppe point is not taken off, but rolled.[605] it is now no longer made. in 1826 a lace school was established at dieppe, under the direction of two sisters from the convent of la providence at rouen, patronized by the duchesse de berri, the queen of the french, and the empress eugénie. the exertions of the sisters have been most successful. in 1842 they received the gold medal for having, by the substitution of the valenciennes for the old dieppe stitch, introduced a new industry into the department. they make valenciennes of every width, and are most expert in the square grounds of the belgian valenciennes, made entirely of flax thread, unmixed with cotton, and at most reasonable prices.[606] [illustration: fig. 99. ave maria.--dieppe.] a very pretty double-grounded old normandy lace, greatly used for caps, was generally known under the name of "dentelle à la vierge" (fig. 101). we find only one mention of a lace so designated, and that in the inventory made in 1785, after the death of louis-philippe, duke of {221}orleans, the father of egalité, where in his chapel at villers-cotterets is noted, "une aube en baptiste garnie en gros point de dentelle dite à la vierge."[607] [illustration: fig. 100. point de dieppe.--bobbin-made.] the lace of eu, resembling valenciennes, was much esteemed. located on the site of a royal château, the property of the duc de penthièvre, himself a most enthusiastic lover of fine point, as his wardrobe accounts testify, the {222}lace-makers received, no doubt, much patronage and encouragement from the seigneur of the domain. in the family picture by vanloo, known as the "tasse de chocolat," containing portraits of the duc de penthièvre, his son, and the unfortunate princesse de lamballe, together with his daughter, soon to be duchess of orleans, the duke, who is holding in his hand a medal, enclosed in a case, wears a lace ruffle of valenciennes pattern, probably the fabric of his own people (fig. 102). [illustration: fig. 101. dentelle à la vierge.] {223}arthur young, in 1788, states the wages of the lace-makers seldom exceed from seven or eight sous per day; some few, he adds, may earn fifteen. previous to the revolution, the lace made at dieppe amounted to 400,000 francs annually. but normandy experienced the shock of 1790. dieppe had already suffered from the introduction of foreign lace when the revolution broke out in all its fury. the points of havre, with the fabrics of pont-l'evêque (dép. calvados), harfleur, eu, and more than ten other neighbouring towns, entirely disappeared. those of dieppe and honfleur alone trailed on a precarious existence. [illustration: fig. 102. duc de penthièvre.--vanloo. m. de versailles.] calvados. the principal lace centres in the department of calvados are caen and bayeux. from an early date both black and white thread laces were made, of which the former was most esteemed. it was not until 1745 that the blondes made their appearance. the first silk used for the new production was of its natural colour, "écrue," hence these laces were called "blondes."[608] {224}the blonde of the time of marie antoinette is a very light fabric with spots or outline threads of thicker silk forming a pattern. later, in the time of the empire, the spanish style came into vogue. the eighteenth-century patterns were again copied at caen in the middle of the nineteenth century. after a time silk was procured of a more suitable white, and those beautiful laces produced, which before long became of such commercial importance. a silk throwster, m. duval, was in a great degree the originator of the success of the caen blondes, having been the first to prepare those brilliant white silks which have made their reputation. the silk is procured from bourg-argental, in the cevennes. the caen workers made the chantilly lace, "grillé blanc," already described,[609] and also the "blonde de caen," in which the flower is made with a different silk from that which forms the réseau and outlined with a thick silk strand. the réseau is of the lille type, fond simple. it is this kind of blonde which is so successfully imitated at calais. lastly the "blonde mate," or spanish, already mentioned. in no other place, except chantilly, have the blondes attained so pure a white, such perfect workmanship, such lightness, such brilliancy as the "blondes de caen." they had great success in france, were extensively imported, and made the fortune of the surrounding country, where they were fabricated in every cottage. not every woman can work at the white lace. those who have what is locally termed the "haleine grasse," are obliged to confine themselves to black. in order to preserve purity of colour, the lace-makers work during the summer months in the open air, in winter in lofts over their cow-houses: warmed by the heat of the animals, they dispense with fire and its accompanying smoke.[610] generally, it was only made in summer, and the black reserved for winter work. peuchet speaks of white lace being made in caen from the lowest price to twenty-five livres the ell.[611] according to arthur young, the earnings {225}of the blonde-workers were greater than those of dieppe or havre, a woman gaining daily from fifteen to thirty sous. the silk blonde trade did not suffer from the crisis of 1821 to '32: when the thread-lace-makers were reduced to the brink of ruin by the introduction of bobbin net, the demand for blonde, on the contrary, had a rapid increase, and caen exported great quantities, by smuggling, to england. the blonde-makers earning twenty-five per cent. more than the thread-lace-makers, the province was in full prosperity. the competition with the machine-made blondes of calais and nottingham has caused the manufacture of the white blondes to be abandoned, and the caen lace-makers have now confined themselves to making black lace. caen also produces gold and silver blondes, mixed sometimes with pearls. in 1847 the laces of caen alone employed more than 50,000 persons, or one-eighth of the whole population of calvados. bayeux formerly made only light thread laces--mignonette, and what peuchet calls[612] "point de marli." "on ne voit dans ces dentelles," he writes, "que du réseau de diverses espèces, du fond et une canetille à gros fil, qu'on conduit autour de ces fonds." marli, styled in the dictionary of napoléon landais a "tissu à jour en fil et en soie fabriqué sur le métier à faire de la gaze," was in fact the predecessor of tulle. it was invented about 1765,[613] and for twenty years had great success, and was much worn by marie antoinette. when the mesh ground with an edging of loops, which constituted this lace in the decadence of louis xvi., had a pattern, it was pois, rosettes, or the spots of point d'esprit. in the _tableau de paris_, 1782, we read that marli employed a great number of workpeople, "et l'on a vu des soldats valides et invalides faire le marli, le promener, l'offrir, et le vendre eux-mêmes. des soldats faire le marli!" it was to this marli, or large pieces of white thread net, that bayeux owed its reputation. no other fabric could produce them at so low a price. bayeux alone made albs, shawls, and other articles of large size, of thread lace. {226}lace was first made at bayeux in the convents and schools, under the direction of the nuns of "la providence." the nuns were sent there at the end of the seventeenth century, to undertake the supervision of the work-room founded by the canon baucher, in the old church of s. george. in 1747 the abbé suhard de loucelles provided additional rooms for them in a house in the faubourg st. loup, close by the church of notre dame de la poterie. in a short time more than 400 young women were employed at the two sets of work-rooms, and in 1758 the aldermen of the town presented to the intendant of the province a pair of thread lace cuffs, which, according to the accounts of the municipality, cost 144 livres. it was not until 1740 that a commercial house was established by m. clément; from which period the manufacture has rapidly increased, and is now one of the most important in france. the black laces of caen, bayeux, and chantilly, are alike; the design and mode of fabrication being identical, it is almost impossible, for even the most experienced eye, to detect the difference. they are mostly composed of "piece goods," shawls, dresses, flounces, and veils, made in small strips, united by the stitch already alluded to, the _point de raccroc_, to the invention of which calvados owes her prosperity. this stitch, invented by a lace-maker named cahanet, admits of putting a number of hands on the same piece, whereas, under the old system, not more than two could work at the same time. a scarf, which would formerly have taken two women six months to complete, divided into segments, can now be finished by ten women in one. (plate lix.) about 1827, madame carpentier caused silk blonde again to be made for french consumption, the fabric having died out. two years later she was succeeded by m. auguste lefébure, by whom the making of "blondes mates" for exportation was introduced with such success, that caen, who had applied herself wholly to this manufacture, almost gave up the competition. mantillas (spanish, havanese, and mexican), in large quantities, were exported to spain, mexico and the southern seas, and were superior to those made in catalonia. this manufacture requires the greatest care, as it is necessary to throw aside the french taste, and adopt the heavy, overcharged patterns appropriate to the costumes and fashions of the countries for which they are destined. these mantillas have served as models for the imitation made at nottingham. (plate lxi.) plate lxi. [illustration: french. blonde mate, in spanish style.--nineteenth century. photo by a. dryden.] _to face page 226._ {227}[illustration: fig. 103. modern black lace of bayeux.--much reduced.] to the exertions of m. lefébure is due the great improvement in the teaching of the lace schools. formerly the apprentices were consigned to the care of some aged lace-maker, probably of deficient eyesight; he, on the contrary, {228}placed them under young and skilful forewomen, and the result has been the rising up of a generation of workers who have given to bayeux a reputation superior to all in calvados. it is the first fabric for large pieces of extra fine quality and rich designs; and as the point d'alençon lace has also been introduced into the city, bayeux excels equally at the pillow and the needle (figs. 103 and 104). messrs. lefébure have also most successfully reproduced the venetian point in high relief; the raised flowers are executed with great beauty and the picots rendered with great precision. the discovery of the way in which this complicated point lace was made has been the work of great patience. it is called "point colbert." see page 188. in 1851 there were in calvados 60,000 lace-workers, spread along the sea-coast to cherbourg, where the nuns of la providence have an establishment. it is only by visiting the district that an adequate idea can be formed of the resources this work affords to the labouring classes, thousands of women deriving from it their sole means of subsistence.[614] bayeux is now the centre for high-class lace-making in france. m. lefébure considers that the fichus, mantillas, etc., that are made of fine white thread in the country round bayeux have all the suppleness and softness which contribute to the charm of mechlin lace, to which they have a close affinity. bretagne. no record of lace-making occurs in bretagne, though probably the normandy manufacturers extended westward along the coast. at all events, the wearing of it was early adopted. [illustration: fig. 104. point colbert.--venetian point in relief reproduced by m. lefébure. _to face page 228._] {229}embroidered tulle or point d'esprit was made in brittany as in denmark, and around genoa, where its production still continues. embroidered muslins with open-work lace stitches were also made in brittany during the eighteenth century, and called broderie des indes, after the indian muslin scarfs that were brought to europe at that date, and set the fashion. there is a popular ballad of the province, 1587, on "fontenelle le ligueur," one of the most notorious partizans of the league in bretagne. he has been entrapped at paris, and while awaiting his doom, sends his page to his wife, with these words (we spare our readers the breton dialect):- "page, mon page, petit page, va vite à coadelan et dis à la pauvre héritière[615] de ne plus porter des dentelles. "de ne plus porter des dentelles, parce que son pauvre époux est en peine. toi, rapporte-moi une chemise à mettre, et un drap pour m'ensevelir."[616] one singular custom prevails among the ancient families in bretagne; a bride wears her lace-adorned dress but twice--once on her wedding-day, and only again at her death, when the corse lies in state for a few hours before its placing in the coffin. after the marriage ceremony the bride carefully folds away her dress[617] in linen of the finest homespun, intended for her winding sheet, and each year, on the anniversary of the wedding-day, fresh sprigs of lavender and rosemary are laid upon it until the day of mourning. {230}chapter xvii. valenciennes (dép. du nord). "ils s'attachoient à considerer des tableaux de petit point de la manufacture de valencienne qui representoient des fleurs, et comme ils les trouvoient parfaitement beaux, m. de magelotte, leur hôte, vouloit les leur donner, mais ils ne les acceptèrent point."--1686. _voyage des ambassadeurs de siam._ part of the ancient province of hainault, valenciennes, together with lille and arras, is flemish by birth, french only by conquest and treaty.[618] its lace manufacture has been supposed to date from the fifteenth century, its first productions being attributed to pierre chauvin and ignace harent, who employed a three-thread twisted flax. this early date, however, is probably not correct. it is more probable that valenciennes developed from and took the place of the lace-making foundation of colbert at le quesnoy. the lace of le quesnoy is never mentioned after louis xiv., whereas after that reign valenciennes comes into notice. it reached its climax from 1725 to 1780, when there were from 3,000 to 4,000 lace-makers in the city alone. one of the finest known specimens of the earlier fabric is a lace-bordered alb,[619] belonging to the ladies of the convent of the visitation,[620] at le puy. the lace is 28 inches wide, consisting of three breadths, entirely of white thread, very fine, though thick. the solid pattern, which with its flowers and scrolls partakes of the character of the renaissance, comes out well from the clear réseau ground. [illustration: fig. 105. valenciennes.--1650-1730 _to face page 230._] {231}from 1780 downwards, fashion changed. the cheaper and lighter laces of brussels, lille, and arras, obtained the preference over the costly and more substantial products of valenciennes--les éternelles valenciennes, as they were called--while the subsequent disappearance of ruffles from the costume of the men greatly added to the evil. valenciennes fell with the monarchy. during the war of liberty, foreign occupation decimated its population, and the art became nearly lost. in 1790, the number of lace-workers had diminished to 250; and, though napoleon used every effort to revive the manufacture, he was unsuccessful. in 1851 there were only two lace-makers remaining, and they both upwards of eighty years of age. the lace made in the city alone was termed "vraie valenciennes," and attained a perfection unrivalled by the productions of the villages beyond the walls. in the lace accounts of madame du barry we find constant mention of this term.[621] "vraie valenciennes" appears constantly in contradistinction to "bâtarde"[622] and "fausse," simply leading us to suppose that the last-mentioned appellations signify the laces fabricated in the neighbourhood. in support of this assertion, m. dieudonné writes:[623] "this beautiful manufacture is so inherent in the place, that it is an established fact, if a piece of lace were begun at valenciennes and finished outside the walls, the part which had not been made at valenciennes would be visibly less beautiful and less perfect than the other, though continued by the same lace-maker with the same thread, and upon the same pillow."[624] {232}[illustration: fig. 106. valenciennes.--period louis xiv.] plate lxii. [illustration: valenciennes.--three specimens of seventeenth and eighteenth century. arranged by age, the oldest at the top, which was made for a royal personage, with the initials e. p.; it is now the property of mr. arthur blackborne. widths of the middle and lower pieces 1½ and 2½ in. photos by a. dryden.] _to face page 232._ {233}the extinction of the fabric and its transfer to belgium has been a great commercial loss to france. valenciennes, being specially a "dentelle linge," is that of which the greatest quantity is consumed throughout the universe. valenciennes lace is altogether made upon the pillow, with one kind of thread for the pattern and the ground (fig. 106). no lace is so expensive to make, from the number of bobbins required, and the flax used was of the finest quality. the city-made lace was remarkable for the beauty of its ground, the richness of its design, and evenness of its tissue. its mesh is square or diamond-shaped, and it has no twisted sides; all are closely plaited. the ornament is not picked out with a cordonnet, as is the case with mechlin; but, like mechlin, the ground went through various modifications, including the "fond de neige," before the réseau was finally fixed. from their solidity, "les belles et éternelles valenciennes" became an heirloom in each family. a mother bequeathed them to her daughter as she would now her jewels or her furs.[625] the lace-makers worked in underground cellars, from four in the morning till eight at night, scarcely earning their tenpence a day. the pattern was the especial property of the manufacturer; it was at the option of the worker to pay for its use and retain her work, if not satisfied with the price she received. this lace was generally made by young girls; it did not accord with the habits of the "mère bourgeoise" either to abandon her household duties or to preserve the delicacy of hand requisite for the work. it may be inferred, also, that no eyes could support for a number of years the close confinement to a cellar: many of the women are said to have become almost blind previous to attaining the age of thirty. it was a great point when the whole piece was executed by the same lace-worker. "all by the same hand," we find entered in the bills of the lace-sellers of the time.[626] the labour of making "vraie valenciennes" was so great that while the lille lace-workers could produce from three to five ells a day, those of valenciennes could not complete more than an inch and a half in the same time. some lace-workers only made half an ell (24 inches) in a {234}year, and it took ten months, working fifteen hours a day, to finish a pair of men's ruffles--hence the costliness of the lace.[627] a pair of ruffles would amount to 4,000 livres, and the "barbes pleines,"[628] as a lady's cap was then termed, to 1,200 livres and upwards. [illustration: fig. 107. valenciennes.] [illustration: fig. 108. valenciennes lappet.--period louis xvi. _to face page 234._] {235}the valenciennes of 1780 was of a quality far superior to any made in the present century. the réseau was fine and compact, the flower resembling cambric in its texture; the designs still betraying the flemish origin of the fabric--tulips, carnations, iris, or anemones--such as we see in the old flemish flower-pieces, true to nature, executed with dutch exactness (fig. 108). the city owed not its prosperity to the rich alone; the peasants themselves were great consumers of its produce. a woman laid by her earnings for years to purchase a "bonnet en vraie valenciennes," some few of which still appear in the northern provinces of france at church festivals and holidays. these caps are formed of three pieces, "barbes, passe, et fond." the norman women also loved to trim the huge fabric with which they overcharge their heads with a real valenciennes; and even in the present day of "bon marché" a peasant woman will spend from 100 to 150 francs on a cap which is to last her for life. the last important piece made within the city walls was a head-dress of "vraie valenciennes" presented by the city to the duchesse de nemours, on her marriage in 1840. it was furnished by mademoiselle ursule glairo, herself an aged lady, who employed the few old lace-workers then living, with the patriotic wish of exhibiting the perfection of the ancient manufacture.[629] lille (dép. du nord). "ces points couppés, passements et dentelles, las! qui venoient de l'isle et de bruxelles." --_consolation des dames._ 1620. the fabrics of lille and arras are identical; both make white lace with single grounds (fond simple); but the productions of lille are far superior to those of arras in quality. the manufacture of the capital of french flanders vies with those of the netherlands in antiquity. as early as 1582 its lace-makers are described, at the entry of the duke of anjou into the city, "as wearing a special costume. a gown of striped stuff, with a cap of fine linen plaited in small flutes." a silver medal suspended from the neck by a black ribbon completed a dress which has descended to the nineteenth century.[630] the peace of aix-la-chapelle having transferred lille to france, many of its artizans retired to {236}ghent; they are described at that period as making both white and black lace.[631] the art, however, did not die out, for in 1713,[632] on the marriage of the governor, young boufflers, to mademoiselle de villeroi, the magistrates of lille presented him with lace to the value of 4,000 livres.[633] [illustration: fig. 109. lille.] the beauty of the lille lace is its ground, called "point de lille," or fond clair, "the finest, lightest, most {237}transparent, and best made of all grounds."[634] the work is simple, consisting of the ground, with a thick thread to mark the pattern[635] (fig. 109). instead of the sides of the mesh being plaited, as in valenciennes, or partly plaited, partly twisted, as in brussels and mechlin, four of the sides are formed by twisting two threads round each other, and the remaining two sides by simple crossing of the threads over each other. in the eighteenth century more than two-thirds of the lace-making population of europe made it under the name of mignonettes and blondes de fil. the "treille"[636] was finer in the last century; but in 1803 the price of thread having risen 30 per cent.,[637] the lace-makers, unwilling to raise the prices of their lace, adopted a larger treille, in order to diminish the quantity of thread required. the straight edge and stiff pattern of the old lille lace is well known (fig. 110). the laces of lille, both black and white, have been much used in france: though madame junot speaks disparagingly of the fabric,[638] the light clear ground rendered them especially adapted for summer wear. they found great favour also in england, into which country one-third of the lace manufactured throughout the département du nord was smuggled in 1789.[639] the broad black lille lace has always been specially admired, and was extensively used to trim the long silk mantles of the eighteenth century.[640] {238}in 1788 there were above 16,000 lace-makers at lille, and it made 120,000 pieces[641] of lace, representing a value of more than £160,000. in 1851 the number of lace-makers was reduced to 1,600; it is still gradually diminishing, from the competition of the fabric of mirecourt and the numerous other manufactures established at lille, which offer more lucrative wages than can be obtained by lace-making. [illustration: fig. 110. lille.] the old straight-edged is no longer made, but the rose pattern of the mechlin is adopted, and the style of that lace copied: the semé of little square dots (_points d'esprit_) on the ground--one of the characteristics of lille lace--is still retained. in 1862 mrs. palliser saw at lille a complete garniture of beautiful workmanship, ordered for a trousseau at paris, but the commercial crisis and the revolutions of 1848 virtually put an end to the lace industry of lille and arras. {239}arras (artois) (dép. pas-de-calais). "arras of ryche arraye, fresh as floures in maye."--skelton. arras, from the earliest ages, has been a working city. her citizens were renowned for the tapestries which bore their name: the nuns of her convents excelled in all kinds of needlework. in the history of the abbaye du vivier,[642] we are told how the abbess, madame sainte, dite la sauvage, set the sisters to work ornaments for the church:- "les filles dans l'ouvroir tous les jours assemblées n'y paroissent pas moins que l'abbesse zelées, celle cÿ d'une aiguille ajuste au petit point un bel etuy d'autel que l'eglise n'a point, broche d'or et de soÿe un voile de calice; l'autre fait un tapis du point de haute lice, dont elle fait un riche et precieux frontal; une autre coud une aube, ou fait un corporal; une autre une chasuble, ou chappe nompareille, où l'or, l'argent, la soÿe, arrangés à merveille, representant des saints vestus plus richement que leur eclat n'auroit souffert de leur vivant; l'autre de son carreau detachant la dentelle, en orne les surplis de quelque aube nouvelle." again, among the first rules of the institution of the "filles de sainte-agnès," in the same city, it is ordained that the girls "aprendront a filer ou coudre, faire passement, tapisseries ou choses semblables."[643] the emperor charles v. is said, however, to have first introduced the lace manufacture into arras.[644] arras was one of the seats of colbert's manufactures, probably of the flemish bobbin lace. it flourished in the eighteenth century, when, writes arthur young, in 1788, were made "coarse thread laces, which find a good market in england. the lace-workers earn from 12 to 15 sous." peuchet corroborates this statement. "arras," he says, {240}"fait beaucoup de mignonette et entoilage, dont on consomme boucoup en angleterre." the fabric of arras attained its climax during the empire (1804 to 1812), since which period it has declined. in 1851 there were 8,000 lace-makers in a radius of eight miles round the city, their salary not exceeding 65 centimes a day. in 1881, however, the trade had enormously decreased, only one house making a speciality of the old patterns. the old arras laces are now no more. [illustration: fig. 111. arras.--modern.] there is little, or, indeed, no variety in the pattern of arras lace; for years it produced the same style and design. as a consequence of this, the lace-makers, from always executing the same pattern, acquired great rapidity. though not so fine as that of lille, the lace of arras has three good qualities: it is very strong, firm to the touch, and perfectly white; hence the great demand for both home and foreign consumption, no other lace having this triple merit at so reasonable a price (fig. 111). the gold lace of arras appears also to have had a reputation. we find among the coronation expenses of george i. a charge for 354 yards of arras lace "atrebaticæ lacinæ."[645] {241}bailleul (dép. du nord). as already mentioned, up to 1790 the "vraie valenciennes" was only made in the city of that name. the same lace manufactured at lille, bergues, bailleul, avesnes, cassel, armentières, as well as that of belgium, was called "fausses valenciennes." "armentières et bailleul ne font que de la valencienne fausse, dans tous les prix," writes peuchet. "on nomme," states another author,[646] "fausses valenciennes la dentelle de même espèce, inférieure en qualité, fabriquée moins serrée, dont le dessin est moins recherché et le toilé des fleurs moins marqué." of such is the lace of bailleul,[647] whose manufacture is the most ancient and most important, extending to hazebrouck, bergues, cassel, and the surrounding villages.[648] previous to 1830, bailleul fabricated little besides straight edges for the normandy market. in 1832 the scalloped edge was adopted, and from this period dates the progress and present prosperity of the manufacture. its laces are not much esteemed in paris. they have neither the finish nor lightness of the belgian products, are soft to the touch, the mesh round, and the ground thick; but it is strong and cheap, and in general use for trimming lace. the lace, too, of bailleul, is the whitest and cleanest valenciennes made; hence it is much sought after, for exportation to america and india. the patterns are varied and in good taste; and there is every reason to expect that in due time it may attain the perfection, if not of the valenciennes of ypres, at least to that of bruges, which city alone annually sends to france lace to the value of from £120,000 to £160,000. {242}chapter xviii. auvergne and vélay. ---le puy (dép. haute-loire). as early as the fifteenth century the countrywomen from the mountains of the vélay would congregate together during the winter within the walls of the neighbouring cities, and there, forming themselves into companies, gain their subsistence by making coarse lace to ornament the albs of the priests, the rochets of the bishops, and the petticoats of ladies of quality. and very coarse and tasteless were these early products, to judge from the specimens which remain tacked on to faded altar-cloths, still to be met with in the province, a mixture of netting and darning without design. they also made what was termed "dentelles de menage" with the coarse thread they used for weaving their cloth. they edged their linen with it, and both bleached together in the wearing. the lace region of central france, of which le puy is the centre, is considered to be the most ancient and considerable in france. it is distributed over the four departments,[649] and employs from 125,000 to 130,000 women. it forms the sole industry of the haute-loire, in which department alone are 70,000 lace-makers. the lace industry of le puy, like all others, has experienced various changes; it has had its trials[650] and its periods of great prosperity.[651] in the chronicles of le puy of the sixteenth century[652] we read that the merciers of notre-dame {243}des anges "qui, suivant l'usage faisaient dans notre ville le commerce des passementeries, broderies, dentelles, etc., comptaient alors quarante boutiques, et qu'ils figurent avec enseignes et torches au premier rang dans les solennités religieuses." judging from local documents, this manufacture has for more than two centuries back formed the chief occupation of the women of this province. it suffered from the sumptuary edicts of 1629, 1635 and 1639, and in 1640 threatened to be annihilated altogether. in the month of january of that year, the seneschal of le puy published throughout the city a decree of the parliament of toulouse, which forbade, under pain of heavy fine, all persons of whatever sex, quality, or condition, to wear upon their vestments any lace "tant de soie que de fil blanc, ensemble passement, clinquant d'or ni d'argent fin ou faux;" thus by one ordinance annihilating the industry of the province. the reason for this absurd edict was twofold: first, in consequence of the large number of women employed in the lace trade, there was great difficulty in obtaining domestic servants; secondly, the general custom of wearing lace among all classes caused the shades of distinction between the high and low to disappear. these ordinances, as may be imagined, created great consternation throughout le puy. father régis, a jesuit, who was then in the province, did his best to console the sufferers thus reduced to beggary by the caprice of parliament. "ayez confiance en dieu," he said; "la dentelle ne perira pas." he set out to toulouse, and by his remonstrances obtained a revocation of the edict. nor did he rest satisfied with his good work. at his suggestion the jesuits opened to the auvergne laces a new market in spain and the new world, which, until the year 1790, was the occasion of great prosperity to the province. the jesuit father, who died in december 1640, was later canonised for his good deeds; and under his new appellation of saint françois régis, is still held in the greatest veneration by the women of auvergne--as the patron saint of the lace-makers. massillon, when bishop of clermont (1717), greatly patronised the lace-makers of his diocese, and, anxious that the province should itself furnish the thread used in the manufacture, he purchased a quantity of spinning-wheels, which he distributed among the poor families of beauregard, {244}the village in which the summer palace of the bishop, previous to the revolution, was situated. the lace trade of this province frequently appears on the scene during the eighteenth century. in 1707 the manufacturers demand a remission of the import duties of 1664 as unfair,[653] and with success. scarce ten years afterwards,[654] notwithstanding the privilege accorded, we again find them in trouble; whether their patterns did not advance with the fashions of the day, or the manufacturers deteriorated the quality of the thread--too often the effect of commercial prosperity--the shops were filled with lace, "propres, les unes pour l'italie, d'autres pour les mers du sud," which the merchants refused to buy. to remedy this bad state of affairs, the commissioners assembled at montpelier coolly decide that the diocese should borrow 60,000 livres to purchase the dead stock, and so clear the market. after some arguments the lace was bought by the sieur jerphanion, syndic of the diocese. prosperity, however, was not restored, for in 1755 we again hear of a grant of 1,000 livres, payable in ten years by the states of vélay, for the relief of the distressed lace-makers, and again a fresh demand for exemption of the export duty.[655] this is declared in a memorial of 1761 to be the chief cause of the distress, which memorial also states that, to employ the people in a more lucrative way, a manufacture of blondes and silk laces had been introduced. this distress is supposed to have been somewhat exaggerated by the merciers of le puy, whose profits must have been very considerable; the women, according to arthur young, earning only from four to eight sous daily. peuchet, with his predecessor, savary, and other writers on statistics, describe the manufacture of le puy as the most flourishing in france. "her lace," writes peuchet, "resembles greatly that of flanders; much is consumed in the {245}french dominions, and a considerable quantity exported to spain, portugal, germany, italy and england. much thread lace is also expedited by way of cadiz to peru and mexico. the ladies of these countries trim their petticoats and other parts of their dress with such a profusion of lace as to render the consumption 'prodigieuse.'" "les anglois en donnent des commissions en contrebande pour l'isthmus de panama. les hollandois en demandent aussi et faisaient expédier à cadiz à leur compte."[656] we read, however, after a time, that the taste for a finer description of lace having penetrated to mexico and peru, the commerce of le puy had fallen off, and that from that epoch the work-people had supported themselves by making blondes and black lace. the thread used in auvergne comes from haarlem, purchased either from the merchants of rouen or lyons. in the palmy days of le puy her lace-workers consumed annually to the amount of 400,000 livres. the laces made for exportation were of a cheap quality, varying from edgings of 30 sous to 45 livres the piece of 12 ells; of these the annual consumption amounted to 1,200,000 livres.[657] it may indeed be said that, with the exception of the period of the french revolution to 1801, the lace trade of le puy has ever been prosperous. formerly they only made at le puy laces which had each a distinctive name--ave, pater, chapelets, mie, serpent, bonnet, scie, etc. le puy now produces every description of lace, white and coloured, silk, thread, and worsted, blondes of all kinds, black of the finest grounds, application, double and single grounds; from gold and silver lace to edgings of a halfpenny a yard, and laces of goats' and angora rabbits' hairs. in 1847 more than 5,000 women were employed in making valenciennes. they have also succeeded in producing admirable needle-points, similar to the ancient venetian. a dress of this lace, destined to adorn an image of the virgin, was shown in the french exhibition of 1855. {246}in 1848 commerce and trade languished, and a cheaper lace was produced, made of worsted, for shawls and trimmings. this lace was not long in fashion, but it re-appeared a few years later under the name of "lama," or "poil de chèvre," when it obtained a great success. the hair of the lama has never been used. le puy now offers to the market an infinite variety of lace, and by means of these novelties her laces successfully compete with those of saxony, which alone can rival her in cheapness; but as the patterns of these last are copied from the laces of le puy and mirecourt, they appear in the foreign, market after the originals. the finest collection of auvergne lace in the international exhibition (1867) was from the fabric of crâponne (haute-loire),[658] established in 1830 by m. théodore falcon, to whom le puy is indebted for her "musée de dentelles," containing specimens of the lace of all countries and all ages, a most useful and instructive collection for the centre of a lace district. le puy has also a lace school, numbering a hundred pupils, and a school of design for lace patterns, founded in 1859.[659] aurillac and murat (dép. cantal). "l'on fait à orillac les dentelles quit ont vogue dans le royaume," writes, in 1670, the author of the _délices de la france_.[660] the origin of the fabric is assigned to the fourteenth century, when a company of emigrants established themselves at cuença and valcameos, and nearly all the points of aurillac were exported into spain through this company. in 1688 there was sold on the place at marseilles annually to the amount of 350,000 livres of the products of aurillac, with other fine laces of auvergne.[661] in 1726 the produce was already reduced to 200,000 livres. the finest "points de france," writes savary, were made at aurillac and murat, the former alone at one time producing to the annual value of 700,000 francs (£28,000), and giving occupation to from 3,000 to 4,000 lace-workers. [illustration: plate lxiii. plate lxiv. french.--two specimens bought in france as cambrai. they are typical of northern french laces that became naturalised in england after the french revolution. widths, 2½ and 3½ in. photos by a. dryden from private collection.] plate lxv. [illustration: french. bobbin-made.--from the environs of le puy. period louis xiii.-louis xiv. now made and called guipure de cluny. in the musée cinquantenaire, brussels.] _to face page 246_ {247}an attempt to establish a "bureau" for colbert's new manufacture of points de france was at first opposed, as we read: "les trois femmes envoyées par les entrepreneurs pour établir cette manufacture furent attaqués dans les rues d'aurillac. les ouvrières de cette ville leur disait 'qu'elles prouvaient s'en retourner, parce qu'elles savaient mieux travailler qu'elles.'"[662] the lace-makers would not give up what the intendant terms "the wretched old point," which m. henri duref, the historian of the département de cantal, describes, on the contrary, as consisting of rich flowered designs, such as may be seen by studying the portraits of many auvergnat noblemen of the period. there are various letters on the subject in the colbert correspondence; and in the last from colbert, 1670, he writes that the point d'aurillac is improving, and there are 8,000 lace-women at work. it appears that he established at aurillac a manufactory of lace where they made, upon "des dessins flamands modifiés," a special article, then named "point colbert," and subsequently "point d'aurillac." in the convent of the visitation at le puy is shown the lace-trimming of an alb, point d'angleterre. it is 28 inches wide, of white thread, with brides picotées, of elegant scroll design. if, as tradition asserts, it was made in the country, it must be the produce of this manufactory. it appears that rich "passements," as they are still called in the country, of gold and silver were made long before the period of colbert. we find abundant mention of them in the church inventories of the province, and in the museum are pieces of rich lace said to have belonged to francis i. and his successors which, according to tradition, were the produce of aurillac. they are not of wire, but consist of strips of metal twisted round the silk. in the inventory of the sacristy of the benedictine monastery at st. aligre, 1684, there is a great profusion of {248}lace. "voile de brocard, fond d'or entouré d'un point d'espagne d'or et argent;" another, "garni de dentelles d'or et argent, enrichi de perles fines"; "20 aubes à grandes dentelles, amicts, lavabos, surplis," etc., all "à grandes ou petites dentelles."[663] in the inventory of massillon's chapel at beauregard, 1742, are albs trimmed with "point d'aurillac"; veils with "point d'espagne or et argent."[664] lacis was also made at aurillac, and some specimens are still preserved among the old families there. the most interesting dates from the early seventeenth century, and belongs to the chapel of notre dame at thierzac, where anne of austria made a pilgrimage in 1631, and which, by the mutilated inscription on a piece of the work, would appear to refer to her. mazarin held the aurillac laces in high estimation, and they are frequently met with in the inventory of the effects he left on his death in 1660. again, in the account of a masked ball, as given in the _mercure galant_ of 1679, these points find honourable mention. the prince de conti is described as wearing a "mante de point d'aurillac or et argent." the comte de vermandois, a veste edged with the same; while mademoiselle de blois has "ses voiles de point d'aurillac d'argent," and of the duchesse de mortemart it is said, "on voyait dessous ses plumes un voile de point d'aurillac or et argent qui tomboit sur ses 'épaules.'" the chevalier colbert, who appeared in an african costume, had "des manches pendantes" of the same material. the same _mercure_ of april, 1681, speaking of the dress of the men, says, "la plupart portent des garnitures d'une richesse qui empeschera que les particuliers ne les imitent, puisqu'elles reviennent à 50 louis. ces garnitures sont de point d'espagne ou d'aurillac." from the above notices, as well as from the fact that the greater part of these laces were sent into spain, it appears that point d'aurillac was a rich gold and silver lace, similar to the point d'espagne. the laces of murat (dép. haute-garonne) were "façon de {249}malines et de lille." they were also made at la chaise dieu, alenches, and verceilles. those points were greatly esteemed, and purchased by the wholesale traders of le puy and clermont, who distributed them over the kingdom through their colporteurs. the fabrics of aurillac and murat ended with the revolution. the women, finding they could earn more as domestic servants in the neighbouring towns, on the restoration of order, never again returned to their ancient occupation. {250}chapter xix. limousin. in the seventeenth and eighteenth centuries, a kind of pillow net (torchon entoilage, mr. ferguson calls it)[665] for women's sleeves was manufactured at tulle (corrèze) and also at aurillac. from this circumstance many writers have derived tulle, the french name for bobbin net, from this town. m. lefébure is of this opinion, and adduces in favour of it the fact that lace was made at tulle in the eighteenth century, and that an account of 1775 mentions certain mesdemoiselles gantes as lace-makers in that town. the first dictionary in which the word "tulle" occurs is the french encyclopædia of 1765, where we find, "tulle, une espèce de dentelle commune mais plus ordinairement ce qu'on appelait entoilage."[666] entoilage, as we have already shown, is the plain net ground upon which the pattern is worked[667] or a plain net used to widen points or laces, or worn as a plain border. in louis xv.'s reign madame de mailly is described, after she had retired from the world, as "sans rouge, sans poudre, et, qui plus est, sans dentelles, attendu qu'elle ne portait plus que de l'entoilage à bord plat."[668] we read in the _tableau de paris_ how "le tul, la gaz et le marli ont occupés cent mille mains." tulle was made on the pillow in germany before lace was introduced. if tulle derived its name from any town, it would more probably be from toul, celebrated, as all others in lorraine, for its embroidery; and as net resembles the stitches made in embroidery by separating the threads (hemstitch, etc.), it {251}may have taken its french name, tulle, german tüll, from the points de tulle of the workwomen of the town of toul, called in latin tullum, or tullo.[669] lorraine. the lace[670] manufactures of lorraine flourished in the seventeenth century. mirecourt (dép. vosges) and the villages of its environs, extending to the department of meurthe, was the great centre of this trade, which formed the sole occupation of the countrywomen. for some centuries the lace-workers employed only hempen thread, spun in the environs of épinal, and especially at châtel-sur-moselle.[671] from this they produced a species of coarse guipure termed "passament," or, in the patois of the province, "peussemot."[672] as early as the seventeenth century they set aside this coarse article and soon produced a finer and more delicate lace with various patterns: they now made double ground and mignonette; and at lunéville (dép. meurthe), "dentelles à l'instar de flandre." in 1715 an edict of duke leopold regulates the manufacture at mirecourt.[673] the lace was exported to spain and the indies. it found its way also to holland, the german states, and england, where randle holme mentions "points of lorraine, without raisings."[674] the lorraine laces were mostly known in commerce as {252}"les dentelles de saint-mihiel," from the town of that name, one of the chief places of the fabric. these last-named laces were much esteemed on their first appearance. previous to the union of lorraine to france in 1766, there were scarcely 800 lace-makers in mirecourt. the number amounted to nearly 25,000 in 1869.[675] early in the nineteenth century the export trade gave place to more extensive dealings with france. "point de flandres" was then very much made, the patterns imported by travelling merchants journeying on their way to switzerland. anxious to produce novelty, the manufacturers of mirecourt wisely sent for draughtsmen and changed the old patterns. their success was complete. they soon became formidable rivals to lille, geneva, and the val de travers (switzerland). lille now lowered her prices, and the swiss lace trade sank in the contest. scarcely any but white lace is made; the patterns are varied and in excellent taste, the work similar to that of lille and arras. some few years since the making of application flowers was attempted with success at mirecourt, and though it has not yet attained the perfection of the brussels sprigs, yet it daily improves, and bids fair to supply france with a production for which she now pays belgium £120,000 annually. the lorraine application possesses one advantage over those of flanders, the flowers come from the hands of the lace-makers clean and white, and do not require bleaching.[676] the price, too, is most moderate. the production which of late years has been of the most commercial value is the cluny lace, so called from the first patterns being copied from specimens of old lace in the musée de cluny. the immense success of this lace has been highly profitable to mirecourt and le puy. {253}the wages of the 24,000 lace-workers averaging eightpence a day, their annual products are estimated at £120,000. much of the lorraine lace is consumed at paris and in the interior of france; the rest is exported to america, the east indies, and the different countries of europe. champagne. the ardennes lace was generally much esteemed, especially the "points de sedan," which derived their name from the city where they were manufactured.[677] not only were points made there, but, to infer from the great wardrobe account of charles i., the cut-work of sedan had then reached our country, and was of great price. we find in one account[678] a charge for "six handsome sedan and italian collars of cut-work, and for 62 yards of needlework purl for six pairs of linen ruffs" the enormous sum of £116 6s. and again, in the last year of his reign, he has "six handsome pultenarian sedan collars of cut-work, with the same accompaniment of 72 yards of needlework purl" amounting to £106 16s.[679] what these pultenarian collars may have been we cannot, at this distance of time, surmise; but the entries afford proof that the excellency of the sedan cut-work was known in england. rheims, château-thierry and sedan are mentioned among the other towns in the ordinance establishing the points de france in 1665. in less than four months rheims numbered a hundred and forty workers, consisting of venetians and flemings, with seven from paris and the natives of the place. in 1669 the number had fallen to sixty, in consequence of the price demanded for their board and lodging. their lace was remarkable for its whiteness. lace was made in the seventeenth century at sedan, donchéry, charleville, mézières, troyes and sens. the thread manufacturers of sedan furnished the material {254}necessary for all the lace-workers of champagne. much point de sedan was made at charleville, and the laces of this last-named town[680] were valued at from four up to fifty livres the ell, and even sometimes at a higher rate. the greater part of the produce was sold in paris, the rest found a ready market in england, holland, germany, and poland.[681] pignariol de la force, writing later, says the manufacture of points and laces at sedan, formerly so flourishing, is now of little value.[682] most of its lace-makers, being protestants, emigrated after the edict of revocation. château-renaud and mézières were chiefly employed in the manufacture of footings (_engrêlures_).[683] the laces of donchéry were similar to those of charleville, but made of the holland thread. they were less esteemed than those of sedan. a large quantity were exported to italy and portugal; some few found their way to england and poland. up to the revolution champagne employed from 5000 to 6000 lace-workers, and their annual products were estimated at 200,000 fr. during the twelve years of revolutionary anarchy, all the lace manufactures of this province disappeared. there are differences of opinion as to the exact character of sedan lace. m. séguin considers it to have been a lace inferior in design and workmanship to point de venise à réseau. a single thread intervenes between the pattern and the réseau, instead of the overcast cordonnet of alençon, and in other respects it resembles late venetian needlepoint. certain authorities in brussels, again, claim the point de sedan as a needle-made production of brabant or liège. m. lefébure, on the other hand, considers it as an important variety of alençon. "the floral devices in points de sedan, which are somewhat large and heavy in execution, spring from bold scroll forms, and in between them are big meshes of the 'grande maille picotée' of the point de france. instead of an even and slightly raised stitching along their contours, these big flowers are accentuated here and there in well chosen parts by raised stitching, worked somewhat {255}with the effect of vigorous touches of rather forced high lights in a picture. these recurrent little mounds of relief, as they may be called, are frequently introduced with admirable artistic result. the finest bishops' rochets which appear in the later portraits by hyacinthe rigaud and de larguillière are of point de sedan." it is possible that both types of lace mentioned--the heavy kind, and the lace with the réseau--are the productions of sedan. burgundy. colbert was proprietor of the terre de seignelay, three leagues from auxerre, which caused him to interest himself in establishing manufactories, and especially that of point de france. in his correspondence are twelve letters relating to this manufacture for 1667-74, but it did not succeed. at last, worn out, he says "the mayor and aldermen will not avail themselves of the means of prosperity i offer, so i will leave them to their bad conduct." specimens of a beautifully fine well-finished lace, resembling old mechlin, are often to be met with in belgium (fig. 112), bearing the traditional name of "point de bourgogne," but no record remains of its manufacture. in the census taken in 1571, giving the names of all strangers in the city of london, three are cited as natives of burgundy, knitters and makers of lace.[684] in the eighteenth century, a manufactory of valenciennes was carried on in the hospital at dijon, under the direction of the magistrates of the city. it fell towards the middle of the last century, and at the revolution entirely disappeared.[685] "les dentelles sont grosses," writes savary, "mais il s'en débite beaucoup en franche-comté." {256}lyonnois. lyons, from the thirteenth century, made gold and silver laces enriched with ornaments similar to those of paris. the laces of st. etienne resembled those of valenciennes, and were much esteemed for their solidity. the finest productions were for men's ruffles, which they fabricated of exquisite beauty. a considerable quantity of blonde was made at meran, a village in the neighbourhood of beauvoisin, but the commerce had fallen off at the end of the last century. these blondes go by the familiar name of "bisettes." orléanois. colbert's attempts at establishing a manufactory of point de france at montargis appear by his letters to have been unsuccessful. berry. nor were the reports from bourges more encouraging. poitou. lace was made at loudun, one of colbert's foundations, in the seventeenth century, but the fabric has always been common. "mignonettes et dentelles à poignet de chemises, et de prix de toutes espèces," from one sol six deniers the ell, to forty sols the piece of twelve ells. children began lace-making at a very early age. "loudun fournit quelques dentelles communes," says the government reporter of 1803.[686] [illustration: fig. 112. point de bourgogne.--bobbin-made. _to face page 256._] {257}peuchet speaks of lace manufactories at perpignan, aix, cahors, bordeaux,[687] etc., but they do not appear to have been of any importance, and no longer exist.[688] {258}chapter xx. holland, germany, switzerland, austria and hungary. ---holland. "a country that draws fifty feet of water, in which men live as in the hold of nature, and when the sea does in them break, and drowns a province, does but spring a leak."--_hudibras._ we know little of the early fabrics of this country. the laces of holland, though made to a great extent, were overshadowed by the richer products of their flemish neighbours. "the netherlanders," writes fynes moryson, who visited holland in 1589, "wear very little lace,[689] and no embroidery. their gowns are mostly black, without lace or gards, and their neck-ruffs of very fine linen." we read how, in 1667, france had become the rival of holland in the trade with spain, portugal and italy; but she laid such high duties on foreign merchandise, the dutch themselves set up manufactures of lace and other articles, and found a market for their produce even in france.[690] a few years later, the revocation of the edict of nantes[691] caused 4,000 lace-makers to leave the town of alençon alone. many took refuge in holland, where, says a writer of the day, "they were treated like artists." holland gained more than she lost by louis xiv. the french refugees founded a manufactory of that point lace called "dentelle a la reine"[692] in the orphan house at amsterdam.[693] plate lxvi. [illustration: william, prince of orange, father of william iii., 1627-1650. school of van dyck. the collar is edged with dutch lace. national portrait gallery. photo by walker and cockerell.] _to face page 258._ {259}a few years later, another huguenot, zacharie châtelain,[694] introduced into holland the industry, at that time so important, of making gold and silver lace. the dutch possessed one advantage over most other nations, especially over england, in her far-famed haarlem[695] thread, once considered the best adapted for lace in the world. "no place bleaches flax," says a writer of the day,[696] "like the meer of haarlem."[697] still the points of holland made little noise in the world. the dutch strenuously forbade the entry of all foreign lace, and what they did not consume themselves they exported to italy, where the market was often deficient.[698] once alone in england we hear tell of a considerable parcel of dutch lace seized between deptford and london from the rotterdam hoy. england, however, according to anderson, in 1764, received in return for her products from holland "fine lace, but the balance was in england's favour." in 1770 the empress queen (marie theresa) published a declaration prohibiting the importation of dutch lace into any of her imperial majesty's hereditary dominions in germany.[699] as in other matters, the dutch carried their love of lace {260}to the extreme, tying up their knockers with rich point to announce the birth of an infant. a traveller who visited france in 1691, remarks of his hotel: "the warming-pans and brasses were not here muffled up in point and cut-work, after the manner of holland, for there were no such things to be seen."[700] the dutch lace most in use was thick, strong and serviceable (fig. 113). that which has come under our notice resembles the fine close valenciennes, having a pattern often of flowers or fruit strictly copied from nature. "the ladies wear," remarks mrs. calderwood, "very good lace mobs." the shirt worn by william the silent when he fell by the assassin is still preserved at the hague; it is trimmed with a lace of thick linen stitches, drawn and worked over in a style familiar to those acquainted with the earlier dutch pictures. saxony. "here unregarded lies the rich brocade, there dresden lace in scatter'd heaps is laid; here the gilt china vase bestrews the floor, while chidden betty weeps without the door." --"eclogue on the death of shock, a pet lapdog." _ladies' magazine._ 1750. "his olive-tann'd complexion graces with little dabs of dresden laces; while for the body mounseer puff would think e'en dowlas fine enough." --_french barber._ 1756. [illustration: fig. 113. dutch bobbin-lace.--eighteenth century. _to face page 260._] {261}[illustration: fig. 114. tomb of barbara uttmann, at annaberg.] the honour of introducing pillow lace into germany is accorded by tradition to barbara uttman. she was born in 1514, in the small town of etterlein, which derives its name from her family. her parents, burghers of nuremburg, had removed to the saxon hartz mountains, for the purpose of working some mines. barbara etterlein here married a rich master miner named christopher uttmann, of annaberg. it is said that she learned lace-making from a native of brabant, a protestant, whom the cruelties of the spaniards had driven from her country. barbara had observed the mountain girls occupied in making a network for the miners to wear over their hair: she took great interest in the work, and, profiting by the experience derived from her brabant teacher, succeeded in making her pupils produce first a fine knotted tricot, afterwards a kind of plain lace ground. in 1561, having procured aid from flanders, she set up, in her own name of barbara uttmann, a workshop at annaberg, and there began to make laces of various patterns. this branch of industry soon spread from the bavarian frontier to altenberg and geissing, giving employment to 30,000 persons, and producing a revenue of 1,000,000 thalers. barbara uttmann died in 1575, leaving sixty-five children and grandchildren, thus realising a prophecy made previous to her marriage, that her descendants would equal in number the stitches of the first lace ground she had made: such prophecies were common in those days. she sleeps in the churchyard of annaberg, near the old lime-tree. on her tomb (fig. 114) is inscribed: "here lies barbara uttmann, died 14 january, 1575, whose invention {262}of lace in the year 1561 made her the benefactress of the erzgebirge." "an active mind, a skilful hand, bring blessings down on the fatherland." in the green vault at dresden is preserved an ivory statuette of barbara uttmann, four and a half inches high, beautifully executed by koehler, a jeweller of dresden, who worked at the beginning of the eighteenth century. it is richly ornamented with enamels and precious stones, such figures (of which there are many in the green vault) being favourite articles for birthday and christmas gifts. previous to the eighteenth century the nets of germany had already found a market in paris.[701] "on vend," says the _livre commode des adresses_ of 1692, "le treillis d'allemagne en plusieurs boutiques de la rue béthizy." "dresden," says anderson, "makes very fine lace," the truth of which is confirmed by nearly every traveller of the eighteenth century. we have reason to believe the so-called dresden lace was the drawn-work described in chapter ii., and which was carried to great perfection. "went to a shop at spaw," writes mrs. calderwood, "and bought a pair of double dresden ruffles, which are just like a sheaf, but not so open as yours, for two pounds two." "la broderie de dresde est très connue et les ouvriers très habiles," says savary. this drawn-work, for such it was, excited the emulation of other nations. the anti-gallican society in 1753 leads the van, and awards three guineas as their second prize for ruffles of saxony.[702] [illustration: fig. 114a. barbara uttmann, who introduced the lace manufacture into the erzgebirge. from an ivory statuette by koehler, green vault, dresden. _to face page 262._] {263}ireland, in 1755, gave a premium of £5 for the best imitation of "dresden point," while the edinburgh society, following in the wake, a year later presents to miss jenny dalrymple a gold medal for "the best imitation of dresden work in a pair of ruffles." in the _fool of quality_,[703] and other works from 1760 to 1770, we have "dresden aprons," "dresden ruffles," showing that point to have been in high fashion. wraxall, too, 1778, describes a polish beauty as wearing "a broad medicis of dresden lace." as early as 1760 "dresden work" is advertised as taught to young ladies in a boarding-school at kelso,[704] together with "shell-work in grottoes, flowers, catgut, working lace on bobbins or wires, and other useful accomplishments." the lace of saxony has sadly degenerated since the eighteenth century. the patterns are old and ungraceful, and the lace of inferior workmanship, but, owing to the low price of labour, they have the great advantage of cheapness, which enables them to compete with france in the american and russian markets. in all parts of germany there are some few men who make lace. on the saxon side of the erzgebirge many boys are employed, and during the winter season men of all ages work at the pillow; and it is observed that the lace made by men is firmer and of a superior quality to that of the women. the lace is a dentelle torchon of large pattern, much in the style of the old lace of ischia.[705] the saxon needle-lace of the present day is made in imitation of old brussels, with small flowers on a réseau. some is worked in coloured thread, and also black silk lace of the chantilly type is made: of this the erzgebirge is the chief centre. this lace is costly, and is sold at dresden and other large towns of germany, and particularly at paris, where the dealers pass it off for old lace. this fabric employed, in 1851, 300 workers. a quantity of so-called maltese lace is also made, but torchon predominates. the museum for art and industry, opened at vienna in 1865, contains several pattern-books of the sixteenth century, and in it has been exhibited a fine collection of ancient lace belonging to general von hauslaub, master-general of the ordnance. {264}germany (north and south). germany in the sixteenth and seventeenth centuries was renowned for its lacis, cut-work, and embroidery with thread on net, of which there are several good examples in the victoria and albert museum, together with specimens of early flemish work from their colonies on the elbe, established in the twelfth century by various german rulers. the work of these towns is of later date--of the fifteenth century--and has continued to the nineteenth century, when they made cambric caps, embroidered or ornamented with drawn-work, and edged with bobbin-made tönder lace, in the style of eighteenth century valenciennes. "presque dans toutes sortes d'arts les plus habiles ouvriers, ainsi que les plus riches négociants, sont de la religion prétendue réformée," said the chancellor d'aguesseau;[706] and when his master, louis xiv., whom he, in not too respectful terms, calls "le roi trop crédule," signed the act of revocation (1685), europe was at once inundated with the most skilful workmen of france. hamburg alone of the hanse towns received the wanderers. lubec and bremen, in defiance of the remonstrances of the protestant princes, allowed no strangers to settle within their precincts. the emigrants soon established considerable manufactures of gold and silver lace, and also that now extinct fabric known under the name of hamburg point.[707] miss knight, in her _autobiography_, notes: "at hamburg, just before we embarked, nelson purchased a magnificent lace trimming for lady nelson, and a black lace cloak for another lady, who, he said, had been very attentive to his wife during his absence." on the very year of the revocation, frederic william, elector of brandenburg, anxious to attract the fugitive workmen to his dominions, issued from potsdam an edict[708] in their favour. crowds of french protestants responded to the call, and before many years had passed berlin alone boasted 450 lace manufactories.[709] previous to this emigration she had none. these "mangeurs d'haricots," as the prussians styled the emigrants, soon amassed large fortunes, and exported their laces to poland and to russia. the tables were turned. france, who formerly exported lace in large quantities to germany, now received it from the hands of her exiled workmen, and in 1723 and 1734 we find "arrêts du conseil d'etat," relative to the importation of german laces.[710] [illustration: plate lxvii. swiss.--from near neûchatel. early nineteenth century. similar in make to lille and some devon lace.] [illustration: plate lxviii. german, nuremberg.--used by the peasants on their caps. the cordonnet suggests a mechlin influence, whilst the heavy réseau is reminiscent of some antwerp and flemish and italian village laces of the end of the seventeenth century.] plate lxix. [illustration: english, bucks.--a unique piece designed and made by the lace-makers for queen victoria in the early years of her reign; from her lady-in-waiting emma, lady portman, it has descended to the present owner, mrs. lloyd baker. the above is a complete section of the design, which is outlined with gold thread. photos by a. dryden from private collections.] _to face page 264._ {265}the landgrave of hesse also received the refugees, publishing an edict in their favour.[711] two fabrics of fine point were established at hanover.[712] leipsic, anspach,[713] elberfeld, all profited by the migration. "on compte," writes peuchet, "à leipsig cinq fabriques de dentelles et de galon d'or et argent." a large colony settled at halle, where they made "hungarian" lace--"point de hongrie,"[714] a term more generally applied to a stitch in tapestry.[715] the word, however, does occasionally occur:- "your hungerland[716] bands and spanish quellio ruffs, great lords and ladies, feasted to survey."[717] all these various fabrics were offsets of the alençon trade. fynes moryson expresses surprise at the simplicity of the german costume--ruffs of coarse cloth, made at home. the dantzickers, however, he adds, dress more richly. "citizens' daughters of an inferior sort wear their hair woven with lace stitched up with a border of pearl. citizens' wives wear much lace of silk on their petticoats." dandyism began in germany, says a writer,[718] about 1626, when the women first wore silver, which appeared very remarkable, and "at last indeed white lace." a century later luxury at the baths of baden had reached an excess unparalleled in the {266}present day. the bath mantles, "équipage de bain," of both sexes are described as trimmed with the richest point, and after the bath were spread out ostentatiously as a show on the baths before the windows of the rooms. lords and ladies, princesses and margraves, loitered up and down, passing judgment on the laces of each new arrival.[719] this love of dress, in some cases, extended too far, for bishop douglas[720] mentions how the leipsic students "think it more honourable to beg, with a sword by their side, of all they meet than to gain their livelihood. i have often," he says, "given a few groschen to one finely powdered and dressed with sword and lace ruffles." concerning the manufactures of the once opulent cities of nuremburg and augsburg we have no record. in the first-mentioned was published, in 1601, the model book, engraved on copper, of sibmacher.[721] on the frontispiece is depicted a garden of the sixteenth century. from the branches of a tree hangs a label, informing the world "that she who loves the art of needlework, and desires to make herself skilful, can here have it in perfection, and she will acquire praise, honour, and reward." at the foot of the tree is seated a modest young lady yclept industria; on the right a second, feather-fan in hand, called ignavia--idleness; on the left a respectable matron named sofia--wisdom. by way of a preface the three hold a dialogue, reviewing, in most flattering terms, the work. a museum was founded in 1865 at nuremburg for works and objects connected with the lace manufacture and its history. it contains some interesting specimens of nuremburg lace, the work of a certain jungfrau pickleman, in the year 1600, presented by the widow pfarrer michel, of poppenreuth.[722] the lace is much of the venetian character. one specimen has the figures of a knight and a lady, resembling the designs of vecellio. the museum also possesses other curious examples of lace, together with a collection of books relative to the lace fabric. (plate lxviii.) "in the chapel of st. egidius at nuremburg," writes one {267}of our correspondents, "we were led to make inquiries concerning sundry ponderous-looking chairs, bearing some resemblance to confessionals, but wanting the side compartments for the penitents. we learned that they belonged to the several guilds (innung), who had undertaken to collect money for the erection of a new church after the destruction of the old by fire. for this end the last members sworn in of every trade sat in their respective chairs at the church doors on every sunday and holiday. the offerings were thrown into dishes placed on a raised stand on the right of the chair, or into the hollow in front. the devices of each trade were painted or embossed on circular plates, said to be of silver, on the back of each chair. one handwerksstuhl in particular attracted our attention; it was that of the passmenterie-makers (in german, portenmacher or posamentier handwerk), which, until the handicrafts became more divided, included the lace-makers. an elegant scroll-pattern in _rilievo_ surrounds the plate, surmounted by a cherub's head, and various designs, resembling those of the pattern-books, are embossed in a most finished style upon the plate, together with an inscription dated 1718." misson, who visited nuremberg in 1698, describes the dress of a newly-married pair as rich in the extreme--that of the bridegroom as black, "fort chargé de dentelles"; the bride as tricked out in the richest "dentelle antique," her petticoat trimmed with "des tresses d'or et de dentelle noire." in the victoria and albert museum there are two women's ruffs from nuremberg belonging to the latter part of the sixteenth or early seventeenth century, and embroidered in blue and black silk and white cotton, and edged with a coarse thread mechlin lace with a large meshed irregular plaited réseau, probably late seventeenth century. perhaps the finest collection of old german point is preserved, or rather was so, in 1840, in the palace of the ancient, but now extinct, prince-archbishops of bamberg. several more pattern-books were published in germany. among the most important is that printed at augsburg, by john schwartzenburg, 1534. it is printed in red, and the patterns, mostly borders, are of delicate and elegant design. (see appendix.) secondly comes one of later date, published by sigismund latomus at frankfort-on-the-main, 1605; and lastly, that {268}of "metrepière quinty, demor[=a]t dempre legl[=i]e de iii roies," a cul[=o]ge (cologne), 1527. in austria, writes peuchet, "les dentelles de soie et de fil ne sont pas moins bien travaillées." many of the protestant lace-workers took refuge in the cities of freyburg and altenburg. there is a collection in the victoria and albert museum of cuffs embroidered in satin stitch, and edged with bobbin-lace "torchon" of the peasants' work in slavonia in the eighteenth century. the patterns resemble cretan and russian laces. there is a comparatively modern variety of lace made in austria and bohemia which resembles the old italian bobbin-lace; the school where it is taught is under government patronage. this industry was established as a means of relieving the distress of the tyrol in 1850, and continues to flourish. austria sent to the international exhibition of 1874 specimens of needle-point and point plat made in the school of the grand duchess sophie, and specimens of border laces in the style of the auvergne laces were exhibited from the erzgebirge and bohemia. at the paris exhibition, austria and vienna both exhibited copies of old needle-point laces. at laybach, in austria, there was at one time a bobbin-lace factory which produced lace much esteemed in the eighteenth century. the collection of hungarian peasant lace in the victoria and albert museum collection contains specimens of coarse modern pillow-made lace, with rude floral designs worked in thick thread or yellow silk. the modern laces of bohemia are tasteless in design. the fabric is of early date. "the bohemian women," writes moryson, "delight in black cloth with lace of bright colours." in the beginning of the nineteenth century upwards of 60,000 people, men, women and children, were occupied in the bohemian erzgebirge alone in lace-making. since the introduction of the bobbin-net machine into austria, 1831, the number has decreased. there were in 1862 scarcely 8,000 employed in the common laces, and about 4,000 on valenciennes and points.[723] plate lxx. [illustration: hungarian. bobbin lace.--latter half of nineteenth century. widths, 6¼ and 2½ in. victoria and albert museum.] plate lxxi. [illustration: austro-hungarian, south slavonian. cuff of linen embroidered in satin stitch in white silk. white silk bobbin lace.--eighteenth century. width, 7½ in. victoria and albert museum.] _to face page 268._ {269}switzerland. "dans un vallon fort bien nommé travers, s'élève un mont, vrai séjour des hivers."--_voltaire._ in the preface of the _neues modelbuch of froschowern_, printed at zurich (see appendix), occurs the following:--"amongst the different arts we must not forget one which has been followed in our country for twenty-five years. lace-making was introduced in 1536 by merchants from italy and venice. many women, seeing a means of livelihood in such work, quickly learned it, and reproduced lace with great skill. they first copied old patterns, but soon were enabled to invent new ones of great beauty. the industry spread itself about the country, and was carried to great perfection: it was found to be one specially suitable for women, and brought in good profits. in the beginning these laces were used solely for trimming chemises and shirts; soon afterwards collars, trimmings for cuffs, caps, and fronts and bodies of dresses, for napkins, sheets, pillow-cases and coverlets, etc., were made in lace. very soon such work was in great demand, and became an article of great luxury. gold thread was subsequently introduced into some of it, and raised its value considerably; but this latter sort was attended with the inconvenience that it was more difficult to clean and wash than laces made with flax threads only."[724] the above account is interesting, not only in its reference to switzerland, but from its corroborative evidence of the italian origin of lace. in 1572, one symphorien thelusson, a merchant of lyons, having escaped from the massacre of st. bartholomew, concealed himself in a bale of goods, in which he reached geneva, and was hospitably received by the inhabitants. when, after the lapse of near a hundred and twenty years, crowds of french emigrants arrived in the city, driven from their homes on the revocation of the edict of nantes, a descendant of this same thelusson took a body of 2,000 refugees into his service, and at once established a manufacture of lace.[725] the produce of this industry was smuggled {270}back into france, the goods conveyed across the jura over passes known only to the bearers, by which they avoided the custom-house duties of valence. "every day," writes jambonneau, himself a manufacturer, "they tell my wife what lace they want, and she takes their orders." louis xiv. was furious.[726] though lace-making employed many women in various parts of the country, who made a common description while tending their flocks in the mountains, neufchâtel has always been the _chef-lieu_ of the trade. "in this town," says savary, "they have carried their works to such a degree of perfection, as to rival the laces of flanders, not only in beauty but in quality." we have ourselves seen in switzerland guipures of fine workmanship that were made in the country, belonging to old families, in which they have remained as heirlooms; and have now in our possession a pair of lappets, made in the last century at neufchâtel, of such exquisite beauty as not to be surpassed by the richest productions of brussels. formerly lace-making employed a large number of workwomen in the val de travers, where, during his sojourn at moutiers, jean-jacques rousseau tells us he amused himself in handling the bobbins. in 1780 the lace trade was an object of great profit to the country, producing laces valuing from 1 batz to upwards of 70 francs the ell, and exporting to the amount of 1,500,000 francs; on which the workwomen gained 800,000, averaging their labour at scarcely 8 sols per day. the villages of fleurens and connet were the centre of this once flourishing trade,[727] now ruined by competition with mirecourt. in 1814 there were in the neufchâtel district, 5628 lace-makers; in 1844 a few aged women alone remained. the modern laces of neufchâtel resemble those of lille, but are apt to wash thick. (plate lxvii.) in 1840, a fabric of "point plat de bruxelles dite de genève" was established at geneva. by the sumptuary laws of zurich,[728] which were most {271}severe, women were especially forbidden to wear either blonde or thread lace, except upon their caps. this must have been a disadvantage to the native fabrics, "for zurich," says anderson, "makes much gold, silver, and thread lace." several pattern-books for lace were published in switzerland in the later years of the sixteenth century; one, without a date, but evidently printed at zürich about 1540, by c. froschowern, is entitled, _nüw modelbüch allerley gattungen däntel_, etc. another one, entitled _new model-buch_, printed by g. strauben, 1593, at st. gall, is but a reprint of the third book of vecellio's _corona_. another, called also _sehr newe model-buch_, was published at basle in 1599, at the printing-house of ludwig künigs. {272}chapter xxi. denmark, sweden and russia. ---denmark. "eraste.--miss, how many parties have you been to this week? "lady.--i do not frequent such places; but if you want to know how much lace i have made this fortnight, i might well tell you." --holberg. _the inconstant lady._ "the far-famed lace of tönder." "a certain kind of embroidery, or cut-work in linen, was much used in denmark before lace came in from brabant," writes professor thomsen. "this kind of work is still in use among the peasants, and you will often have observed it on their bed-clothes." the art of lace-making itself is supposed to have been first brought over by the fugitive monks at the reformation, or to have been introduced by queen elizabeth,[729] sister of charles v., and wife of christian ii., that good queen who, had her husband been more fortunate, would, says the chronicler, "have proved a second dagmar to denmark." lace-making has never been practised as a means of livelihood throughout denmark. it is only in the province of north schleswig (or south jutland, as it is also called) that a regular manufacture was established. it is here that king christian iv. appears to have made his purchases; and while travelling in schleswig, entries constantly occur in his journal book, from 1619 to 1625, such as, "paid to a female lace-worker 28 rixdollars--71 specie to a lace-seller for lace for the use of the children," and many similar {273}notices.[730] it was one of those pieces of tönder lace that king christian sends to his chamberlain, with an autograph letter, ordering him to cut out of it four collars of the same size and manner as prince ulrik's spanish. they must contrive also to get two pairs of manchettes out of the same. in the museum of the palace at rosenborg are still preserved some shirts of christian iv., trimmed with schleswig lace of great beauty (fig. 115), and in his portrait, which hangs in hampton court palace, the lace on his shirt is of similar texture. [illustration: fig. 115. shirt collar of christian iv.--(castle of rosenborg, copenhagen.)] it was in the early part of this monarch's reign[731] that the celebrated golden horn, so long the chief treasure of the scandinavian museum at copenhagen, was found by a young {274}lace-maker on her way to her work. she carried her prize to the king, and with the money he liberally bestowed upon her she was enabled, says tradition, to marry the object of her choice. the year 1647 was a great epoch in the lace-making of jutland. a merchant named steenbeck, taking a great interest in the fabric, engaged twelve persons from dortmund, in westphalia, to improve the trade, and settled them at tönder, to teach the manufacture to both men and women, rich and poor. these twelve persons are described as aged men, with long beards, which, while making lace, they gathered into bags, to prevent the hair from becoming entangled among the bobbins. the manufacture soon made great progress under their guidance, and extended to the south-western part of ribe, and to the island of romö.[732] the lace was sold by means of "lace postmen," as they were termed, who carried their wares throughout all scandinavia and parts of germany. christian iv. protected the native manufacture, and in the act of 1643,[733] "lace and suchlike pinwork" are described as luxurious articles, not allowed to be imported of a higher value than five shillings and sixpence the danish ell.[734] a later ordinance, 1683, mentions "white and black lace which are manufactured in this country," and grants permission to the nobility to wear them.[735] christian iv. did not patronise foreign manufactures. "the king of denmark," writes moryson, "wears but little gold lace, and sends foreign apparel to the hangman to be disgraced, when brought in by gentlemen." [illustration: fig. 116. tönder lace, drawn muslin.--denmark, eighteenth century. width 2¾ inches. victoria and albert museum. _to face page 274._] {275}about the year 1712 the lace manufacture again was much improved by the arrival of a number of brabant women, who accompanied the troops of king frederick iv. on their return from the netherlands,[736] and settled at tönder. we have received from jutland, through the kind exertions of mr. rudolf bay, of aalborg, a series of tönder laces, taken from the pattern-books of the manufacturers. the earlier specimens are all of flemish character. there is the old flanders lace, with its dutch flowers and double and trolly grounds in endless variety. the brabant, with fine ground, the flowers and _jours_ well executed. then follow the mechlin grounds, the patterns worked with a coarse thread, in many, apparently, run in with the needle. there is also a good specimen of that description of drawn muslin lace, commonly known under the name of "indian work," but which appears to have been very generally made in various manners. the leaves and flowers formed of the muslin are worked round with a cordonnet, by way of relief to the thick double ground (fig. 116).[737] in the scandinavian museum at copenhagen is a pair of lappets of drawn muslin, a fine specimen of this work. the modern laces are copied from french, lille, and saxon patterns; there are also imitations of the so-called maltese. the schleswig laces are all remarkable for their fine quality and excellent workmanship. guipure, after the manner of the venice points, was also fabricated. a fine specimen of this lace may be seen decorating the black velvet dress of the youthful daughter of duke john of holstein. she lies in her coffin within the mortuary chapel of her family, in the castle of sonderborg. lace was much used in burials in the seventeenth and eighteenth centuries, when it really appears people were arrayed in more costly clothing than in their lives. the author of _jutland and the danish islands_ has often seen mummies in the danish churches exposed to view tricked out in points of great richness. the lace industry continued to increase in value till the beginning of the present century. the year 1801 may be considered its culminating point. at that period the number of peasants employed in tönder and its neighbourhood alone was 20,000. even little boys were taught to make lace till strong enough to work in the fields, and there was scarcely a house without a lace-maker, who would sit before her {276}cottage door, working from sunrise till midnight, singing the ballads handed down from their brabant teachers.[738] "my late father,"[739] writes mr. f. wulff, of brede, "who began the lace trade the end of the last century, first went on foot with his wares to mecklenburg, prussia and hanover: we consigned lace to all parts of the world. soon he could afford to buy a horse; and in his old age he calculated he had travelled on horseback more than 75,000 english miles, or thrice round the earth. in his youth the most durable and prettiest ground was the old flemish, much used by the peasants in germany. it was solid, and passed as an heirloom through several generations. later, the fine needle ground came in, and lastly, the fond clair, or point de lille, far less solid, but easier to work; hence the lace-makers became less skilful than of old." they had not many models, and the best workwomen were those who devoted their whole life to one special pattern. few were found so persevering. one widow, however, is recorded who lived to the age of eighty and brought up seven children on the produce of a narrow edging, which she sold at sixpence a yard. each pattern had its proper name--cock-eye, spider, lyre, chimney-pot, and feather. the rich farmers' wives sat at their pillows daily, causing their household duties to be performed by hired servants from north jutland. ladies also, a century and a half ago, made it their occupation, as the motto of our chapter, from the drama of holberg, will show. and this continued till the fashion of "hvidsom"--white seaming--the cut-work already alluded to, was for a time revived. this work was, however, looked upon as _infra dig._ for the wives of functionaries and suchlike, in whom it was unbecoming to waste on such employment time that should be devoted to household matters. our informant tells of a lady in the north who thus embroidered the christening robe of her child by stealth in the kitchen, fearing to be caught by her visitors--cookery had in those days precedence over embroidery. among the hoards of this child, born 1755, was found a most exquisite collection of old tönder lace, embracing all the varieties made by her mother and herself, from the thick flemish to the finest needle-point. plate lxxii. [illustration: russian.--the upper piece of lace is needle-point "à brides picotées." modern reproduction of a sixteenth century design. width, 3-3/8 in. german. saxon.--the lower piece bobbin-made by the peasants of the erzgebirge. nineteenth century. width, 3¼ in. victoria and albert museum.] plate lxxiii. [illustration: russian.--old bobbin-made with coloured silk outlines. the property of madame pogosky. photo by a. dryden.] _to face page 276._ {277}the fashion of cut-work still prevails in denmark, where collars and cuffs, decorated with stars, crosses, and other mediæval designs, are exposed in the shop-windows of copenhagen for sale--the work of poor gentlewomen, who, by their needle, thus add a few dollars yearly to their income. from 1830 dates the decline of the tönder lace. cotton thread was introduced, and the quality of the fabric was deteriorated.[740] the lace schools were given up; and the flourishing state of agriculture rendered it no longer a profitable employment either for the boys or the women.[741] the trade passed, from the manufacturers into the hands of the hawkers and petty dealers, who were too poor to purchase the finer points. the "lace postmen" once more travelled from house to house with their little leathern boxes, offering these inferior wares for sale.[742] the art died out. in 1840 there were not more than six lace manufacturers in schleswig. the old people, however, still believe in a good time coming. "i have in my day," said an aged woman, "sold point at four thalers an ell, sir; and though i may never do so again, my daughter will. the lace trade slumbers, but it does not die." sweden. at a very early period the scandinavian goldsmith had learned to draw out wires of gold and twine them round threads either of silk or flax--in fact to _guiper_ them. {278}wadstena, where lies queen philippa of lancaster, daughter of henry iv., is celebrated for its lace. the art, according to tradition, was introduced among the nuns of the convent by st. bridget on her return from italy. some even go so far as to say she wrote home to wadstena, ordering lace from rome; but, as st. bridget died in 1335, we may be allowed to question the fact: certain it is, though, the funeral coif of the saint, as depicted in an ancient portrait, said to have been taken at rome after death, is ornamented with a species of perforated needlework.[743] by the rules of the convent, the nuns of wadstena were forbidden to touch either gold or silver, save in their netting and embroidery. there exists an old journal of the kloster, called _diarium vadstenænse_, in which are, however, no allusions to the art; but the letters of a wadstena nun to her lover _extra muros_, published from an old collection[744] of documents, somewhat help us in our researches. "i wish," she writes to her admirer, "i could send you a netted cap that i myself have made, but when sister karin andersdotter saw that i mingled gold and silver thread in it, she said, 'you must surely have some beloved.' 'do you think so?' i answered. 'here in the kloster, you may easily see if any of the brethren has such a cap, and i dare not send it by anyone to a sweetheart outside the walls.' 'you intend it for axel nilson,' answered sister karin. 'it is not for you to talk,' i replied. 'i have seen you net a long hood, and talk and prattle yourself with brother bertol.'" from netted caps of thread, worked in with gold and silver, the transition to lace is easy, and history tells that in the middle ages the wadstena nuns "knit their laces of {279}gold and silk." we may therefore suppose the art to have flourished in the convents at an early date. at the suppression of the monasteries, under charles ix., a few of the nuns, too infirm to sail with their sisters for poland, remained in sweden. people took compassion on the outcasts, and gave them two rooms to dwell in, where they continued their occupation of making lace, and were able, for a season, to keep the secret of their art. after a time, however, lace-making became general throughout the town and neighbourhood, and was known to the laity previous to the dissolution of wadstena--a favoured convent which survived the rest of the other monasteries of sweden. "send up," writes gustaf vasa, in a familiar letter[745] to his queen margaret, "the lace passement made for me by anne, the smith's daughter, at upsala; i want it: don't neglect this."[746] in an inventory of ericksholm castle, drawn up in 1548, are endless entries of "sheets seamed with cut-work, half worn-out sheets with open border of cut-work, towels with cut-work and with the king's and queen's arms in each corner, blue curtains with cut-work seams," etc. the style of wadstena lace changed with the times and fashion of the national costume. those made at present are of the single or double ground, both black and white, fine, but wanting in firmness. they also make much dentelle torchon, of the lozenge pattern, for trimming the bed-linen they so elaborately embroider in drawn-work. in 1830 the products in value amounted to 30,000 rixdollars. they were carried to every part of sweden, and a small quantity even to foreign parts. one dealer alone, a madame hartruide, now sends her colporteurs hawking wadstena lace round the country. the fabric, after much depression, has slightly increased of late years, having received much encouragement from her majesty queen {280}louisa. specimens of wadstena lace--the only lace manufactory now existing in sweden--were sent to the great international exhibition of 1862. hölesom, or cut-work, is a favourite employment of swedish women, and is generally taught in the schools.[747] at the various bathing-places you may see the young ladies working as industriously as if for their daily sustenance; they never purchase such articles of decoration, but entirely adorn their houses by the labours of their own hands. it was by a collar of this hölesom, worked in silk and gold, that young gustaf erikson was nearly betrayed when working as a labourer in the barn of rankhytta, the property of his old college friend, anders petersen. a servant girl observed to her master, "the new farm-boy can be no peasant; for," says she, "his linen is far too fine, and i saw a collar wrought in silk and gold beneath his kirtle." gold lace was much in vogue in the middle of the sixteenth century, and entries of it abound in the inventory of gustavus vasa and his youngest son, magnus. in an inventory of ericksholm, 1536, is a pair of laced sheets. it is the custom in sweden to sew a broad border of seaming lace between the breadths of the sheets, sometimes wove in the linen. directions, with patterns scarcely changed since the sixteenth century, may be found in the _weaving book_ published at stockholm in 1828.[748] towards the end of 1500 the term "passement" appears in general use, in an inventory of "pontus de gardia." in the neighbourhood of wadstena old soldiers, as well as women, may be seen of a summer's evening sitting at the cottage doors making lace. though no other lace manufactory can be said to exist in sweden beyond that of wadstena, still a coarse bobbin lace is made by the peasantry for home consumption. the author has received from the countess elizabeth piper, late grande maîtresse to her majesty the queen of sweden, specimens of coarse pillow laces, worked by the scanian peasant women, which, she writes, "form a favourite occupation for the women of our province." plate lxxiv. [illustration: russian.--part of a long border setting forth a procession. lacis and embroidery in silk. the lace is bobbin-made in thread. réseau similar to valenciennes. the russian thread is good quality linen. size of portion shown 18½ x 14 in. the property of madame pogosky. photo by a. dryden.] _to face page 280._ {281}latterly this manufacture has been protected and the workwomen carefully directed. far more curious are the laces made by the peasants of dalecarlia, still retaining the patterns used in the rest of europe two hundred years since. the broader[749] kinds, of which we give a woodcut (fig. 117), are from gaguef, that part of dalecarlia where laces are mostly made and used. married women wear them on their summer caps, much starched, as a shelter against the sun. others, of an unbleached thread, are from orsa. this lace is never washed, as it is considered an elegance to preserve this coffee-coloured tint. the firmness and solidity of these last laces are wonderful. [illustration: fig. 117. dalecarlian lace.] the specimens from rättwik are narrow "seaming" laces of the lozenge pattern. there is also a sort of plaiting used as a fringe, in the style of the genoese macramè, from the ends of a small {282}sheet which the peasants spread over their pillows. no improvement takes place in the designs. the dalecarlian women do not make a trade of lace-making, they merely work to supply their own wants.[750] fig. 118 represents a lace collar worn by gustavus adolphus, a relic carefully preserved in the northern museum at stockholm. on it is inscribed in swedish: "this collar was worn by gustaf adolf, king of sweden, and presented, together with his portrait, as a remembrance, in 1632, to miss jacobina lauber, of augsburg, because she was the most beautiful damsel present." in addition to this collar, there is preserved at the royal kladskammar at stockholm a blood-stained shirt worn by gustavus at the battle of dirschau, the collars and cuffs trimmed with lace of rich geometric pattern, the sleeves decorated with "seaming" lace. in an adjoining case of the same collection are some splendid altar-cloths of ancient raised spanish point, said to have been worked by the swedish nuns previous to the suppression of the monasteries. a small escutcheon constantly repeated on the pattern of the most ancient specimens has the semblance of a water-lily leaf, the emblem of the stures, leading one to believe they may have been of swedish fabric, for many ladies of that illustrious house sought shelter from troublous times within the walls of the lace-making convent of wadstena. in the same cabinet is displayed, with others of more ordinary texture, a collar of raised spanish guipure, worked by the princesses catherine and marie, daughters of duke johan adolf (brother of charles x.). though a creditable performance, yet it is far inferior to the lace of convent make. the making of this spanish point formed a favourite amusement of the swedish ladies of the seventeenth century: bed-hangings, coverlets, and toilets of their handiwork may still be found in the remote castles of the provinces. we have received the photograph of a flower from an old bed of swedish lace--an heirloom in a smaland castle of count trolle bonde. [illustration: fig. 118. collar of gustavus adolphus. _to face page 282._] {283}russia. after his visit to paris early in the eighteenth century, peter the great founded a manufacture of silk lace at novgorod, which in the time of the empress elizabeth fell into decay. in the reign of catherine ii. there were twelve gold lace-makers at st. petersburg, who were scarcely able to supply the demand. in russia lace-making and embroidery go hand in hand, as in our early examples of embroidery, drawn-work, and cut-work combined. lace-making was not a distinct industry; the peasants, especially in eastern russia, made it in their houses to decorate, in conjunction with embroidery, towels, table-linen, shirts, and even the household linen, for which purpose it was purchased direct from the peasants by the inhabitants of the towns. many will have seen the russian towels in the international exhibition of 1874, and have admired their quaint design and bright colours, with the curious line of red and blue thread running through the pattern of the lace. darned netting and drawn-work appear, as elsewhere, to have been their earliest productions. the lace is loosely wrought on the pillow, the work simple, and requiring few bobbins to execute the vermiculated pattern which is its characteristic (fig. 119, and plates lxxii.-iv.). the specimens vary very much in quality, but the patterns closely resemble one another, and are all of an oriental and barbaric character (fig. 119). in nardendal, near abo, in finland, the natives offer to strangers small petticoats and toys of lace--a relic of the time when a nunnery of cistercians flourished in the place. much of a simple design and coarse quality is made in belev, vologda, riazan, mzeresk. at vologda a lace resembling torchon is made, with colours introduced, red, blue, and écru and white.[751] in some laces silks of various colours are employed. pillow-lace has only been known in russia for over a hundred years, and although the {284}lace produced is effective, it is coarse in texture and crude in pattern. late in the nineteenth century the czarina gave her patronage to a school founded at moscow, where venetian needle-point laces have been copied, using the finest english thread, and needle-laces made after old russian designs of the sixteenth century,[752] called _point de moscou_. [illustration: fig. 119. russia.--bobbin-made nineteenth century. _to face page 284._] {285}chapter xxii. england to queen elizabeth. "we weare most fantastical fashions than any nation under the sun doth, the french only excepted."--_coryat's crudities._ 1611. it would be a difficult matter for antiquaries to decide at what precise time lace, as we now define the word, first appears as an article of commerce in the annals of our country. as early as the reign of edward iii.,[753] the excessive luxury of veils, worn even by servant girls, excited the indignation of the government, who, in an act, dated 1363, forbade them to be worn of silk, or of any other material, "mes soulement de fil fait deinz le roialme," for which veils no one was to pay more than the sum of tenpence. of what stuff these thread veils were composed we have no record; probably they were a sort of network, similar to the caul of queen philippa, as we see represented on her tomb.[754] that a sort of crochet decoration used for edging was already made, we may infer from the monumental effigies of the day.[755] the purse of the carpenter is described, too, in chaucer, as "purled with latoun," a kind of metal or wire lace, similar to that found at herculaneum, and made in some parts of europe to a recent period. m. aubry refers to a commercial treaty of 1390, between england and the city of bruges, as the earliest mention of lace. this said treaty we cannot find in rymer, dumont, {286}or anywhere else. we have, as before alluded to, constant edicts concerning the gold wires and threads of "cipre, venys, luk, and jeane," of embroideries and suchlike, but no distinct allusion to "lace."[756] according to anderson, the first intimation of such an occupation being known in england is the complaint, made in 1454, by the women of the mystery of thread-working in london, in consequence of the importation of six foreign women, by which the manufacture of needlework[757] of thread and silk, not as yet understood, was introduced. these six women, probably flemings, had brought over to england the cut-work or darning of the time, a work then unknown in this country. all authors, up to the present period, refer to the well-known act of edward iv.,[758] 1463, in which the entry of "laces, corses, ribans, fringes, de soie and de file, laces de file soie enfile," etc., are prohibited, as the first mention of "lace" in the public records. the english edition of the foedera, as well as the statutes at large, freely translate these words as laces of thread, silk twined, laces of gold, etc.; and the various writers on commerce and manufactures have accepted the definition as "lace," without troubling themselves to examine the question.[759] some even go so far as to refer to a ms. in the harleian library,[760] giving "directions for making many sorts of laces,[761] which were in fashion in the times of king henry vi. {287}and edward iv.," as a proof that lace was already well known, and formed the occupation of the "handcraftry"--as those who gained their livelihood by manual occupation were then termed--of the country. now, the author has carefully examined this already quoted ms., in the principal letter of which is a damaged figure of a woman sitting and "making of lace," which is made by means of "bowys."[762] as regards the given directions, we defy anyone, save the most inveterate lover of crochet-work, to understand one word of its contents, beyond that it relates to some sort of twisted thread-work, and perhaps we might, in utter confusion of mind, have accepted the definition as given, had not another ms. of similar tenor, bearing date 1651, been also preserved in the british museum.[763] this second ms. gives specimens of the laces, such as they were, stitched side by side with the directions, which at once establishes the fact that the laces of silk and gold, laces of thread, were nothing more than braids or cords--the laces used with tags, commonly called "poynts" (the "ferrets" of anne of austria)--for fastening the dresses, as well as for ornament, previous to the introduction of pins. in the wardrobe accounts of the time we have frequent notice of these "laces" and corses. "laces de quir" (cuir) also appear in the statutes,[764] which can only mean what we now term bootlaces, or something similar. {288}in the "total of stuffs bought" for edward iv.,[765] we have entries: "laces made of ryban of sylk; two dozen laces, and a double lace of ryban"--"corses of sylk with laces and tassels of sylk," etc. again, to alice claver, his sylkwoman, he pays for "two dozen laces and a double lace of sylk." these double laces of ribbon and silk were but plaited, a simple ornament still used by the peasant women in some countries of europe. there must, however, be a beginning to everything, and these tag laces--some made round, others in zigzag, like the modern braids of ladies' work, others flat--in due course of time enriched with an edging, and a few stitches disposed according to rule, produced a rude lace; and these patterns, clumsy at first, were, after a season, improved upon. from the time of edward iv. downwards, statute on apparel followed upon statute, renewed for a number of years, bearing always the same expression, and nothing more definite.[766] the venetian galleys at an early period bore to england the gold work of "luk," florence, "jeane" and venice. in our early parliamentary records are many statutes on the subject. it is not, however, till the reign of henry vii. that, according to anderson, "gold and thread lace came from florence, venice, and genoa, and became an article of commerce. an act was then passed to prevent the buyers of such commodities from selling for a pound weight a packet which does not contain twelve ounces, and the inside of the said gold, silver, and thread lace was to be of equal greatness of thread and goodness of colour as the outside thereof."[767] the italians were in the habit of giving short lengths, gold thread of bad quality, and were guilty of sundry other misdemeanours which greatly excited the wrath of the nation. the balance was not in england's favour. it was the cheating venetians who first brought over their gold lace into england. plate lxxv. [illustration: cap. (flemish or german.)--the insertion is cut-work and needle-point. the lace is bobbin-made, and bears a resemblance to plate xxvi., south italian. late seventeenth century. length of lace about 12 in. photo by a. dryden from private collection.] _to face page 288._ {289}a warrant to the keeper of the great wardrobe, in the eighteenth year of king henry's reign,[768] contains an order for "a mauntel lace of blewe silk and venys gold, to be delivered for the use of our right dere and well-beloved cosyn the king of romayne"--maximilian, who was made knight of the garter.[769] if lace was really worn in the days of henry vii., it was probably either of gold or silk, as one of the last acts of that monarch's reign, by which all foreign lace is prohibited, and "those who have it in their possession may keep it and wear it till pentecost,"[770] was issued rather for the protection of the silk-women of the country than for the advantage of the ever-complaining "workers of the mysteries of thread-work." on the 3rd of october, 1502, his queen elizabeth of york pays to one master bonner, at langley, for laces, rybands, etc., 40s.; and again, in the same year, 38s. 7d. to dame margrette cotton, for "hosyn, laces, sope, and other necessaries for the lords henry courtenay, edward, and the lady margrette, their sister." a considerable sum is also paid to fryer hercules for gold of venys, gold of danmarke, and making a lace for the king's mantell of the garter.[771] it is towards the early part of henry viii.'s reign that the "actes of apparell"[772] first mention the novel luxury of shirts and partlets, "garded and pynched,"[773] in addition to clothes decorated in a similar manner, all of which are {290}forbidden to be worn by anyone under the degree of a knight.[774] in the year 1517 there had been a serious insurrection of the london apprentices against the numerous foreign tradesmen who already infested the land, which, followed up by the never-ending complaints of the workers of the mysteries of needlework, induced the king to ordain the wearing of such "myxte joyned garded or browdered"[775] articles of lynnen cloth be only allowed when the same be wrought within "this realm of england, wales, berwick, calais, or the marches."[776] the earliest record we find of laced linen is in the inventory of sir thomas l'estrange, of hunstanton, county of norfolk, 1519, where it is entered, "3 elles of holland cloth, for a shirte for hym, 6 shillings," with "a yard of lace for hym, 8d." in a ms. called "the boke of curtasye"--a sort of treatise on etiquette, in which all grades of society are taught their duties--the chamberlain is commanded to provide for his master's uprising, a "clene shirte," bordered with lace and curiously adorned with needlework. the correspondence, too, of honor. lady lisle, seized by henry viii.[777] as treasonous and dangerous to the state, embraces a hot correspondence with one soeur antoinette de sevenges, a nun milliner of dunkirk, on the important subject of nightcaps,[778] one half dozen of which, she complains, are far too wide behind, and not of the lozenge (cut) work pattern she had selected. the nightcaps were in consequence to be changed. anne basset, daughter of the said lady lisle, educated in a french convent, writes earnestly begging for an "edge {291}of perle[779] for her coif and a tablete (tablier) to ware." her sister mary, too, gratefully expresses her thanks to her mother, in the same year,[780] for the "laced gloves you sent me by bearer." calais was still an english possession, and her products, like those of the scotch border fortresses, were held as such.[781] lace still appears but sparingly on the scene. among the privy purse expenses of the king in 1530,[782] we find five shillings and eightpence paid to richard cecyll,[783] groom of the robes, for eight pieces of "yelowe lace, bought for the king's grace." we have, too, in the harleian inventory,[784] a coif laid over with passamyne of gold and silver. these "acts of apparell," as regards foreign imports, are, however, somewhat set aside towards the year 1546, when henry grants a licence in favour of two florentine merchants to export for three years' time, together with other matters, "all manner of fryngys and passements wrought with gold or silver, or otherwise, and all other new gentillesses of what facyon or value soever they may be, for the pleasure of our dearest wyeff the queen, our nobles, gentlemen, and others."[785] the king, however, reserves to himself the first view of their merchandise, with the privilege of selecting anything he may please for his own private use, before their wares were hawked about the country. the said "dearest wyeff," from the date of the act, must have been katherine parr; her predecessor, katherine howard, had for some four years slept headless in the vaults of the white tower chapel. of these "gentillesses" the king now began to avail himself. he selects "trunk sleeves of redd cloth of gold with cut-work;" knitted gloves of silk, and "handkerchers" edged with gold and silver; his towels are {292}of diaper, "with stafford knots," or "knots and roses;" he has "coverpanes of fyne diaper of adam and eve garnished about with a narrow passamayne of venice gold and silver; handkerchers of holland, frynged with venice gold, redd and white silk," others of "flanders worke," and his shaving cloths trimmed in like fashion.[786] the merchandise of the two florentines had found vast favour in the royal eyes. though these articles were imported for "our dere wyeff's sake," beyond a "perle edging" to the coif of the duchess of suffolk, and a similar adornment to the tucker of jane seymour,[787] lace seems to have been little employed for female decoration during the reign of king henry viii. [illustration: fig. 120. fisher, bishop of rochester. + 1535. (m. de versailles.)] that it was used for the adornment of the ministers of the church we have ample evidence. m. aubry states having seen in london lace belonging to cardinal wolsey. on this matter we have no information; but we know the surplices were ornamented round the neck, shoulders, and sleeves with "white work" and cut-work[788] at this period. the specimens we give (figs. 120, 121) are from a portrait formerly in the library of the sorbonne, now transferred to versailles, of fisher, bishop of rochester, cardinal fisher as he is styled--his cardinal's hat arriving at dover at the very moment the head that was to wear it had fallen at tower hill. plate lxxvi. [illustration: english. cutwork and needle-point.--cross said to have belonged to cardinal wolsey.] plate lxxvii. [illustration: english. devonshire "trolly."--first part of nineteenth century. photos by a. dryden from private collection.] _to face page 292._ {293}about this time, too, lace gradually dawns upon us in the church inventories. among the churchwardens' accounts of st. mary-at-hill, date 1554, we find entered a charge of 3s. for making "the bishopp's (boy bishop) myter with stuff and lace."[789] the richly-laced corporax cloths and church linen are sent to be washed by the "lady ancress," an ecclesiastical washerwoman, who is paid by the churchwardens of st. margaret's, westminster, the sum of 8d.; this lady ancress, or anchoress, being some worn-out old nun who, since the dissolution of the religious houses, eked out an existence by the art she had once practised within the walls of her convent. at the burial of king edward vi., sir edward waldgrave enters on his account a charge of fifty yards of gold passement lace for garnishing the pillars of the church. [illustration: fig. 121. fisher, bishop of rochester.--(m. de versailles.)] the sumptuary laws of henry viii. were again renewed by queen mary:[790] in them ruffles made or wrought out of england, commonly called cut-work, are forbidden to anyone under the degree of a baron; while to women of a station beneath that of a knight's wife, all wreath lace or passement lace of gold and silver with sleeves, partlet or linen trimmed {294}with purles of gold and silver, or white-works, alias cut-works, etc., made beyond the sea, is strictly prohibited. these articles were, it seems, of flemish origin, for among the new year's gifts presented to queen mary, 1556, we find enumerated as given by lady jane seymour, "a fair smock of white work,[791] flanders making." lace, too, is now in more general use, for on the same auspicious occasion, mrs. penne, king edward's nurse, gave "six handkerchers edged with passamayne of golde and silke."[792] two years previous to these new year's gifts, sir thomas wyatt is described as wearing, at his execution, "on his head a faire hat of velvet, with broad bone-work lace about it."[793] lace now seems to be called indifferently purle, passamayne or bone-work, the two first-mentioned terms occurring most frequently. the origin of this last appellation is generally stated to have been derived from the custom of using sheep's trotters previous to the invention of wooden bobbins. fuller so explains it, and the various dictionaries have followed his theory. the devonshire lace-makers, on the other hand, deriving their knowledge from tradition, declare that when lace-making was first introduced into their county, pins,[794] so indispensable to their art, being then sold at a price far beyond their means, the lace-makers, mostly the wives of fishermen living along the coast, adopted the {295}bones of fish, which, pared and cut into regular lengths, fully answered as a substitute. this explanation would seem more probable than that of employing sheep's trotters for bobbins, which, as from 300 to 400 are often used at one time on a pillow, must have been both heavy and cumbersome. even at the present day pins made from chicken bones continue to be employed in spain; and bone pins are still used in portugal.[795] shakespeare, in _twelfth-night_, speaks of "the spinsters and the knitters in the sun, and the free maids that weave their threads with bone." "bone" lace[796] constantly appears in the wardrobe accounts, while bobbin lace[797] is of less frequent occurrence. among the new year's gifts presented to queen elizabeth, we have from the lady paget "a petticoat of cloth of gold stayned black and white, with a bone lace of gold and spangles, like the wayves of the sea"; a most astounding article, with other entries no less remarkable but too numerous to cite. {296}in the marriage accounts of prince charles[798] we have charged 150 yards of bone lace[799] for six extraordinary ruffs and twelve pairs of cuffs, against the projected spanish marriage. the lace was at 9s. a yard. sum total, £67 10s.[800] bone lace is mentioned in the catalogue of king charles i.'s pictures, drawn up by vanderdort,[801] where james i. is described "without a hat, in a bone lace falling band."[802] setting aside wardrobe accounts and inventories, the term constantly appears both in the literature and the plays of the seventeenth century. "buy some quoifs, handkerchiefs, or very good bone lace, mistress?" cries the pert sempstress when she enters with her basket of wares, in green's _tu quoque_,[803] showing it to have been at that time the usual designation. "you taught her to make shirts and bone lace," says someone in the _city madam_.[804] again, describing a thrifty wife, loveless, in _the scornful lady_,[805] exclaims- "she cuts cambric to a thread, weaves bone lace, and quilts balls admirably." the same term is used in the _tatler_[806] and _spectator_,[807] {297}and in the list of prizes given, in 1752, by the society of anti-gallicans, we find, "six pieces of bone lace for men's ruffles." it continued to be applied in the acts of parliament and notices relative to lace, nearly to the end of the eighteenth century.[808] after a time, the sheep's trotters or bones having been universally replaced by bobbins of turned box-wood, the term fell into disuse, though it is still retained in belgium and germany. from the reign of queen mary onwards, frequent mention is made of parchment lace (see pp. 297-298), a term most generally associated with gold and silver, otherwise we should consider it as merely referring to needle-made lace, which is worked on a parchment pattern. but to return to queen mary tudor. we have among the "late queen mary's clothes" an entry of "compas"[809] lace; probably an early name for lace of geometric pattern. open-work edging of gold and passamaine lace also occur; and on her gala robes lace of "venys gold," as well as "vales of black network," a fabric to which her sister, queen elizabeth, was most partial; partlets,[810] dressings, shadowes, and pynners "de opere rete," appearing constantly in her accounts.[811] it was at this period, during the reign of henry viii. and mary, a peculiar and universally prevalent fashion, varying in degrees of eccentricity and extravagance, to slash the garment so as to show glimpses of some contrasting underdress. dresses thus slashed, or puffed, banded, "pinched," stiff with heavy gold and metal braid or embroidery, required but little additional adornment of lace.[812] the falling collar, which was worn in the early part of the sixteenth century, before the elizabethan ruff (introduced from france about 1560), was, however, frequently edged with lace of geometric pattern. early in the sixteenth century the dresses of the ladies {298}fitted closely to the figure, with long skirts open in front to display the underdress; and were made low and cut square about the neck. sometimes, however, the dresses were worn high with short waists and a small falling collar. somewhat later, when the dresses were made open at the girdle, a partlet--a kind of habit-shirt--was worn beneath them, and carried to the throat.[813] entries of lace in the wardrobe accounts are, however, few and inconsiderable until the reign of queen elizabeth. plate lxxviii. [illustration: marie de lorraine, 1515-1560. daughter of duc de guise, married james v. of scotland, 1538. this picture was probably painted before she left france, by an unknown french artist. national portrait gallery. photo by walker and cockerell.] _to face page 298._ {299}chapter xxiii. queen elizabeth. "by land and sea a virgin queen i reign, and spurn to dust both antichrist and spain."--old masque. "tell me, dorinda, why so gay? why such embroidery, fringe and lace? can any dresses find a way to stop the approaches of decay and mend a ruined face?"--lord dorset. up to the present time our mention of lace, both in the statutes and the royal wardrobe accounts, has been but scanty. suddenly, in the days of the virgin queen, both the privy expenses and the inventories of new year's gifts overflow with notices of passaments, drawn-work, cut-work, crown lace,[814] bone lace for ruffs, spanish chain, byas,[815] parchment, hollow,[816] billament,[817] and diamond {300}lace[818] in endless, and to us, we must own, most incomprehensible variety. the surtees' _wills and inventories_ add to our list the laces waborne[819] and many others. lace was no longer confined to the court and high nobility, but, as these inventories show, it had already found its way into the general shops and stores of the provincial towns. in that of john johnston, merchant, of darlington, already cited, we have twelve yards of "loom" lace, value four shillings, black silk lace, "statute" lace, etc., all mixed up with entries of pepper, hornbooks, sugar-candy, and spangles. about the same date, in the inventory taken after the death of james backhouse, of kirby-in-lonsdale, are found enumerated "in y^e great shoppe," thread lace at 16s. per gross; four dozen and four "pyrled" lace, four shillings; four quarterns of statching (stitching or seaming?) lace; lace edging; crown lace; hollow lace; copper lace; gold and silver chean (chain) lace, etc. this last-mentioned merchant's store appears to have been one of the best-furnished provincial shops of the period. that of john farbeck, of durham, mercer, taken thirty years later, adds to our list seventy-eight yards of velvet lace, coloured silk, chayne lace, "coorld" lace, petticoat lace, all cheek by jowl with venys gold and turpentine. to follow the "stitches" and "works" quoted in the wardrobe accounts of elizabeth--all made out in latin, of which we sincerely trust, for the honour of ascham, the {301}queen herself was guiltless--would be but as the inventory of a haberdasher's shop. we have white stitch, "opus ret' alb," of which she had a kirtle, "pro le hemmynge et edginge" of which, with "laqueo coronat' de auro et arg'"--gold and silver crown lace--and "laqueo alb' lat' bon' operat' super oss'"--broad white lace worked upon bone--she pays the sum of 35s.[820] then there is the spanish stitch, already mentioned as introduced by queen katherine, and true stitch,[821] laid-work,[822] net-work, black-work,[823] white-work, and cut-work. of chain-stitch we have many entries, such as six caules of knot-work, worked with chain-stitch and bound "cum tapem" (tape), of sister's (nun's) thread.[824] a scarf of white stitch-work appears also among the new year's gifts. as regards the use, however, of these ornaments, the queen stood no nonsense. luxury for herself was quite a different affair from that of the people; for, on finding that the london apprentices had adopted the white stitching and garding as a decoration for their collars, she put a stop to all such finery by ordering[825] the first transgressor to be publicly whipped in the hall of his company. laid-work, which maybe answers to our modern plumetis, or simply signified a braid-work, adorned the royal garters, "frauncie," which worked "cum laidwork," stitched and trimmed "in ambobus lateribus" with gold and silver lace, from which hung silver pendants, "tufted cum serico color," cost her majesty thirty-three shillings the pair.[826] {302}the description of these right royal articles appears to have given as much trouble to describe as it does ourselves to translate the meaning of her accountant. the drawn-work, "opus tract'," seems to have been but a drawing of thread worked over silk. we have smocks thus wrought and decorated "cum lez ruffs et wrestbands."[827] in addition to the already enumerated laces of queen elizabeth are the bride laces of coventry blue,[828] worn and given to the guests at weddings, mentioned in the _masques_ of ben jonson:[829]- "clod.--and i have lost, beside my purse, my best bride-lace i had at joan turnips' wedding. "frances.--ay, and i have lost my thimble and a skein of coventry blue i had to work gregory litchfield a handkerchief." when the queen visited kenilworth in 1577, a bridall took place for the pastime of her majesty. "first," writes the chancellor, "came all the lusty lads and bold bachelors of the parish, every wight with his blue bridesman's bride lace upon a braunch of green broom." what these bride laces exactly were we cannot now tell. they continued in fashion till the puritans put down all festivals, ruined the {303}commerce of coventry, and the fabric of blue thread ceased for ever. it was probably a showy kind of coarse trimming, like that implied by mopsa in the _winter's tale_, when she says- "you promised me a tawdry lace:"[830] articles which, judging from the song of autolycus- "will you buy any tape, or lace for your cape?" were already hawked about among the pedlars' wares throughout the country: one of the "many laces" mentioned by shakespeare.[831] dismissing, then, her stitches, her laces, and the 3,000 gowns she left in her wardrobe behind her--for, as shakespeare says, "fashion wears out more apparel than the man"[832]--we must confine ourselves to those articles immediately under our notice, cut-work, bone lace, and purle. cut-work--"opus scissum," as it is termed by the keeper of the great wardrobe--was used by queen elizabeth to the greatest extent. she wore it on her ruffs, "with lilies of the like, set with small seed pearl"; on her doublets, "flourished with squares of silver owes"; on her forepart of lawn, "flourished with silver and spangles";[833] on her {304}cushion-cloths,[834] her veils, her tooth-cloths,[835] her smocks and her nightcaps.[836] all nourished, spangled, and edged in a manner so stupendous as to defy description. it was dizened out in one of these last-named articles[837] that young gilbert talbot, son of lord shrewsbury, caught a sight of the queen while walking in the tilt-yard. queen elizabeth at the window in her nightcap! what a goodly sight! that evening she gave talbot a good flap on the forehead, and told her chamberlain how the youth had seen her "unready and in her night stuff," and how ashamed she was thereof. cut-work first appears in the new year's offerings of 1577-8, where, among the most distinguished of the givers, we find the name of sir philip sidney, who on one occasion offers to his royal mistress a suit of ruffs of cut-work, on another a smock--strange presents according to our modern ideas. we read, however, that the offering of the youthful hero gave no offence, but was most graciously received. singular enough, there is no entry of cut-work in the great wardrobe accounts before that of 1584-5, where there is a charge for mending, washing and starching a bodice and cuffs of good white lawn, worked in divers places with broad spaces of italian cut-work, 20 shillings,[838] and another for the same operation to a veil of white cut-work trimmed with needlework lace.[839] cut-work was probably still a rarity; and really, on reading the quantity offered to elizabeth on each recurring new year, there was scarcely any necessity for her to purchase it herself. by the year 1586-7 the queen's stock had apparently diminished. now, for the first time, she invests the sum of sixty shillings in six yards of good ruff lawn, well worked, with cut-work, and edged with good white lace.[840] {305}from this date the great wardrobe accounts swarm with entries such as a "sut' de lez ruffes de lawne," with spaces of "opere sciss',"[841] "un' caule de lawne alb' sciss' cum le edge," of similar work;[842] a "toga cum traine de opere sciss';"[843] all minutely detailed in the most excruciating gibberish. sometimes the cut-work is of italian[844] fabric, sometimes of flanders;[845] the ruffs edged with bone lace,[846] needle lace,[847] or purle.[848] the needle lace is described as "curiously worked," "operat' cum acu curiose fact'," at 32s. the yard.[849] the dearest is specified as italian.[850] we give a specimen (coloured plate xv.) of english workmanship, said to be of this period, which is very elaborate.[851] the thread used for lace is termed "filo soror," or nun's thread, such as was fabricated in the convents of flanders and italy.[852] if, however, lydgate, in his ballad of "london lackpenny," is an authority, that of paris was most prized:- "another he taked me by his hand, here is paris thredde, the finest in the land." queen elizabeth was not patriotic; she got and wore her {306}bone lace from whom she could, and from all countries. if she did not patronize english manufacture, on the other hand, she did not encourage foreign artizans; for when, in 1572, the flemish refugees desired an asylum in england, they were forcibly expelled from her shores. in the census of 1571, giving the names of all the strangers in the city of london,[853] including the two makers of billament lace already cited, we have but four foreigners of the lace craft: one described as "mary jurdaine, widow, of the french nation, and maker of purled lace"; the other, the before-mentioned "callys de hove, of burgundy."[854] various acts[855] were issued during the reign of elizabeth in order to suppress the inordinate use of apparel. that of may, 1562,[856] though corrected by cecil himself, less summary than that framed against the "white-work" of the apprentice boys, was of little or no avail. in 1568 a complaint was made to the queen against the frauds practised by the "16 appointed waiters," in reference to the importation of haberdashery, etc., by which it appears that her majesty was a loser of "5 or 600 l. by yere at least" in the customs on "parsement, cap rebone bone lace, cheyne lace," etc.,[857] but with what effect we know not. the annual import of these articles is therein stated at £10,000, an enormous increase since the year 1559, when, among the "necessary and unnecessary wares" brought into the port of london,[858] together with "babies" (dolls), "glasses to looke in," "glasses to drinke in," pottes, gingerbread, cabbages, and other matters, we find enumerated, "laces of all sortes, £775 6s. 8d.," just one-half less than the more necessary, though less refined item of "eles fresh and salt."[859] in 1573 elizabeth again endeavoured to suppress "the silk glittering with silver and gold lace," but in vain. {307}the queen was a great lover of foreign novelties. all will call to mind how she overhauled the french finery of poor mary stuart[860] on its way to her prison, purloining and selecting for her own use any new-fashioned article she craved. we even find cecil, on the sly, penning a letter to sir henry norris, her majesty's envoy to the court of france, "that the queen's majesty would fain have a tailor that has skill to make her apparel both after the french and italian manner, and she thinketh you might use some means to obtain such one as suiteth the queen without mentioning any manner of request in the queen's majesty's name." his lady wife is to get one privately, without the knowledge coming to the queen mother's ears, "as she does not want to be beholden to her." it is not to be wondered at, then, that the new year's gifts and great wardrobe accounts[861] teem with entries of "doublets of peche satten all over covered with cut-work and lyned with a lace of venyse gold,[862] kyrtells of white satten embroidered with purles of gold-like clouds, and layed round about with a bone lace of venys gold."[863] this gold lace appears upon her petticoats everywhere varied by bone lace of venys silver.[864] that the queen drew much fine thread point from the same locality her portraits testify, especially that preserved in the royal gallery of gripsholm, in sweden, once the property of her ill-fated admirer, eric xiv. she wears a ruff, cuffs, tucker, and apron of geometric lace, of exquisite fineness, stained of a pale citron colour, similar to the liquid invented by mrs. turner, of overbury memory, or, maybe, adopted from the saffron-tinted smocks of the irish, the wearing of which she herself had prohibited. we find among her entries laces of jean[865] and spanish lace; she did not even disdain bone lace of copper, and copper and silver {308}at 18d. the ounce.[866] some of her furnishers are english. one wylliam bowll supplies the queen with "lace of crowne purle."[867] of her sylkwoman, alice mountague, she has bone lace wrought with silver and spangles, sold by the owner at nine shillings.[868] the queen's smocks are entered as wrought with black work and edged with bone lace of gold of various kinds. we have ourselves seen a smock said to have been transmitted as an heirloom in one family from generation to generation.[869] it is of linen cloth embroidered in red silk, with her favourite pattern of oak-leaves and butterflies (fig. 122). many entries of these articles, besides that of sir philip sidney's, appear among the new year's gifts.[870] [illustration: fig. 122. queen elizabeth's smock.] it was then the custom for the sponsors to give {309}"christening shirts," with little bands and cuffs edged with laces of gold and various kinds--a relic of the ancient custom of presenting white clothes to the neophytes when converted to christianity. the "bearing cloth,"[871] as the mantle used to cover the child when carried to baptism was called,[872] was also richly trimmed with lace and cut-work, and the tree of knowledge, the holy dove (fig. 123), or the flowerpot of the annunciation (fig. 124), was worked in "hollie-work" on the crown of the infant's cap or "biggin." [illustration: fig. 123.] [illustration: fig. 124.] christening caps, needle-made brussels.--eighteenth century. aprons, too, of lace appeared in this reign. the queen, as we have mentioned, wears one in her portrait at gripsholm.[873] "those aprons white, of finest thread, so choicelie tied, so dearly bought; so finely fringed, so nicely spread; so quaintly cut, so richly wrought," writes the author of _pleasant quippes for upstart gentlewomen_, {310}in 1596. the fashion continued to the end of the eighteenth century. laced handkerchiefs now came into fashion. "maydes and gentlewomen," writes stowe, "gave to their favourites, as tokens of their love, little handkerchiefs of about three or four inches square, wrought round about," with a button at each corner.[874] the best were edged with a small gold lace. gentlemen wore them in their hats as favours of their mistresses. some cost sixpence, some twelvepence, and the richest sixteenpence. of the difference between purles and true lace it is difficult now to decide. the former word is of frequent occurrence among the new year's gifts, where we have "sleeves covered all over with purle,"[875] and, in one case, the sleeves are offered unmade, with "a piece of purle upon a paper to edge them."[876] it was yet an article of great value and worthy almost of entail, for, in 1573, elizabeth sedgwicke, of wathrape, widow, bequeaths to her daughter lassells, of walbron, "an edge of perlle for a remembrance, desirying her to give it to one of her daughters."[877] we now turn, before quitting the sixteenth century, to that most portentous of all fabrications--queen elizabeth's ruff. in the time of the plantagenets flemish tastes prevailed. with the tudors, katherine of aragon, on her marriage with prince arthur, introduced the spanish fashions, and the inventories from henry viii. downwards are filled with spanish work, spanish stitch, and so forth. queen elizabeth leant to the french and italian modes, and during the stuarts they were universally adopted. the ruff was first introduced into england about the reign of philip and mary. these sovereigns are both represented on the great seal of england with small ruffs about {311}their necks, and with diminutive ones of the same form encircling the wrists.[878] this spanish ruff was not ornamented with lace. on the succession of queen elizabeth the ruff had increased to a large size, as we see portrayed on her great seal. the art of starching, though known to the manufacturers of flanders, did not reach england until 1564, when the queen first set up a coach. her coachman, named gwyllam boenen, was a dutchman; his wife understood the art of starching, a secret she seems exclusively to have possessed, and of which the queen availed herself until the arrival, some time after, of madame dinghen van der plasse, who, with her husband, came from flanders "for their better safeties,"[879] and set up as a clear-starcher in london. "the most curious wives," says stowe, "now made themselves ruffs of cambric, and sent them to madame dinghen to be starched, who charged high prices. after a time they made themselves ruffs of lawn, and thereupon arose a general scoff, or by-word, that shortly they would make their ruffs of spiders' webs." mrs. dinghen at last took their daughters as her pupils. her usual terms were from four to five pounds for teaching them to starch, and one pound for the art of seething starch.[880] the nobility patronised her, but the commonalty looked on her as the evil one, and called her famous liquid "devil's broth." to keep the ruff erect, bewired[881] and starched though it be, was a troublesome affair--its falling a cause of agony to the wearer. "not so close, thy breath will draw my ruff," exclaims the fop. the tools used in starching and fluting {312}ruffs were called setting-sticks, struts and poking-sticks: the two first were made of wood or bone, the poking-stick of iron, and heated in the fire. by this heated tool the fold acquired that accurate and seemly order which constituted the beauty of this very preposterous attire. it was about the year 1576, according to stowe, the making of poking-sticks began. they figure in the expenses of elizabeth, who, in 1592, pays to her blacksmith, one thomas larkin, "pro 2 de lez setting-stickes at 2s. 6d." the sum of 5s.[882] we have frequent allusion to the article in the plays of the day:--[883] "your ruff must stand in print, and for that purpose, get poking-sticks with fair long handles, lest they scorch your hands."[884] again, in _laugh and lie down_--[885] "there she sat with her poking-stick, stiffening a fall." when the use of starch and poking-sticks had rendered the arrangement of a ruff easy, the size began rapidly to increase. "both men and women wore them intolerably large, being a quarter of a yard deep, and twelve lengths in a ruff."[886] in london this fashion was termed the french ruff; in france, on the other hand, it was called "the english monster."[887] queen elizabeth wore hers higher and stiffer than anyone in europe, save the queen of navarre, for she had a "yellow throat," and was desirous to conceal it.[888] woe betide any fair lady of the court who dared let her white skin appear uncovered in the presence of majesty. her ruffs were made of the finest cut-work, enriched with gold, silver, and even precious stones. though she consumed endless yards of cut-work, purle, needlework lace, bone lace of gold, of silver, enriched with pearls, and bugles, {313}and spangles in the fabrication of the "three-piled ruff,"[889] she by no means extended such liberty to her subjects, for she selected grave citizens and placed them at every gate of the city to cut the ruffs if they exceeded the prescribed depth. these "pillars of pride" form a numerous item among the new year's gifts. each lady seems to have racked her brain to invent some novelty as yet unheard of to gratify the queen's vanity. on the new year 1559-60, the countess of worcester offers a ruff of lawn cut-work set with twenty small knots like mullets, garnished with small sparks of rubies and pearls.[890] the cut-work ruff is decorated or enriched with ornament of every description. nothing could be too gorgeous or too extravagant.[891] great was the wrath of old philip stubbes[892] at these monstrosities, which, standing out a quarter of a yard or more, "if æolus with his blasts or neptune with his stormes chaunce to hit upon the crazie bark or their bruised ruffes, then they goe flip flap in the winde like ragges that flew abroade, lying upon their shoulders like the dishclout of a slut. but wot ye what? the devill, as he, in the fulnesse of his malice, first invented these great ruffes," etc., with a great deal more, which, as it comes rather under the head of costume than lace, we omit, as foreign to our subject. lace has always been made of human hair, and of this we have frequent mention in the expenses of queen elizabeth. we believe the invention to be far older than her reign, for there is frequent allusion to it in the early romaunces. in the _chevalier aux ij epées_ (ms. bib. nat.), a lady requires of king ris that he should present her with a mantle fringed with the beards of nine conquered kings, and hemmed with that of king arthur, who was yet to conquer. the mantle is to have "de sa barbe le tassel." {314}the entries of elizabeth, however, are of a less heroic nature; and though we are well aware it was the custom of old ladies to weave into lace their silver-grey locks, and much as the fashion of hair bracelets and chains prevails, in queen elizabeth's case, setting aside all sentiment, we cannot help fancying the "laquei fact' de crine brayded cum lez risinge puffs,"[893] as well as the "devices fact' de crine similiter les scallop shells,"[894] to have been nothing more than "stuffings"--false additions, to swell the majesty of the royal "pirrywygge." that point tresse, as this hair-lace is called, was known in her day, we have evidence in the chartley inventory of mary stuart, in which is mentioned, "un petit quarré fait à point tresse ouvré par la vieille comtesse de lennox elle estant à la tour"; a tribute of affection the old countess would scarcely have offered to her daughter-in-law had she regarded her as implicated in the murder of her son. the writer saw at chantilly an aged lace-maker employed in making a lace ground of hair on the pillow, used, she was informed, by wig-makers to give the parting of the hair; but the fabric must be identical with the point tresse sent by the mother of darnley to the queen of scots. point tresse, when made out of the hair of aged people, is occasionally to be met with on the continent, where, from its rarity, it fetches a high price. some districts gained a reputation for their work, according to turner:--"and bedford's matrons wove their snowy locks." it may be detected by the glittering of the hair when held up to catch the sunbeams, or by frizzing when exposed to the test of fire, instead of blazing. with this mention of point tresse we conclude the reign of queen elizabeth. {315}chapter xxiv. james i. to the restoration. ---james i. "now up aloft i mount unto the ruffe, which into foolish mortals pride doth puffe; yet ruffe's antiquity is here but small: within these eighty years not one at all. for the 8th henry, as i understand, was the first king that ever wore a band, and but a falling band plaine with a hem, all other people knew no use of them." taylor, "water-poet." 1640. the ruff single, double, three piled, and dædalian,[895] to the delight of the satirists, retained its sway during the early days of king james i. it was the "commode" of the eighteenth--the crinoline of the nineteenth century. every play teems with allusions to this monstrosity. one compares it to "a pinched lanthorn which schoolboys made in winter;"[896] while a second[897] talks of a "starched ruff, like a new pigeon-house." the lover, in the play of the _antiquary_,[898] complains to his mistress in pathetic terms- "do you not remember how you fooled me, and set me to pin pleats in your ruff two hours together?" {316}stubbes stood not alone in his anathemas. the dignitaries of the church of england waxed wroth, and violent were their pulpit invectives. "fashion," emphatically preached john king,[899] bishop of london, "has brought in deep ruffs[900] and shallow ruffs, thick ruffs and thin ruffs, double ruffs and no ruffs. when the judge of quick and dead shall appear, he will not know those who have so defaced the fashion he hath created." the bishop of exeter, too, joseph hall, a good man, but no prophet, little wotting how lace-making would furnish bread and comfort to the women of his own diocese for centuries to come, in a sermon preached at the spitel, after a long vituperation against its profaneness, concludes with these words: "but if none of our persuasions can prevail, hear this, ye garish popinjays of our time, if ye will not be ashamed to clothe yourselves after this shameless fashion, heaven shall clothe you with shame and confusion. hear this, ye plaister-faced jezabels, if ye will not leave your daubs and your washes, heaven will one day wash them off with fire and brimstone." whether these denunciations had the effect of lessening the ruffs we know not; probably it only rendered them more exaggerated. of these offending adjuncts to the toilet of both sexes we have fine illustrations in the paintings of the day, as well as in the monuments of our cathedrals and churches.[901] they were composed of the finest geometric lace, such as we see portrayed in the works of vinciolo and others. the artists of the day took particular pleasure in depicting them with the most exquisite minuteness. these ruffs must have proved expensive for the wearer, though in james i.'s time, as ben jonson has it, men thought little of "turning four or five hundred acres of their best land into two or three trunks of apparel."[902] according to the wardrobe accounts,[903] "twenty-five yards of fyne bone lace" was required to edge a ruff, without counting the ground, composed either of lace squares or cut-work. queen anne, his consort, pays £5 for her wrought ruff, for "shewing" which eighteen yards of fine lace are purchased at 5s. 8d.[904] plate lxxix. [illustration: mary sidney, countess of pembroke, in 1614. 1555?--1621.--probably by marc gheeraedts. national portrait gallery. photo by walker and cockerell.] _to face page 316._ {317}the ruffs of the city ladye were kept downe by the old sumptuary law of elizabeth. "see, now, that you have not your 'city ruff' on, mistress sue," says mistress simple in the _city match_.[905] the overbury murder (1613), and hanging of mrs. turner at tyburn in 1615, are usually said, on the authority of howel,[906] to have put an end to the fashion of yellow ruffs, but the following extracts show they were worn for some years later. as late as 1620 the yellow starch, supposed to give a rich hue to the lace and cut-work of which ruffs were "built," gave scandal to the clergy. the dean of westminster ordered no lady or gentleman wearing yellow ruffs to be admitted into any pew in his church; but finding this "ill taken," and the king "moved in it," he ate his own words, and declared it to be all a mistake.[907] this fashion, again, gave great offence even in france. since the english[908] {318}alliance, writes the _courtisane à la mode_, 1625,[909] "cette mode anglaise sera cause qu'il pourra advenir une cherté sur le safran qui fera que les bretons et les poitevins seront contraints de manger leur beurre blanc et non pas jaune, comme ils sont accoutumés." the bishops, who first denounced the ruff, themselves held to the fashion long after it had been set aside by all other professions. folks were not patriotic in their tastes, as in more modern days; they loved to go "as far as paris to fetch over a fashion and come back again."[910] the lace of flanders, with the costly points and cut-works of italy,[911] now became the rage, and continued so for nigh two centuries. ben jonson speaks of the "ruffs and cuffs of flanders,"[912] while lord bacon, indignant at the female caprice of the day, writes to sir george villiers:--"our english dames are much given to the wearing of costly laces, and if they may be brought from italy, or france, or flanders, they are in much esteem; whereas, if like laces were made by the english, so much thread would make a yard of lace, being put into that manufacture, would be five times, or perhaps ten or twenty times the value."[913] but bacon had far better have looked at home, for he had himself, when chancellor, granted an exclusive patent to sir giles mompesson, the original of sir giles overreach, for the monopoly of the sale and manufacture of gold and silver thread, the abuses of which caused in part his fall.[914] james had half ruined the commerce of england by the granting of monopolies, which, says sir john culpepper, are "as numerous as the frogs of egypt. they have got possession of our dwellings, they sip in our cups, they dip in our {319}dish. they sit by our fire. we find them in the dye-vat, wash-bowl, and powdering-tub, etc.; they have marked and sealed us from head to foot."[915] the bone-lace trade suffered alike with other handicrafts.[916] in 1606 james had already given a license to the earl of suffolk[917] for the import of gold and silver lace. in 1621, alarmed by the general complaints throughout the kingdom,[918] a proposition was made "for the erection of an office of pomp, to promote home manufactures," and to repress pride by levying taxes on all articles of luxury.[919] what became of the pomp office we cannot pretend to say: the following year we are somewhat taken aback by a petition[920] from two dutchmen, of dort, showing "that the manufacture of gold and silver thread, purle, etc., in england" was "a great waste of bullion," the said dutchmen being, we may infer, of opinion that it was more to their advantage to import such articles themselves. after a lapse of three years the petition is granted.[921] in the midst of all this granting and rescinding of monopolies, we hear in the month of april, 1623, how the decay of the bone-lace trade at great marlow caused great poverty.[922] though the laces of flanders and italy were much patronised by the court and high nobility, queen anne of denmark appears to have given some protection to the fabrics of the country. poor queen anne! when, on the news of elizabeth's death, james hurried off to england, a correspondence took place between the king and the english privy council regarding the queen's outfit, james considering, {320}and wisely--for the scotch court was always out of elbows--that his wife's wardrobe was totally unfit to be produced in london. to remedy the deficiency, the council forwarded to the queen, by the hands of her newly-named ladies, a quantity of elizabeth's old gowns and ruffs, wherewith to make a creditable appearance on her arrival in england. elizabeth had died at the age of seventy, wizened, decayed, and yellow--anne, young and comely, had but just attained her twenty-sixth year. the rage of the high-spirited dame knew no bounds; she stormed with indignation--wear the clothes she must, for there were no others--so in revenge she refused to appoint any of the ladies, save lady bedford, though nominated by the king, to serve about her person in england. on her arrival she bought a considerable quantity of linen, and as with the exception of one article,[923] purchased from a "french mann," her "nidell purle worke," her "white worke," her "small nidell worke," her "pece of lawin to bee a ruffe," with "eighteen yards of fine lace to shewe (sew) the ruffe," the "great bone" lace, and "little bone" lace were purchased at winchester and basing, towns bordering on the lace-making counties, leading us to infer them to have been of english manufacture.[924] the bill of laced linen purchased at the "queen's lying down" on the birth of the princess sophia, in 1606, amounts to the sum of £614 5s. 8d.[925] in this we have no mention of any foreign-made laces. the child lived but three days. her little monument, of cradle-form, with lace-trimmed coverlets and sheets (fig. 125), stands close to the recumbent effigy of her sister mary[926] (fig. 126), with ruff, collar, and cap of geometric lace, in the north aisle of henry vii.'s chapel.[927] plate lxxx. [illustration: henry wriothesley, third earl of southampton, 1573-1624.--probably painted in holland about 1620, by michiel van miereveldt. national portrait gallery. photo by walker and cockerell.] _to face page 320._ {321}[illustration: fig. 125. monument of the princess sophia. + 1606. fourth daughter of james i. (westminster abbey.)] after a time--epoch of the spanish marriage[928]--the ruff {322}gave way to the "falling band," so familiar to us in the portraits of rubens and vandyke. "there is such a deal of pinning these ruffs, when a fine clean fall is worth them all," says the malcontent. "if you should chance to take a nap in the afternoon, your falling band requires no poking-stick to recover it."[929] cut-work still continued in high favour; it was worn on every article of linen, from the richly-wrought collar to the nightcap. the medicean ruff or gorget of the countess of pembroke ("sidney's sister, pembroke's mother"), with its elaborate border of swans (fig. 127), is a good illustration of the fashion of her time. [illustration: fig. 126. monument of the princess mary. + 1607. third daughter of james i. (westminster abbey.)] among the early entries of prince charles, we have four nightcaps of cut-work, £7,[930] for making two of which for his {323}highness, garnished with gold and silver lace, patrick burke receives £15;[931] but these modest entries are quite put to shame by those of his royal father, who, for ten yards of needlework lace "pro le edginge" of his "galiriculis vulgo nightcaps," pays £16 13s. 4d.[932] well might the water-poet exclaim- "a nightcap is a garment of high state."[933] [illustration: fig. 127. mary, countess of pembroke. + 1621. (from her portrait in walpole's _royal and noble authors_.)] when queen anne died, in 1619, we have an elaborate {324}account of her funeral,[934] and of the sum paid to dorothy speckart for dressing a hearse effigy with a large veil, wired and edged with peak lace and lawn, curiously cut in flowers, etc. laced linen, however, was already discarded in mourning attire, for we find in the charges for the king's mourning ruffs, an edging at 14d. the piece is alone recorded.[935] towards the end of james i.'s reign a singular custom came into fashion, brought in by the puritan ladies, that of representing religious subjects, both in lace, cut-work, and embroidery, a fashion hitherto confined to church vestments. we find constant allusions to it in the dramatists of the day. thus, in the _city match_,[936] we read- "she works religious petticoats, for flowers she'll make church histories. her needle doth so sanctify my cushionets, besides my smock sleeves have such holy embroideries, and are so learned, that i fear in time all my apparel will be quoted by some pious instructor." again, in the _custom of the country_--[937] "sure you should not be without a neat historical shirt." {325}we find in a scotch inventory[938] of the seventeenth century: "of holland scheittes ii pair, quhairof i pair schewit (sewed) with hollie work."[939] the entries of this reign, beyond the "hollie work," picked[940] and seaming[941] lace, contain little of any novelty; all articles of the toilet were characterised by a most reckless extravagance. "there is not a gentleman now in the fashion," says peacham,[942] "whose band of italian cut-work now standeth him not in the least three or four pounds. yes, a semster in holborn told me that there are of threescore pounds." we read how two-thirds of a woman's dower was often expended in the purchase of cut-work and flanders lace. in the warrant of the great wardrobe for the marriage expenses of the ill-fated princess elizabeth, on which occasion it is recorded of poor arabella stuart, the "lady arabella, though still in the tower, has shewn her joy by buying four new gowns, one of which cost £1,500,"[943] in addition to "gold cheine laze, silver spangled, silver looped, myllen bone lace, drawneworke poynte, black silk naples lace," etc., all in the most astonishing quantity, we have the astounding entry of 1,692 ounces of silver bone lace.[944] no wonder, in {326}after days, the princess caused so much anxiety to the palatine's privy purse, colonel schomberg, who in vain implores her to have her linen and lace bought beforehand, and paid at every fair.[945] "you brought," he writes, "£3,000 worth of linen from england, and have bought £1,000 worth here," and yet "you are ill provided."[946] charles i. "embroider'd stockings, cut-work smocks and shirts." --ben jonson. ruffs may literally be said to have gone out with james i. his son charles is represented on the coins of the two first years of his reign in a stiff starched ruff;[947] in the fourth and fifth we see the ruff unstarched, falling down on his shoulders,[948] and afterwards, the falling band (fig. 128) was generally adopted, and worn by all classes save the judges, who stuck to the ruff as a mark of dignity and decorum, till superseded by the peruke.[949] plate lxxxi. [illustration: elizabeth, princess palatine, granddaughter of james i., 1618-1680.--probably about 1638. by gerard honthorst. national portrait gallery. photo by walker and cockerell.] _to face page 326._ {327}[illustration: fig. 128. falling collar of the seventeenth century.--(after abraham bosse.)] even loyal oxford, conscientious to a hair's-breadth--always behind the rest of the world--when whitelock, in 1635, addresses the quarter sessions arrayed in the new fashion, owned "one may speak as good sense in a falling band as in a ruff." the change did not, however, diminish the extravagance of the age. the bills for the king's lace and linen, which in the year 1625 amounted to £1,000, in course of time rose to £1,500.[950] falling bands of flanders bone lace and cut-work appear constantly in the accounts.[951] as the foreign materials are carefully specified (it was one of these articles, then a novelty, that queen anne of denmark "bought of the french mann"), we may infer much of the bobbin or bone lace to have been of home produce. as ben jonson says, "rich apparel has strong virtues." it is, he adds, "the birdlime of fools." there was, indeed, no article of toilet at this period which was not encircled with lace--towels, sheets, shirts, caps, cushions, boots (fig. 129), cuffs (fig. 130)--and, as too often occurs in the case of excessive luxury, when the bills came in money was wanting to {328}discharge them, julian elliott, the royal lace merchant, seldom receiving more than half her account, and in 1630--nothing.[952] there were, as shakespeare says, "bonds entered into for gay apparel against the triumph day."[953] the quantity of needlework purl consumed on the king's hunting collars, "colares pro venatione," scarcely appears credible. one entry alone makes 994 yards for 12 collars and 24 pairs of cuffs.[954] again, 600 yards of fine bone lace is charged for trimming the ruffs of the king's night-clothes.[955] [illustration: fig. 129. from an engraving of abraham bosse.] [illustration: fig. 130. from an engraving of abraham bosse.] the art of lace-making was now carried to great perfection in england; so much so, that the lease of twenty-one years, granted in 1627 to dame barbara villiers, of the duties on gold and silver thread, became a terrible loss to the holder, who, in 1629, petitions for a discharge of £437 10s. arrears due to the crown. the prayer is favourably received by the officers of the customs, to whom it was referred, who answer they "conceive those duties will decay, for the invention of making venice gold and silver lace within the kingdom is come to that perfection, that it will be made here more cheap than it can be brought from beyond seas."[956] the fancy for foreign articles still prevailed. "among the goods brought in by tristram stephens," writes sir john hippisley, from dover castle, "are the bravest french bandes that ever i did see for ladies--they be fit for the queen."[957] [illustration: fig. 131. english needle-made lace. _to face page 328._] {329}gold lace was exported in considerable quantities to india in the days of james i.;[958] and now, in 1631, we find the "riband roses," edged with lace, notified among the articles allowed to be exported. these lace rosette-trimmed shoes were in vogue in the time of james i., and when first brought to that monarch he refused to adopt the fashion, asking, "if they wanted to make a ruffe-footed dove of him." they were afterwards worn in all the extravagance of the french court. (see france to louis xiv.). mr. brooks, in his speech in the house of commons against costly apparel (18 james i.), says, "nowadays, the roses worn by members of the house on their shoes are more than their father's apparel." peacham speaks of "shoe ties, that goe under the name of roses, from thirty shillings to three, four, and five pounds the pair. yea, a gallant of the time, not long since, paid thirty pounds for a pair.[959] well might taylor say they "wear a farm in shoe-strings edged with gold, and spangled garters worth a copyhold." it was not till the year 1635 that an effort was made for {330}the protection of our home fabrics, "at the request and for the benefit of the makers of those goods in and near london, and other parts of the realm, now brought to great want and necessity, occasioned by the excessive importation of these foreign wares." foreign "purles, cutworks, or bone-laces, or any commodities laced or edged therewith," are strictly prohibited. orders are also given that all purles, cut-works, and bone laces english made are to be taken to a house near the sign of the "red hart" in fore street, without cripplegate, and there sealed by thomas smith or his deputy.[960] an act the same year prohibits the use of "gold or silver purles" except manufactured in foreign parts, and especially forbids the melting down any coin of the realm. the manufacture of bone lace in england had now much improved, and was held in high estimation in france. we hear of henrietta maria sending ribbons, lace, and other fashions from england, in 1636, as a present to her sister-in-law, anne of austria;[961] while, in a letter dated february 7th, 1636, the countess of leicester writes to her husband, then in france, who had requested her to procure him some fine bone lace of english make:--"the present for the queen of france i will be careful to provide, but it cannot be handsome for that proportion of money which you do mention; for these bone laces, if they be good, are dear, and i will send the best, for the honor of my nation and my own credit." referring to the same demand, the countess again writes to her lord, may 18th, 1637, leicester house:--"all my present for the queen of france is provided, which i have done with great care and some trouble; the expenses i cannot yet directly tell you, but i think it will be about £120, for the bone laces are extremely dear. i intend to {331}send it by monsieur ruvigny, for most of the things are of new fashion, and if i should keep them they would be less acceptable, for what is new now will quickly grow common, such things being sent over almost every week." we can have no better evidence of the improvement in the english lace manufacture than these two letters. an act of 1638 for reforming abuses in the manufacture of lace, by which competent persons are appointed, whether natives or strangers, "who shall be of the church of england," can scarcely have been advantageous to the community. lace, since the reformation, had disappeared from the garments of the church. in the search warrants made after jesuits and priests of the roman faith, it now occasionally peeps out. in an inventory of goods seized at the house of some jesuit priests at clerkenwell, in 1627, we find--"one faire alb of cambric, with needle worke purles about the skirts, necke, and bandes." smuggling, too, had appeared upon the scene. in 1621 information is laid, how nicholas peeter, master of the "greyhound, of apsom," had landed at dover sundry packets of cut-workes and bone laces without paying the customs.[962] but the "rebatoes, ribbands, cuffs, ruffs, falls, scarfes, feathers, fans, maskes, muffs, laces, cauls,"[963] of king charles's court were soon to disperse at the now outbreaking revolution. the herrn maior frau (lady mayoress), the noble english lady depicted by hollar,[964] must now lay aside her whisk, edged with broad lace of needle point, and no longer hie to st. martin's for lace:[965] she must content herself with a plain attire. "sempsters with ruffs and cuffs, and quoifs and caules and falls,"[966] must be dismissed. smocks of three pounds a-piece,[967] {332}wrought smocks,[968] are no longer worn by all--much less those "seam'd thro' with cutwork,"[969] or "lace to her smocks, broad seaming laces,"[970] which, groans one of the puritan writers, "is horrible to think of." the ruff and cuffs of flanders, gold lace cut-work and silver lace of curle,[971] needle point, and fine gartering with blown roses,[972] are now suppressed under puritan rule. the "fop" whom henry fitz-geoffrey describes as having "an attractive lace and whalebone bodies for the better grace," must now think twice before he wears it.[973] the officer, whom the poor soldier apostrophises as shining- "one blaze of plate about you, which puts out our eyes when we march 'gainst the sunne, and armes you compleatly with your own gold lace, which is laid on so thick, that your own trimmings doe render you engine proof, without more arms"--[974] must no longer boast of "this shirt five times victorious i have fought under, and cut through squadrons of your curious cut-work, as i will do through mine."[975] in the roundhead army he will scarce deign to comb his cropped locks. all is now dingy, of a sad colour, soberly in character with the tone of the times. plate lxxxii. [illustration: james harrington, author of "oceana," 1611-1677. between 1630-1640. by gerard honthorst. national portrait gallery. photo by walker and cockerell.] _to face page 332._ {333}the commonwealth. the rule of the puritans was a sad time for lace-makers, as regards the middle and lower classes: every village festival, all amusement was put down, bride laces and mayings--all were vanity. with respect to the upper classes, the puritan ladies, as well as the men of birth, had no fancy for exchanging the rich dress of the stuart court for that of the roundheads. sir thomas fairfax, father of the general, is described as wearing a buff coat, richly ornamented with silver lace, his trunk hose trimmed with costly flanders lace, his breastplate partly concealed by a falling collar of the same material. the foreign ambassadors of the parliament disdained the puritan fashions. lady fanshaw describes her husband as wearing at the court of madrid, on some state occasion, "his linen very fine, laced with very rich flanders lace."[976] indeed, it was not till the arrival of the spanish envoy, the first accredited to the protectorate of cromwell, that harrison begged colonel hutchinson and lord warwick to set an example to other nations at the audience, and not appear in gold and silver lace. colonel hutchinson, though he saw no harm in a rich dress, yet not to appear offensive, came next day in a plain black suit, as did the other gentlemen, when, to the astonishment of all, harrison appeared in a scarlet coat so laden with "clinquaint" and lace as to hide the material of which it was made, showing, remarks mrs. hutchinson, "his godly speeches were only made that he might appear braver above the rest in the eyes of the strangers." nor did the mother of cromwell lay aside these adornments. she wore a handkerchief, of which the broad point-lace alone could be seen, and her green velvet cardinal was edged with broad gold lace.[977] cromwell himself, when once in power, became more particular in his dress; and if he lived as a puritan, his body after death was more gorgeously attired than that of any deceased sovereign, with purple velvet, ermine, and the richest flanders lace.[978] his effigy, {334}carved by one symonds, was clad in a fine shirt of holland, richly laced; he wore bands and cuffs of the same materials, and his clothes were covered with gold lace.[979] the more we read the more we feel convinced that the dislike manifested by the puritan leaders to lace and other luxuries was but a political necessity, in order to follow the spirit of the age. as an illustration of this opinion we may cite that in the account of the disbursements of the committee of safety, 1660, a political _jeu d'esprit_ which preceded the restoration, we find entered for lady lambert-"item, for seven new whisks lac'd with flanders lace of the last edition, each whisk is valued at fifty pound, £350." followed up by-"six new flanders lac'd smocks, £300." the whisk, as the gorget was now termed, was as great an object of extravagance to the women as was the falling band to the men. it continued in fashion during the reign of charles ii., and is often mentioned as lost or stolen among the advertisements in the public journals of the day. in the _mercurius publicus_, may 8th, 1662, we find: "a cambric whisk with flanders lace, about a quarter of a yard broad, and a lace turning up about an inch broad, with a stock in the neck, and a strap hanging down before, was lost between the new palace and whitehall. reward, 30_s_." again, in _the newes_, june 20th, 1664: "lost, a tiffany whisk, with a great lace down, and a little one up, large flowers, and open work, with a roul for the head and peak." {335}chapter xxv. charles ii. to the house of hanover. ---charles ii. "the dangling knee-fringe, and the bib-cravat." --dryden. _prologue._ 1674. the taste for luxury only required the restoration of the stuarts to burst out in full vigour. the following year charles ii. issued a proclamation[980] enforcing the act of his father prohibiting the entry of foreign bone lace; but, far from acting as he preached, he purchases flanders lace at eighteen shillings the yard, for the trimming of his fine lawn "collobium sindonis,"[981] a sort of surplice worn during the ceremony of the anointment at the coronation. the hand-spinners of gold wire, thread lace, and spangles of the city of london, no longer puritanically inclined, now speak out boldly. "having heard a report the parliament intend to pass an act against the wearing of their manufacture, they hope it intends the reform, not the destruction of their craft, for by it many thousands would be ruined. let every person," say they, "be prohibited from wearing gold, silver, and thread lace--that will encourage the gentry to do so."[982] in 1662 is passed an act prohibiting the importation of foreign bone lace, cut-works, etc., setting forth, "whereas many poor children have attained great dexterity in the {336}making thereof, the persons so employed have served most parts of the kingdom with bone lace, and for the carrying out of the same trade have caused much thread to be brought into the country, whereby the customs have been greatly advanced, until of late large quantities of bone lace, cut-work, etc., were brought into the kingdom and sold contrary to the former statutes and the proclamation of november last; all such bone lace is to be forfeited, and a penalty of £100 paid by the offender."[983] this same act only occasioned the more smuggling of lace from flanders, for the point made in england had never attained the beauty of brussels, and indeed, wherever fine lace is mentioned at this period it is always of foreign fabric. that charles himself was of this opinion there can be no doubt, for in the very same year he grants to one john eaton a license to import such quantities of lace "made beyond the seas, as may be for the wear of the queen, our dear mother the queen, our dear brother james, duke of york," and the rest of the royal family. the permission is softened down by the words, "and to the end the same may be patterns for the manufacture of these commodities here, notwithstanding the late statute forbidding their importation."[984] charles had evidently received his lessons in the school of mazarin. as the galleries of the cardinal were filled with sculptures, paintings, and majolica--rich produce of italian art, as patterns for france, "per mostra di farne in francia"--so the king's "pilea nocturna," pillow-beres, cravats, were trimmed with the points of venice[985] and flanders, at the rate of £600 per annum, for the sake of improving the lace manufacture of england. the introduction of the flowing wig, with its long curls covering the shoulders, gave a final blow to the falling band; {337}the ends floating and tied in front could alone be visible. in time they diminished in size, and the remains are still seen in the laced bands of the lawyer, when in full dress, and the homely bordered cambric slips used by the clergy. the laced cravat now introduced continued in fashion until about the year 1735.[986] it was at its height when pepys writes in his diary: "lord's day, oct. 19, 1662. put on my new lace band, and so neat it is that i am resolved my great expense shall be lace bands, and it will set off anything else the more." the band was edged with the broadest lace. in the _newes_, january 7th, 1663, we find: "lost, a laced band, the lace a quarter of a yard deep, and the band marked in the stock with a b." mrs. pepys--more thrifty soul--"wears her green petticoat of florence satin, with white and black gimp lace of her own putting on (making), which is very pretty." the custom, already common in france, of ladies making their own lace, excites the ire of the writer of _britannia languens_, in his "discourse upon trade."[987] "the manufacture of linen,"[988] he says, "was once the huswifery of english ladies, gentlewomen, and other women;" now "the huswifery women of england employ themselves in making an ill sort of lace, which serves no national or natural necessity." the days of puritan simplicity were at an end. "instead of homespun coifs were seen good pinners edged with colberteen."[989] the laced cravat succeeded the falling collar. lace handkerchiefs[990] were the fashion, and "gloves laced and trimmed as fine as nell's."[991] {338}laced aprons, which even found their way to the homes of the anglican clergy, and appear advertised as "stolen from the vicarage house at amersham in oxfordshire: an apron of needlework lace, the middle being network, another apron laced with cut and slash lace."[992] the newspapers crowd with losses of lace, and rarer--finds.[993] they give us, however, no clue to the home manufacture. "a pasteboard box full of laced linen, and a little portmanteau with some white and grey bone lace,"[994] would seem to signify a lace much made two hundred years ago, of which we have ourselves seen specimens from dalecarlia, a sort of guipure, upon which the pattern is formed by the introduction of an unbleached thread, which comes out in full relief--a fancy more curious than pretty. the petticoats of the ladies of king charles's court have received due honour at the hands of pepys, whose prying eyes seem to have been everywhere. on may 21 of the same year he so complacently admired himself in his new lace band, he writes down: "my wife and i to my lord's lodging; where she and i staid walking in white hall gardens. and in the privy garden saw the finest smocks and linnen petticoats of my lady castlemaine's, laced with rich lace at the bottom, that ever i saw; and it did me good to look at them." speaking of the ladies' attire of this age, evelyn says:- "another quilted white and red, with a broad flanders lace below; four pairs of bas de soye shot through {339} with silver; diamond buckles too, for garters, and as rich for shoe. twice twelve day smocks of holland fine, with cambric sleeves rich point to joyn (for she despises colbertine); twelve more for night, all flanders lac'd, or else she'll think herself disgrac'd. the same her night gown must adorn, with two point waistcoats for the morn; of pocket mouchoirs, nose to drain, a dozen laced, a dozen plain; three night gowns of rich indian stuff; four cushion-cloths are scarce enough of point and flanders,"[995] etc. it is difficult now to ascertain what description of lace was that styled colbertine.[996] it is constantly alluded to by the writers of the period. randle holme (1688) styles it, "a kind of open lace with a square grounding."[997] evelyn himself, in his _fop's dictionary_ (1690), gives, "colbertine, a lace resembling net-work of the fabric of monsieur colbert, superintendent of the french king's manufactures;" and the _ladies' dictionary_, 1694, repeats his definition. this is more incomprehensible still, point d'alençon being the lace that can be specially styled of "the fabric" of colbert, and colbertine appears to have been a coarse production.[998] swift talks of knowing "the difference between rich flanders lace and colberteen."[999] congreve makes lady westport say--[1000] "go hang out an old frisonier gorget with a yard of yellow colberteen." and a traveller, in 1691,[1001] speaking of paris, writes:--"you shall see here the finer sort of people flaunting it in tawdry gauze or colbertine, a parcel of coarse staring ribbons; but ten of their holyday habits shall not amount to what a citizen's wife of london wears on her head every day." {340}james ii. the reign of james ii., short and troubled, brought but little change in the fashion of the day; more prominence, however, was given to the lace cravats, which were worn loosely round the throat, and with their ends hanging down over the upper part of the vest. charles ii., in the last year of his reign, spends £20 12s. for a new cravat to be worn "on the birthday of his dear brother,"[1002] and james expends £29 upon one of venice point to appear in on that of his queen. frequent entries of lace for the attendants of the chapel royal form items in the royal wardrobe accounts. ruffles, night-rails, and cravats of point d'espagne and de venise now figure in gazettes,[1003] but "flanders lace is still in high estimation," writes somebody, in 1668, "and even fans are made of it." then james ii. fled, and years after we find him dying at st. germains in--a laced nightcap. "this cap was called a 'toquet,' and put on when the king was in extremis, as a compliment to louis xiv." "it was the court etiquette for all the royals," writes madame, in her _memoirs_, "to die with a nightcap on." the toquet of king james may still be seen by the curious, adorning a wax model of the king's head, preserved as a relic in the museum of dunkirk.[1004] out of mingled gratitude, we suppose, for the hospitality she had received at the french court, and the protection of the angels, which, she writes, "i experienced once when i {341}set fire to my lace night cornet, which was burned to the very head without singeing a single hair"--good queen mary of modena, who shone so brightly in her days of adversity, died, _selon les règles_, coeffed in like fashion. with this notice we finish the st. germains reign of king james the second. william iii. "long wigs, steinkirk cravats." --congreve. _love for love._ in william iii.'s reign, the full shirt-sleeves, with their lace ruffles, were shown at the wrists, and the loose neckcloths had long pendent ends terminating in lace, if they were not entirely made of that material. the hat, too, was edged with gold lace, and for summer wear the gloves were edged with lace. women's sleeves, at first short, wide and lace-edged, showing the delicate sleeves of the under garment, soon became tight, and were prolonged to the wrists, where they terminated in deep and wide upturned cuffs, whence drooped a profusion of lace lappets and ruffles. the hair, combed up, and with an inclination backwards from the forehead, was surmounted by a strata of ribbon and lace, sometimes intermingled with feathers, and a kerchief or scarf of some very light material was permitted to hang down to the waist, or below it. in 1698 the english parliament passed another act "for rendering the laws more effectual for preventing the importation of foreign bone lace, loom lace, needlework point, and cutwork,"[1005] with a penalty of 20s. per yard, and forfeiture. this act caused such excitement among the convents and béguinages of flanders that the government, at that time under the dominion of spain, prohibited, by way of retaliation, the importation of english wool. in consequence of the general distress occasioned by this edict {342}among the woolstaplers of england, the act prohibiting the importation of foreign lace into england was repealed,[1006] so far as related to the spanish low countries. england was the loser by this custom-house war.[1007] dress, after the revolution, partook of the stately sobriety of the house of nassau, but lace was extensively worn. queen mary favoured that wonderful erection, already spoken of in our chapter on france,[1008] the tower or fontange, more generally called, certainly not from its convenience, the "commode," with its piled tiers of lace and ribbon, and the long hanging pinners, celebrated by prior in his "tale of the widow and her cat":- "he scratch'd the maid, he stole the cream, he tore her best lac'd pinner." their flanders lace heads, with the engageantes[1009] or ruffles, and the dress covered with lace frills and flounces--"every part of the garment in curl"--caused a lady, says the _spectator_, to resemble "a friesland hen."[1010] never yet were such sums expended on lace as in the days of william and mary. the lace bill of the queen, signed by lady derby, mistress of the robes, for the year 1694, amounts to the enormous sum of £1,918.[1011] among the most extravagant entries we find:- £. s. d. 21 yards of lace for 12 pillow beres, at 52s. 54 12 0 16 yards of lace for 2 toylights (toilets), at £12 192 0 0 24 yards for 6 handkerchiefs, at £4 10s. 108 0 0 30 yards for 6 night shifts, at 62s. 93 0 0 6 yards for 2 combing cloths, at £14 84 0 0 3½ yards for a combing cloth at £17 53 2 6 {343} 3-1/8 do. at £14 42 0 0 an apron of lace 17 0 0 none of the lace furnished by mr. bampton, thread lace provider and milliner to the court, for the queen's engageantes and ruffles, however, seems to have exceeded £5 10_s_. the yard. there is little new in this account. the lace is entered as scalloped,[1012] ruffled, loopt: lace purle[1013] still lingers on; catgut, too, appears for the first time,[1014] as well as raised point[1015] and needlework.[1016] the queen's pinners are mentioned as mazzarined;[1017] some fashion named in honour of the once fair hortense, who ended her exiled life in england. "what do you lack, ladies fair, mazzarine hoods, fontanges, girdles?"[1018] king william himself, early imbued with the dutch taste for lace, exceeded, we may say, his wife in the extravagance of his lace bills; for though the lace account for 1690 is noted only at £1,603, it increases annually until the year 1695-6, when the entries amount to the astonishing sum of £2,459 19s.[1019] among the items charged will be found:- £. s. d. to six point cravats 158 0 0 to eight do. for hunting 85 0 0 54 yds. for 6 barbing cloths 270 0 0 63 yds. for 6 combing cloths 283 10 0 117 yards of "scissæ teniæ" (cut-work) for trimming 12 pockethandfs 485 14 3 78 yds. for 24 cravats, at £8 10s. 663 0 0 {344}in this right royal account of expenditure we find mention of "cockscombe laciniæ," of which the king consumes 344 yards.[1020] what this may be we cannot say, as it is described as "green and white"; otherwise we might have supposed it some kind of venice point, the little pearl-edged raised patterns of which are designated by randle holme as "cockscombs." more coquet than a woman, we find an exchange effected with henry furness, "mercatori," of various laces, purchased for his handkerchiefs and razor cloths, which, laid by during the two years of "lugubris" for his beloved consort, the queen--during which period he had used razor cloths with broad hems and no lace--had become "obsolete"--quite out of fashion. to effect this exchange the king pays the sum of £178 12s. 6d., the lace purchased for the six new razor cloths amounting to £270. in the same page we find him, now out of mourning, expending £499 10s. for lace to trim his twenty-four new nightshirts, "indusiis nocturnis." with such royal patronage, no wonder the lace trade prospered, and that, within ten years of william's death, defoe should quote the point lace of blandford as selling at £30 the yard. plate lxxxiii. [illustration: james, the old pretender, 1688-1766, with his sister princess louisa, 1692-1712. in 1695. by nicolas de largillière. national portrait gallery. photo by walker and cockerell.] _to face page 344._ {345}we have already told how the fashion of the laced steinkirk found as much favour in england[1021] as in france. many people still possess, among their family relics, long oval-shaped brooches of topaz or bristol stones, and wonder what they were used for. these old-fashioned articles of jewellery were worn to fasten (when not passed through the button-hole) the lace steinkirk, so prevalent not only among the nobility, but worn by all classes. if the dialogue between sir nicholas dainty and major-general blunt, as given in shadwell's play, be correct, the volunteers of king william's day were not behind the military in elegance:- "sir nicholas.--i must make great haste, i shall ne'er get my points and laces done up time enough. "maj. gen. b.--what say'st, young fellow? points and laces for camps? "sir nich.--yes, points and laces; why, i carry two laundresses on purpose.... would you have a gentleman go undress'd in a camp? do you think i would see a camp if there was no dressing? why, i have two campaign suits, one trimmed with flanders lace, and the other with rich point. "maj. gen. b.--campaign suits with lace and point!"[1022] in westminster abbey, where, as somewhat disrespectfully, say the brothers popplewell,[1023] the images of william and mary "stand upright in a press, with their bodies made of wax, a globe and a wand in either hand and their robes upon their backs"-the lace tucker and double sleeves of queen mary are of the finest raised venice point, resembling fig. 29; king william likewise wears a rich lace cravat and ruffles.[1024] in a memorandum (carta d'informazione) given to the venetian ambassadors about to proceed to england, 1696, they are to be provided with very handsome collars of the finest venetian point, which, it is added, is also the best present to make.[1025] before concluding the subject of the lace-bearing heroes, we may as well state here that the english soldiers rivalled the cavaliers of france in the richness of their points till the extinction of hair-powder (the wearing of which in the army consumes, says some indignant writer, flour enough to feed 600,000 persons per annum), when the lace cravat was replaced by the stiff and cumbersome stock. speaking of {346}these military dandies, writes the _world_: "nor can i behold the lace and the waste of finery in their clothing but in the same light as the silver plates and ornaments on a coffin; indeed, i am apt to impute their going to battle so trimmed and adorned to the same reason a once fine lady painted her cheeks just before she expired, that she might not look frightful when she was dead." "to war the troops advance, adorned and trim like females for the dance. down sinks lothario, sent by one dire blow, a well-dress'd hero to the shades below." as the justice's daughter says to her mamma, in sheridan's _st. patrick's day_:- "dear; to think how the sweet fellows sleep on the ground, and fight in silk stockings and lace ruffles." lace had now become an article worthy the attention of the light-fingered gentry. the jewels worn by our great-grandmothers of the eighteenth century, though mounted in the most exquisite taste, were for the most part false--bristol or alençon "diamonds," paste, or "strass." lace, on the other hand, was a sure commodity and easily disposed of. at the robbery of lady anderson's house in red lion square during a fire, in 1700, the family of george heneage, esq., on a visit, are recorded to have lost--"a head with fine loopt lace, of very great value; a flanders lace hood; a pair of double ruffles and tuckers; two laced aprons, one point, the other flanders lace; and a large black lace scarf embroidered in gold." again, at an opera row some years later, the number of caps, ruffles, and heads enumerated as stolen by the pickpockets is quite fabulous. so expert had they become, that when first the ladies took to wearing powdered wigs, they dexterously cut open the leather backs of the hack coaches and carried off wig, head and all, before the rifled occupant had the slightest idea of their attack.[1026] to remedy the evil, the police request all ladies for the future to sit with their backs to the horses.[1027] {347}queen anne. "parley.--oh, sir, there's the prettiest fashion lately come over! so airy, so french, and all that! the pinners are double ruffled with twelve plaits of a side, and open all from the face; the hair is frizzled up all round head, and stands as stiff as a bodkin. then the favourites hang loose upon the temple with a languishing lock in the middle. then the caule is extremely wide, and over all is a cornet rais'd very high and all the lappets behind."--farquhar. _sir harry wildair._ queen anne, though less extravagant than her sister, was scarcely more patriotic. the point purchased for her coronation,[1028] though it cost but £64 13s. 9d., was of flanders growth. the bill is made out to the royal laceman of king william's day, now sir henry furnesse, knight and merchant. the queen, too, in her gratitude, conferred a pension of £100 upon one mrs. abrahat, the royal clear-starcher; "because," writes the duchess of marlborough, "she had washed the queen's heads for twenty pounds a year when she was princess." in 1706 anne again repeals the acts which prohibit flanders lace, with the clear understanding that nothing be construed into allowing the importation of lace made in "the dominions of the french king";[1029] an edict in itself sufficient to bring the points of france into the highest fashion.[1030] "france," writes an essayist, "is the wardrobe of the world;" nay, "the english have so great an esteem for the workmanship of the french refugees, that hardly a thing vends without a gallic name."[1031] to the refugees from alençon and elsewhere, expelled by the cruel edict of louis xiv., we owe the visible improvement of our laces in the eighteenth century. up to the present time we have had mention only of {348}"flanders lace" in general. in the reign of queen anne the points of "macklin" and brussels are first noted down in the royal wardrobe accounts. in 1710 her majesty pays for 26 yards of fine edged brussels lace £151.[1032] "mais, l'appétit vient en mangeant." the bill of margareta jolly, for the year 1712, for the furnishing of mechlin and brussels lace alone, amounts to the somewhat extravagant sum of £1,418 14_s_. taking the average price of the "lace chanter on ludgate hill," articles of daily use were costly enough. "one brussels head is valued at £40; a grounded brussels head, £30; one looped brussels, £30." these objects, high as the price may seem, lasted a woman's life. people in the last century did not care for variety, they contented themselves with a few good articles; hence among the objects given in 1719, as necessary to a lady of fashion, we merely find:- £ s. d. a french point or flanders head and ruffles 80 0 0 a ditto handkerchief 10 0 0 a black french laced hood 5 5 0 when the princess mary, daughter of george ii., married, she had but four fine laced brussels heads, two loopt and two grounded, two extremely fine point ones, with ruffles and lappets, six french caps and ruffles.[1033] two point lace cravats were considered as a full supply for any gentleman. even young extravagant lord bedford, who, at eighteen years of age, found he could not spend less than £6,000 a year at rome, when on the grand tour, only charges his mother, rachel lady russell, with that number.[1034] the high commode,[1035] with its lace rising tier upon tier, which made the wits about town declare the ladies "carried bow steeple upon their heads," of a sudden collapsed in queen anne's reign. it had shot up to a most extravagant height, "insomuch that the female part of our species were {349}much taller than the men. we appeared," says the _spectator_,[1036] "as grasshoppers before them."[1037] in 1711 anne forbade the entry of gold and silver lace,[1038] of which the consumption had become most preposterous,[1039] under pain of forfeiture and the fine of £100. ladies wore even cherry-coloured stays trimmed with the forbidden fabric.[1040] the point of spain had the preference over thread lace for state garments, heads and ruffles excepted; and as late as 1763, when the dowager lady effingham was robbed of her coronation robes, among the wonderful finery detailed there is no mention of thread lace. the commerce of flanders, notwithstanding the french taste, seemed now on a comfortable footing. "the flander-kins," writes the _british merchant_ in 1713, "are gone off from wool, which we have got, to lace and linen.... we have learned better, i hope, by our unsuccessful attempt to prohibit the flanders laces, which made the flemings retaliate upon us, and lessened our exportation of woollen manufactures by several £100,000 per annum."[1041] men looked upon lace as a necessary article to their wives' equipment. addison declares that when the china mania first came in, women exchanged their flanders point for punch-bowls and mandarins, thus picking their husbands' pockets, who is often purchasing a huge china vase when he fancies that he is buying a fine head for his wife.[1042] indeed, they could scarcely grumble, as a good wig cost from forty to fifty guineas--to say nothing of their own lace ties and {350}ruffles. only an old antiquary like sir thomas clayton could note down in his accounts:--"lace and fal-lalls,[1043] and a large looking-glass to see her old ugly face in--frivolous expenses to please my proud lady." {351}chapter xxvi. george i. and ii. ---george i. "wisdom with periwigs, with cassocks grace, courage with swords, gentility with lace."--_connoisseur._ the accession of the house of hanover brought but little change either in the fashions or the fabrics. in 1717 the king published an edict regarding the hawking of lace, but the world was too much taken up with the old pretender and the court of st. germains; the king, too, was often absent, preferring greatly his german dominions. we now hear a great deal of lace ruffles; they were worn long and falling. lord bolingbroke, who enraged queen anne by his untidy dress--"she supposed, forsooth, he would some day come to court in his nightcap"--is described as having his cravat of point lace, and his hands hidden by exaggerated ruffles of the same material. in good old jacobite times, these weeping ruffles served as well to conceal notes--"poulets"--passed from one wary politician to another, as they did the french sharpers to juggle and cheat at cards. lace continued the mania of the day. "since your fantastical geers came in with wires, ribbons, and laces, and your furbelows with three hundred yards in a gown and petticoat, there has not been a good housewife in the nation,"[1044] writes an indignant dramatist. the lover was made to bribe the abigail of his mistress with a piece of flanders lace[1045]--an offering not to be resisted. lace appeared {352}at baptisms,[1046] at marriages, as well as at burials, of which more hereafter--even at the old bailey, where one miss margaret caroline rudd, a beauty of the day, tried for forgery, quite moved her jurors to tears, and nigh gained her acquittal by the taste of her elegantly-laced stomacher, the lace robings of her dress, and single lace flounce, her long pendulous ruffles, hanging from the elbow, heard, fluttering in her agitation, by the court; but, in spite of these allurements, margaret caroline rudd was hanged. every woman, writes swift,[1047] is "in choosing lace a critic nice, knows to a groat the lowest price." together, they "of caps and ruffles hold the grave debate, as of their lives they would decide the fate." again, he says:-"and when you are among yourselves, how naturally, after the first compliments, do you entertain yourselves with the price and choice of lace, apply your hands to each other's lappets and ruffles, as if the whole business of your life and the public concern depended on the cut of your petticoats."[1048] even wise mrs. elizabeth montague, who wrote epistles about the ancients, and instead of going to a ball, sat at home and read sophocles, exclaims to her sister--"surely your heroic spirit will prefer a beau's hand in brussels lace to a stubborn scævola without an arm." plate lxxxiv. [illustration: john law, the paris banker, author of the mississippi scheme, 1671-1729.--in cravat of point de france, between 1708-20. painted by belle. national portrait gallery. photo by walker and cockerell.] _to face page 352._ {353}in the middle of the nineteenth century it was the fashion that no young lady should wear lace previous to her marriage. in the reign of george ii. etiquette was different, for we find the duchess of portland presenting mrs. montague, then a girl, with a lace head and ruffles. wrathfully do the satirists of the day rail against the expense of "the powder, patches, and the pins, the ribbon, jewels, and the rings, the lace, the paint, and warlike things that make up all their magazines,"[1049] and the consequent distress of the lace merchants, to whom ladies are indebted for thousands. after a drawing-room, in which the fair population appeared in "borrowed," _i.e._, unpaid lace,[1050] one of the chief lacemen became well-nigh bankrupt. duns besieged the houses of the great:- "by mercers, lacemen, mantua-makers press'd; but most for ready cash, for play distress'd, where can she turn?"[1051] the _connoisseur_, describing the reckless extravagance of one of these ladies, writes:--"the lady played till all her ready money was gone, staked her cap and lost it, afterwards her handkerchief. he then staked both cap and handkerchief against her tucker, which, to his pique, she gained." when enumerating the various causes of suicide, he proposes "that an annual bill or report should be made out, giving the different causes which have led to the act." among others, in his proposed "bill of suicide," he gives french claret, french lace, french cooks, etc. the men, though scarcely coming up to the standard of sir courtly nice,[1052] who has all his bands and linen made in holland and washed at haarlem, were just as extravagant as the ladies. {354}george ii. "'how well this ribband's glass becomes your face,' she cries in rapture; 'then so sweet a lace! how charmingly you look!'" --lady m. w. montagu. _town eclogues._ for court and state occasions brussels lace still held its sway. in the reign of george ii. we read how, at the drawing-room of 1735, fine escalloped brussels laced heads, triple ditto laced ruffles,[1053] lappets hooked up with diamond solitaires, found favour. at the next the ladies wore heads dressed english, _i.e._, bow of fine brussels lace of exceeding rich patterns, with the same amount of laced ruffles and lappets. gold flounces were also worn. speaking of the passion for brussels lace, postlethwait indignantly observes:--"'tis but a few years since england expended upon foreign lace and linen not less than two millions yearly. as lace in particular is the manufacture of nuns, our british ladies may as well endow monasteries as wear flanders lace, for these popish nuns are maintained by protestant contributions."[1054] patriotism, it would appear, did come into vogue in the year 1736, when at the marriage of frederick, prince of wales, the bride is described as wearing a night-dress of superb lace, the bridegroom a cap of similar material. all the laces worn by the court on this occasion are announced to have been of english manufacture, with the exception of that of the duke of marlborough, who appeared in point d'espagne. the bride, however, does not profit by this high example, for shortly after we read, in the _memoirs of madame palatine_, of the secretary of sir luke schaub being drugged at paris by an impostor, and robbed of some money sent to defray the purchase of some french lace ruffles for the princess of wales. {355}it was of native-made laces, we may infer, mrs. delany writes in the same year:--"thanks for your apron. brussels nor mechlin ever produced anything prettier." it appears somewhat strange that patriotism, as regards native manufactures, should have received an impulse during the reign of that most uninteresting though gallant little monarch, the second george of brunswick.[1055] but patriotism has its evils, for, writes an essayist, "some ladies now squander away all their money in fine laces, because it sets a great many poor people to work."[1056] ten years previous to the death of king george ii. was founded, with a view to correct the prevalent taste for foreign manufactures,[1057] the society of anti-gallicans, who held their quarterly meetings, and distributed prizes for bone, point lace, and other articles of english manufacture.[1058] this society, which continued in great activity for many years, proved most beneficial to the lace-making trade. it excited also a spirit of emulation among gentlewomen of the middle class, who were glad in the course of the year to add to a small income by making the finer kinds of needle-point, which, on account of their elaborate workmanship, could be produced only in foreign convents or by {356}persons whose maintenance did not entirely depend upon the work of their hands. towards the year 1756 certain changes in the fashion of the day now again mark the period, for- "dress still varying, most to form confined, shifts like the sands, the sport of every wind." "long lappets, the horse-shoe cap, the brussels head, and the prudish mob pinned under the chin, have all had their day," says the _connoisseur_ in 1754. now we have first mention of lace cardinals; trollopies or slammerkins[1059] come in at the same period, with treble ruffles to the cuffs; writers talk, too, of a "gentle dame in blonde lace," blonde being as yet a newly-introduced manufacture. though history may only be all false,[1060] as sir robert walpole said to that "cynic in lace ruffles," his son horace, yet the newspapers are to be depended upon for the fashion of the day, or, as lady mary would say, "for what new whim adorns the ruffle."[1061] the lace apron,[1062] worn since the days of queen elizabeth, continued to hold its own till the end of the eighteenth century, though some considered it an appendage scarcely consistent with the dignity of polite society. the anecdote of beau nash, who held these articles in the strongest aversion, has been often related. "he absolutely excluded," says his biographer, "all who ventured to appear at the assembly room at bath so attired. i have known him at a ball night strip the duchess of queensberry, and throw her apron on one of the hinder benches among the ladies' women, observing that none but abigails appeared in white aprons; though that apron was of the costliest point, and cost two hundred guineas."[1063] {357}george ii. did his best to promote the fabrics of his country, but at this period smuggling increased with fearful rapidity. it was a war to the knife between the revenue officer and society at large: all classes combined, town ladies of high degree with waiting-maids and the common sailor, to avoid the obnoxious duties and cheat the government. to this subject we devote the following chapter. {358}chapter xxvii. smuggling. "may that mistaken taste be starv'd to reason, that does not think french fashions--english treason. souse their cook's talent, and cut short their tailors; wear your own lace; eat beef like vernon's sailors." --aaron hill. 1754. we have had occasional mention of this kindly-looked-upon offence, in the carrying out of which many a reckless seaman paid the penalty of his life in the latter part of the eighteenth century. from 1700 downwards, though the edicts prohibiting the entry of flanders lace were repealed, the points of france, spain and venice, with other fabrics of note, were still excluded from our ports. "england," writes anderson,[1064] "brings home in a smuggling way from france much fine lace and other prohibited fopperies." prohibition went for nothing; foreign lace ladies would have, and if they could not smuggle it themselves, the smuggler brought it to them. it was not till 1751 that the customs appear to have used undue severity as regards the entries, prying into people's houses, and exercising a surveillance of so strict a nature as to render the chance to evade their watchfulness a very madness on the part of all degrees. in short, there was not a female within ten miles of a seaport, writes an essayist, that was in possession of a mechlin lace cap or pinner but they examined her title to it. lord chesterfield, whose opinion that "dress is a very silly thing, but it is much more silly not to be dressed according to your station," was more than acted up to, referring to the strictness of the customs, writes to his son {359}in 1751, when coming over on a short visit: "bring only two or three of your laced shirts, and the rest plain ones." the revenue officers made frequent visits to the tailors' shops, and confiscated whatever articles they found of foreign manufacture. on january 19th, 1752, a considerable quantity of foreign lace, gold and silver, seized at a tailor's, who paid the penalty of £100, was publicly burnt.[1065] george iii., who really from his coming to the throne endeavoured to protect english manufactures, ordered, in 1764, all the stuffs and laces worn at the marriage of his sister, the princess augusta, to the duke of brunswick, to be of english manufacture. to this decree the nobility paid little attention. three days previous to the marriage a descent was made by the customs on the court milliner of the day, and nearly the whole of the clothes, silver, gold stuffs and lace, carried off, to the dismay of the modiste, as well as of the ladies deprived of their finery. the disgusted french milliner retired with a fortune of £11,000 to versailles, where she purchased a villa, which, in base ingratitude to the english court, she called "la folie des dames anglaises." in may of the same year three wedding garments, together with a large seizure of french lace, weighing nearly 100 lbs., were burnt at mr. coxe's refinery, conformably to the act of parliament. the following birthday, warned by the foregoing mischances, the nobility appeared in clothes and laces entirely of british manufacture. every paper tells how lace and ruffles of great value, sold on the previous day, had been seized in a hackney coach, between st. paul's and covent garden; how a lady of rank was stopped in her chair and relieved of french lace to a large amount; or how a poor woman, carelessly picking a quartern loaf as she walked along, was arrested, and the loaf found to contain £200 worth of lace. even ladies when walking had their black lace mittens cut off their hands, the officers supposing them to be of french manufacture; and lastly, a turk's turban, of most mameluke dimensions, was found, containing a stuffing of £90 worth of lace. books, {360}bottles, babies, false-bottomed boxes, umbrellas, daily poured out their treasures to the lynx-eyed officers. in may, 1765, the lace-makers joined the procession of the silk-workers of spitalfields to westminster, bearing flags and banners, to which were attached long floating pieces of french lace, demanding of the lords redress, and the total exclusion of foreign goods. on receiving an answer that it was too late, they must wait till next session, the assemblage declared that they would not be put off by promises; they broke the duke of bedford's palings on their way home, and threatened to burn the premises of mr. carr, an obnoxious draper. at the next levée they once more assembled before st. james's, but, finding the dresses of the nobility to be all of right english stuff, retired satisfied, without further clamour. the papers of the year 1764 teem with accounts of seizures made by the customs. among the confiscated effects of a person of the highest quality are enumerated: "16 black à-la-mode cloaks, trimmed with lace; 44 french lace caps; 11 black laced handkerchiefs; 6 lace hats; 6 ditto aprons; 10 pairs of ruffles; 6 pairs of ladies' blonde ditto, and 25 gentlemen's." eleven yards of edging and 6 pairs of ruffles are extracted from the pocket of the footman. everybody smuggled. a gentleman attached to the spanish embassy is unloaded of 36 dozen shirts, with fine dresden ruffles and jabots, and endless lace, in pieces, for ladies' wear. these articles had escaped the vigilance of the officers at dover, but were seized on his arrival by the coach at southwark. though prime ministers in those days accepted bribes, the custom-house officers seem to have done their duty.[1066] when the body of his grace the duke of devonshire was brought over from france, where he died, the officers, to the anger of his servants, not content with opening and searching the coffin, poked the corpse with a stick to ascertain if it was a real body; but the trick of smuggling in coffins was too {361}old to be attempted. forty years before, when a deceased clergyman was conveyed from the low countries for interment, the body of the corpse was found to have disappeared, and to have been replaced by flanders lace of immense value--the head and hands and feet alone remaining. this discovery did not, however, prevent the high sheriff of westminster from running--and that successfully--£6,000 worth of french lace in the coffin of bishop atterbury,[1067] when his body was brought over from calais for interment. towards the close of the french war, in the nineteenth century, smuggling of lace again became more rife than ever. it was in vain the authorities stopped the travelling carriages on their road from seaport towns to london, rifled the baggage of the unfortunate passengers by the mail at rochester and canterbury; they were generally outwitted, though spies in the pay of the customs were ever on the watch. mrs. palliser had in her possession a brussels veil of great beauty, which narrowly escaped seizure. it belonged to a lady who was in the habit of accompanying her husband, for many years member for one of the cinque ports. the day after the election she was about to leave for london, somewhat nervous as to the fate of a brussels veil she had purchased of a smuggler for a hundred guineas; when, at a dinner-party, it was announced that lady ellenborough, wife of the lord chief justice, had been stopped near dover, and a large quantity of valuable lace seized concealed in the lining of her carriage. dismayed at the news, the lady imparted her trouble to a gentleman at her side, who immediately offered to take charge of the lace and convey it to london, remarking that "no one would suspect him, as he was a bachelor." turning round suddenly, she observed one of the hired waiters to smile, and at once settling him to be a spy, she loudly accepted the offer; but that night, before going to bed, secretly caused the veil to be sewn up in the waistcoat of the newly-elected m.p., in such a manner that it filled the hollow of his back. next morning they started, and reached london in safety, while her friend, who remained two days later, was stopped, and underwent {362}a rigorous but unsuccessful examination from the customhouse officers. the free trade principles of the nineteenth century put a more effectual stop to smuggling than all the activity of revenue officers, spies, and informers, or even laws framed for the punishment of the offenders. {363}chapter xxviii. george iii. "in clothes, cheap handsomeness doth bear the bell, wisdome's a trimmer thing than shop e'er gave. say not then, this with that lace will do well; but, this with my discretion will be brave. much curiousnesse is a perpetual wooing, nothing with labour, fully long a doing." --herbert, "the church porch." in 1760 commences the reign of george iii. the king was patriotic, and did his best to encourage the fabrics of his country. from the year 1761 various acts were passed for the benefit of the lace-makers: the last, that of 1806, "increases the duties on foreign laces."[1068] queen charlotte, on her first landing in england, wore, in compliment to the subjects of her royal consort, a fly cap richly trimmed, with lappets of british lace, and a dress of similar manufacture. the englishman, however, regardless of the anti-gallicans, preferred his "macklin" and his brussels to all the finest productions of devonshire or newport-pagnel. ruffles,[1069] according to the fashion of tavistock street and st. james's, in may, 1773, still continued long, dipped in the sauce alike by clown and cavalier.[1070] "the beau, a critic styled in point of dress, harangues on fashion, point, and lace." {364}a man was known by his "points"; he collected lace, as, in these more athletic days, a gentleman prides himself on his pointers or his horses. we read in the journals of the time how, on the day after lord george gordon's riots, a report ran through london that the earl of effingham, having joined the rioters, had been mortally wounded, and his body thrown into the thames. he had been recognised, folks declared, by his point lace ruffles.[1071] mr. damer, less known than his wife, the talented sculptor and friend of horace walpole, appeared three times a day in a new suit, and at his death[1072] left a wardrobe which sold for £15,000.[1073] well might it have been said of him- "we sacrifice to dress, till household joys and comforts cease. dress drains our cellars dry, and keeps our larder bare; puts out our fires, and introduces hunger, frost, and woe, where peace and hospitality might reign."[1074] there was "no difference between the nobleman and city 'prentice, except that the latter was sometimes the greater beau," writes the _female spectator_.[1075] "his hands must be covered with fine brussels lace."[1076] painters of the eighteenth century loved to adorn their portraits with the finest fabrics of venice and flanders; modern artists consider such decorations as far too much trouble. "over the chimney-piece," writes one of the essayists, describing a citizen's country box, "was my friend's portrait, which was drawn bolt upright in a full-bottomed periwig, a laced cravat, with the fringed ends appearing through the button-hole (steinkirk fashion). indeed, one would almost wonder how and where people managed to afford so rich a selection of laces in their days, did it not call to mind the demand of the vicaress of wakefield 'to have as many pearls and diamonds put into her picture as could be given for the money.'" {365}ruffles were equally worn by the ladies:--[1077] "frizzle your elbows with ruffles sixteen; furl off your lawn apron with flounces in rows."[1078] indeed, if we may judge by the intellectual conversation overheard and accurately noted down by miss burney,[1079] at miss monckton's (lady cork) party, court ruffles were inconvenient to wear:-"'you can't think how i am encumbered with these nasty ruffles,' said mrs. hampden. "'and i dined in them,' says the other. 'only think!' "'oh!' answered mrs. hampden, 'it really puts me out of spirits.'" both ladies were dressed for a party at cumberland house, and ill at ease in the costume prescribed by etiquette. about 1770 the sleeves of the ladies' dresses were tight on the upper arm, where they suddenly became very large, and, drooping at the elbow, they terminated in rich fringes of lace ruffles. a few years later the sleeves expanded from the shoulders till they became a succession of constantly enlarging ruffles and lappets, and again, before 1780, they became tight throughout, with small cuffs and no lace at the elbows, when they were worn with long gloves. our history of english lace is now drawing to a close; but, before quitting the subject, we must, however, make some allusion to the custom prevalent here, as in all countries, of using lace as a decoration to grave-clothes. in the chapter devoted to greece, we have mentioned how much lace is still taken from the tombs of the ionian islands, washed, mended, or, more often, as a proof of its authenticity, sold in a most disgusting state to the purchaser. the custom was prevalent at malta, as the lines of beaumont and fletcher testify:- "in her best habit, as the custom is, you know, in malta, with all ceremonies, she's buried in the family monument, i' the temple of st. john."[1080] {366}at palermo you may see the mummies thus adorned in the celebrated catacombs of the capuchin convent.[1081] in denmark,[1082] sweden, and the north of europe[1083] the custom was general. the mass of lace in the tomb of the once fair aurora königsmarck, at quedlenburg, would in itself be a fortune. she sleeps clad in the richest point d'angleterre, malines, and guipure. setting aside the jewels which still glitter around her parchment form, no daughter of pharaoh was ever so richly swathed.[1084] in spain it is related as the privilege of a grandee: all people of a lower rank are interred in the habit of some religious order.[1085] taking the grave-clothes of st. cuthbert as an example, we believe the same custom to have prevailed in england from the earliest times.[1086] {367}mrs. oldfield, the celebrated actress, who died in 1730, caused herself to be thus interred. the lines of pope have long since immortalised the story:- "odious! in woollen! 'twould a saint provoke! (were the last words that poor narcissa spoke.) no, let a charming chintz and brussels lace wrap my cold limbs, and shade my lifeless face; one would not, sure, be frightful when one's dead- and--betty--give this cheek a little red." "she was laid in her coffin," says her maid, "in a very fine brussels lace head, a holland shift with a tucker of double ruffles, and a pair of new kid gloves." previous to her interment in westminster abbey she lay in state in the jerusalem chamber.[1087] for mrs. oldfield in her lifetime was a great judge of lace, and treasured a statuette of the earl of stratford, finely carved in ivory by grinling gibbons, more, it is supposed, for the beauty of its lace vandyke collar[1088] than any other sentiment. in 1763 another instance is recorded in the _london magazine_ of a young lady buried in her wedding clothes, point lace tucker, handkerchief, ruffles and apron; also a fine point lappet head. from this period we happily hear no more of such extravagances. passing from interments and shrouds to more lively matters, we must quote the opinion of that colossus of the eighteenth century, dr. johnson, who was too apt to talk on matters of taste and art, of which he was no competent judge. "a brussels trimming," he declaims to mrs. piozzi, "is like bread sauce; it takes away the glow of colour from the gown, and gives you nothing instead of it: but sauce was invented to heighten the flavour of our food, and trimming is an ornament to the manteau or it is nothing."[1089] a man whose culinary ideas did not soar higher than bread sauce could scarcely pronounce on the relative effect and beauty of point lace. if england had leant towards the products of france, in {368}1788, an anglomania ran riot at paris. ladies wore a cap of mixed lace, english and french, which they styled the "union of france and england." on the appearance of the french revolution, the classic style of dress--its india muslins and transparent gauzes--caused the ancient points to fall into neglect. from this time dates the decline of the lace fabric throughout europe. point still appeared at court and on state occasions, such as on the marriage of the princess caroline of wales, 1795, but as an article of daily use it gradually disappeared from the wardrobes of all classes. a scrupulous feeling also arose in ladies' minds as to the propriety of wearing articles of so costly a nature, forgetting how many thousands of women gained a livelihood by its manufacture. mrs. hannah more, among the first, in her _coelebs in search of a wife_, alludes to the frivolity of the taste, when the little child exclaiming "at the beautiful lace with which the frock of another was trimmed, and which she was sure her mamma had given her for being good," remarks, "a profitable and, doubtless, lasting and inseparable association was thus formed in the child's mind between lace and goodness." whether in consequence of the french revolution, or from the caprice of fashion, "real" lace--worse off than the passements and points of 1634, when in revolt--now underwent the most degrading vicissitudes. indeed, so thoroughly was the taste for lace at this epoch gone by, that in many families collections of great value were, at the death of their respective owners, handed over as rubbish to the waiting maid.[1090] many ladies recollect in their youth to have tricked out their dolls in the finest alençon point, which would now sell at a price far beyond their purses. among the few who, in england, unseduced by frippery blonde, never neglected to preserve their collections entire, was the duchess of {369}gloucester, whose lace was esteemed among the most magnificent in europe. when the taste of the age again turned towards the rich fabrics of the preceding centuries, much lace, both black and white, was found in the country farm-houses, preserved as remembrances of deceased patrons by old family dependants. sometimes the hoard had been forgotten, and was again routed out from old wardrobes and chests, where it had lain unheeded for years. much was recovered from theatrical wardrobes and the masquerade shops, and the church, no longer in its temporal glory, both in italy, spain and germany, gladly parted with what, to them, was of small value compared with the high price given for it by amateurs. in italy perhaps the finest fabrics of milan, genoa, and venice had fared best, from the custom which prevailed of sewing up family lace in rolls of linen to ensure its preservation. after years of neglect lace became a "mania." in england the literary ladies were the first to take it up. sydney lady morgan and lady stepney quarrelled weekly on the respective value and richness of their points. the former at one time commenced a history of the lace fabric, though what was the ultimate fate of the ms. the author is unable to state. the countess of blessington, at her death, left several chests filled with the finest antique lace of all descriptions. the "dames du grand monde," both in england and france, now began to wear lace. but, strange as it may seem, never at any period did they appear to so little advantage as during the counter-revolution of the lace period. lace was the fashion, and wear it somehow they would, though that somehow often gave them an appearance, as the french say, _du dernier ridicule_, simply from an ignorance displayed in the manner of arranging it. that lace was old seemed sufficient to satisfy all parties. they covered their dresses with odds and ends of all fabrics, without attention either to date or texture. one english lady appeared at a ball given by the french embassy at rome, boasting that she wore on the tablier of her dress every description of lace, from point coupé of the fifteenth to alençon of the eighteenth century. the count of syracuse was accustomed to say: "the english ladies buy a scrap {370}of lace as a souvenir of every town they pass through, till they reach naples, then sew it on their dresses, and make one grande toilette of the whole to honour our first ball at the academia nobile." the taste for lace has again become universal, and the quality now produced renders it within the reach of all classes of society; and though by some the taste may be condemned, it gives employment to thousands and ten thousands of women, who find it more profitable and better adapted to their strength than the field labour which forms the occupation of the women in agricultural districts. to these last, in a general point of view, the lace-maker of our southern counties, who works at home in her own cottage, is superior, both in education, refinement, and morality:- "here the needle plies its busy task; the pattern grows, the well-depicted flower, wrought patiently into the snowy lawn, unfolds its bosom; buds, and leaves, and sprigs, and curling tendrils, gracefully dispos'd, follow the nimble fingers of the fair- a wreath that cannot fade, of flowers that blow with most success when all besides decay."[1091] {371}chapter xxix. the lace manufacturers of england. "yon cottager, who weaves at her own door, pillow and bobbins all her little store; content though mean, and cheerful if not gay, shuffling her threads about the livelong day: just earns a scanty pittance, and at night lies down secure, her heart and pocket light."--cowper. the bone lace manufactures of england in the sixteenth and seventeenth centuries appear to have extended over a much wider area than they occupy in the present day. from cambridge to the adjacent counties of northampton and hertfordshire, by buckinghamshire, bedfordshire, and oxfordshire, the trade spread over the southern counties[1092] of wiltshire, somersetshire,[1093] hampshire, and dorset, to the more secluded valleys of devon--the county which still sustains the ancient reputation of "english point"--terminating at launceston, on the cornish coast. various offsets from these fabrics were established in wales.[1094] ripon,[1095] an isolated manufactory, represented the {372}lace industry of york; while the dependent islands of man,[1096] wight[1097] and jersey,[1098] may be supposed to have derived their learning from the smugglers who frequented their coast, rather than from the teaching of the protestant refugees[1099] who sought an asylum on the shores of britain. many of these fabrics now belong to the past, consigned to oblivion even in the very counties where they once flourished. in describing, therefore, the lace manufactures of the united kingdom, we shall confine ourselves to those which still remain, alluding only slightly to such as were {373}once of note, and of which the existence is confirmed by the testimony of contemporary writers. the "women of the mystery of thread-working" would appear to have made lace in london,[1100] and of their complaints and grievances our public records bear goodly evidence. of the products of their needle we know little or nothing. various flemings and burgundians established themselves in the city; and though the emigrants, for the most part, betook themselves to the adjoining counties, the craft, till the end of the eighteenth century, may be said to have held fair commerce in the capital. [illustration: fig. 132. ripon.] the london fabric can scarcely be looked upon as a staple trade in itself, mixed up as it was with lace-cleaning and lace-washing--an occupation first established by the ejected nuns.[1101] much point, too, was made by poor gentlewomen, as the records of the anti-gallican society testify. "a strange infatuation," says a writer of the eighteenth century, "prevailed in the capital for many years among the class called demi-fashionables of sending their daughters to convents in france for education, if that could be so termed which amounted to a learning to work in lace. the revolution, however, put {374}an end to this practice." it is owing to this french education that the fine needle points were so extensively made in england; though this occupation, however, did not seem to belong to any one county in particular; for the reader who runs his eye over the proceedings of the anti-gallican society will find prizes to have been awarded to gentlewomen from all parts--from the town of leominster in herefordshire to broughton in leicestershire, or stourton in gloucester.[1102] needle point, in contradistinction to bone lace, was an occupation confined to no special locality. in 1764 the attention of the nobility seems to have been first directed towards the employment of the indigent poor, and, indeed, the better classes in the metropolis, in the making of bone lace and point;[1103] and in 1775, sanctioned by the patronage of queen charlotte, the princesses, the princess amelia, and various members of the aristocracy, an institution was formed in marylebone lane, and also in james street, westminster, "for employing the female infants of the poor in the blond and black silk lace-making and thread laces." more than 300 girls attended the school. "they gave," says the _annual register_, "such a proof of their capacity that many who had not been there more than six months carried home to their parents from 5s. to 7s. a month, with expectation of getting more as they improve." from this time we hear no more of the making of lace, either point or bone, in the metropolis. plate lxxxv. [illustration: english, buckinghamshire. bobbin lace.--first half of nineteenth century. widths: 3, 3, 3, 4 in. the property of mrs. ellis, the vicarage, much wenlock.] _to face page 374._ {375}chapter xxx. bedfordshire, buckinghamshire, and northamptonshire.[1104] ---bedfordshire. "he wears a stuff whose thread is coarse and round but trimmed with curious lace."--herbert. it would be a difficult matter now to determine when and by whom lace-making was first introduced into the counties of bedfordshire and buckingham. authors, for the most part, have been glad to assign its introduction to the flemings,[1105] a nation to whose successive emigrations england owes much of her manufacturing greatness. originally the laces were of old, wavy, graceful flemish designs. on the other hand, certain traditions handed down in the county villages of a good queen who protected their craft, the annual festival of the workers--in the palmy days of the trade a matter of great moment--combined with the residence of that unhappy queen, for the space of two years[1106] at her jointure manor of ampthill,[1107] lead us rather to infer {376}that the art of lace-making, as it then existed, was first imparted to the peasantry of bedfordshire, as a means of subsistence, through the charity of queen katherine of aragon. in the chapter devoted to needlework we have already alluded to the proficiency of this queen in all arts connected with the needle, to the "trials of needlework" established by her mother, queen isabella, at which she, as a girl, had assisted. it is related, also, that during her[1108] sojourn at ampthill, "she passed her time, when not at her devotions, with her gentlewomen, working with her own hands something wrought in needlework, costly and artificially, which she intended for the honour of god to bestow on some of the churches."[1109] "the country people," continues her contemporary, "began to love her exceedingly. they visited her out of pure respect, and she received the tokens of regard they daily showed her most sweetly and graciously." the love borne by the peasantry to the queen, the sympathy shown to her in her days of trouble and disgrace, most likely met with its reward; and we believe katherine to have taught them an art which, aided no doubt by the later introduction of the pillow and the improvements of the refugees, has now, for the space of nigh three centuries, been the staple employment of the female population of bedfordshire and the adjoining counties. until the latter half of the nineteenth century--though, like all such festivals in the present age, gradually dying out--the lace-makers still held "cattern's day,"[1110] november 25th, as the holiday of their craft, kept, they say, "in memory of good queen katherine, who, when the trade was dull, burnt all her lace and ordered new to be made. the ladies of the court {377}followed her example, and the fabric once more revived." "ainsi s'écrit l'histoire"; and this garbled version may rest on as much foundation as most of the folk-lore current throughout the provinces. speaking of bedfordshire, defoe writes: "thro' the whole south part of this country, as far as the borders of buckinghamshire and hertfordshire, the people are taken up with the manufacture of bone lace, in which they are wonderfully exercised and improved within these few years past"[1111]--probably since the arrival of the french settlers after the revocation of the edict of nantes. at the same period the author of the _magna britannia_[1112] states that at woburn "lace of a high price is made in considerable quantities." savary and peuchet both declare the town of bedford alone to have contained 500 lace-workers. in 1863, as mrs. palliser wrote: "the lace schools of bedfordshire are far more considerable than those in devonshire. four or five may frequently be found in the same village, numbering from twenty to thirty children each, and they are considered sufficiently important to be visited by government inspectors. their work is mostly purchased by large dealers, who make their arrangements with the instructress: the children are not bound for a term, as in the southern counties. boys formerly attended the lace schools, but now they go at an early age to the fields." these lace-schools are now things of the past. in some cases, however, in the lace counties, the county council technical education committee have supplemented private efforts with grants for classes to teach the lace industry. the wages of a lace-worker average a shilling a day; under press of business, caused by the demand for some fashionable article, they sometimes rise to one shilling and sixpence. {378}buckinghamshire. though the first establishment of the fabric may have been in the sister county, the workers of buckingham appear early to have gained the lion's share of public estimation for the produce of their pillows, and the manufacture flourished, till, suffering from the monopolies of james i., we read how--in the year 1623, april 8th, a petition was addressed from great marlow to the high sheriff of bucks, representing the distress of the people from "the bone-lace making being much decayed."[1113] three years later, 1626, sir henry borlase founds and endows the free school of great marlow for twenty-four boys to read, write, and cast accounts; and for twenty-four girls "to knit, spin, and make bone lace"; and here at great marlow the trade flourished, all english, and even french authors[1114] citing its "manufactures de dentelles au fuseau" as the staple produce of the town, and its surrounding villages, which sold lace, however, they pronounce as "inférieure à celle de flandres." during the seventeenth century the trade continued to advance, and fuller testifies to its once more prosperous condition in bucks, towards the year 1640. "no handicrafts of note," he writes, "(save what are common to other countries) are used therein, except any will instance in bone lace, much thereof being made about owldney, in this county, though more, i believe, in devonshire, where we shall meet more properly therewith."[1115] olney, as it is now written, a small market town, for many years the residence of cowper, known by its twenty-four-arched bridge, now no more, "of wearisome but needful length" spanning the ouse--olney, together with the fellow towns of newport-pagnel and aylesbury, are much quoted by the authorities of the last century, though, as is too often the case in books of travels and statistics, one writer copies from another the information derived from a preceding author. defoe, however, who visited each county in detail, quotes "ouldney as possessing a considerable manufacture of bone lace"; {379}while a letter from the poet cowper to the rev. john newton, in 1780, enclosing a petition to lord dartmouth in favour of the lace-makers, declares that "hundreds in this little town are upon the point of starving, and that the most unremitting industry is barely sufficient to keep them from it." a distress caused, we may infer, by some caprice of fashion. "the lace manufacture is still carried on," says lysons,[1116] "to a great extent in and about olney, where veils and other lace of the finer sorts are made, and great fortunes are said to be acquired by the factors. lace-making is in no part of the country so general as at hanslape and in its immediate vicinity; but it prevails from fifteen to twenty miles round in every direction. at hanslape not fewer than 800 out of a population of 1275 were employed in it in the year 1801. children are put to the lace-schools at, or soon after, five years of age. at eleven or twelve years of age they are all able to maintain themselves without any assistance; both girls and boys are taught to make it, and some men when grown up follow no other employment; others, when out of work, find it a good resource, and can earn as much as the generality of day labourers. the lace made in hanslape is from sixpence to two guineas a yard in value. it is calculated that from £8000 to £9000 net profit is annually brought into the parish by the lace manufacture." the bone lace of stoney stratford[1117] and aylesbury are both quoted by defoe, and the produce of the latter city is mentioned with praise. he writes: "many of the poor here are employed in making lace for edgings, not much inferior to those from flanders; but it is some pleasure to us to observe that the english are not the only nation in the world which admires foreign manufactures above its own, since the french, who gave fashions to most nations, buy and sell the finest laces at paris under the name of 'dentelles d'angleterre' or 'english laces.'"[1118] in the southern part of buckinghamshire the hundreds of burnham and desborough were especially noted for the {380}art, the lace-workers producing handsome lace of the finest quality, and about the year 1680 lace-making was one of the principal employments in high wycombe.[1119] but newport-pagnel, whether from its more central position, or being of greater commercial importance, is the town which receives most praise from all contemporary authors. "this town," says the _magna britannia_ in 1720, "is a sort of staple for bone lace, of which more is thought to be made here than any town in england; that commodity is brought to as great perfection almost as in flanders." "newport-pagnel," writes defoe, "carries on a great trade in bone lace, and the same manufacture employs all the neighbouring villages"; while don manuel gonzales,[1120] in 1730, speaks of its lace as little inferior to that of flanders, which assertion he may have probably copied from previous writers. {381}[illustration: fig. 133. buckinghamshire trolly.] at one of the earliest meetings of the anti-gallican society, 1752, admiral vernon in the chair, the first prize to the maker of the best piece of english bone lace was awarded to mr. william marriott, of newport-pagnel, bucks. the principal lace-dealers in london were invited to give their opinion, and they allowed it to be the best ever made in england. emboldened by this success, we read how, in 1761, earl temple, lord lieutenant of bucks, having been requested by richard lowndes, esq., one of the knights of the shire, on behalf of the lace-makers, to present to the king a pair of fine lace ruffles, made by messrs. milward and company, at newport-pagnel, in the same county, his majesty, after looking at them and asking many questions respecting this branch of trade, was most graciously pleased to express himself that the inclination of his own heart naturally led him to set a high value on every endeavour to further english manufactures, and whatever had such recommendation would be preferred by him to works of possibly higher perfection made in any other country.[1121] from this period newport-pagnel is cited as {382}one of the most noted towns in the kingdom for making bone lace.[1122] as in other places, much complaint was made of the unhealthy state of the lace-working population, and of the injury sustained by long sitting in the vitiated air of the cottages.[1123] [illustration: fig. 134. buckinghamshire "point."] in pennant's _journey from chester to london_ (in 1782), he notices in towcester that, "this town is supported by the great concourse of passengers, and by a manufacture of lace, and a small one of silk stockings. the first was {383}imported from flanders, and carried on with much success in this place, and still more in the neighbouring county" (buckinghamshire). [illustration: fig. 135. buckinghamshire "point."] at the end of the eighteenth century, the revolution again drove many of the poorer french to seek refuge on our shores, as they had done a century before; and we find stated in the _annual register_ of 1794: "a number of ingenious french emigrants have found employment in bucks, bedfordshire, and the adjacent counties, in the manufacturing of lace, and it is expected, through the means of these artificers, considerable improvements will be introduced into the method of making english lace." figs. 134 and 135 represent the "point" ground, which won the laces of the midland counties their reputation. (see northamptonshire for additional matter.) {384}northamptonshire. the laces of northampton do not appear to have attracted the notice of the writers of the eighteenth century so much as those of the sister counties. anderson mentions that kettering has "a considerable trade in lace"; and lysons, later, observes that lace is made at cheney. certainly, the productions of this county a century back were of exquisite beauty, as we can bear testimony from the specimens in a pattern-book inherited by mr. cardwell, the well-known lace merchant of northampton, from his predecessor in the trade, which we have had an opportunity of examining. we have also received examples from various localities in bedfordshire and buckinghamshire, and as there is much similarity in the products of the three counties, we shall, perhaps, better describe them by treating of them all collectively. the earliest english lace was naturally the old flemish, the pattern wavy and graceful, the ground well executed. fig. 136, which we select as an example, is a specimen we received, with many others, of old newport-pagnel lace, given by mrs. bell, of that town, where her family has been established from time immemorial. mrs. bell could carry these laces back to the year 1780, when they were bequeathed to her father by an aged relative who had long been in the lace trade. the packets remain for the most part entire. the custom of "storing" lace was common among the country-people. next in antiquity is fig. 137, a lace of flemish design, with the fine brussels ground. this is among the northamptonshire laces already alluded to. many of the early patterns appear to have been run or worked in with the needle on the net ground (fig. 138). plate lxxxvi. [illustration: english, northamptonshire. bobbin lace.--end of nineteenth century. widths: 1¾, 5¼ and 2 in. photo by a. dryden from a private collection.] _to face page 384._ {385}in 1778, according to m'culloch,[1124] was introduced the "point" ground, as it is locally termed, from which period dates the staple pillow lace trade of these counties. this ground is beautifully clear, the patterns well executed: we doubt if fig. 139 could be surpassed in beauty by lace of any foreign manufacture. much of this point ground was made by men. [illustration: fig. 136. old flemish.--(newport-pagnel.)] [illustration: fig. 137. old brussels.--(northampton.)] the principal branch of the lace trade was the making of "baby lace," as those narrow laces were called, most specially employed for the adorning of infants' caps (figs. 140, 141, 142). the "point" ground was used, the patterns taken from those of lille and mechlin--hence the laces of buckingham and bedfordshire have often been styled "english lille." though the fashion in the mother-country passed away, the american ladies held to the trimmed infant's cap until the breaking out of the civil war; and up to that date large quantities of "baby lace" were exported to america, the finer sorts varying from five shillings to seven shillings and sixpence a yard, still retaining their ancient name of "points." {386}[illustration: fig. 138. "run" lace.--(newport-pagnel.)] many other descriptions of grounds were made--wire (fig. 143), double, and trolly, in every kind of quality and width. in the making of the finer sorts of edging as many as 200 threads would be employed. [illustration: fig. 139. english "point."--(northampton.)] on the breaking out of the war with france, the closing of our ports to french goods gave an impetus to the trade, and the manufacturers undertook to supply the english {387}market with lace similar to that of normandy and the sea-coast villages of france; hence a sort of "fausse" valenciennes, called the "french ground." but true valenciennes was also fabricated so fine (fig. 144) as to rival the products of french hainault. it was made in considerable quantities, until the expertness of the smuggler and the cessation of the war caused it to be laid aside. [illustration: fig. 140. "baby" lace.--(northampton.)] [illustration: fig. 141. "baby" lace.--(beds.)] [illustration: fig. 142. "baby" lace.--(bucks.)] one-third of the lace-workers of northampton were {388}employed, previous to the introduction of machine-made net, in making quillings on the pillow. during the regency, a "point" lace, with the "cloth" or "toilé" on the edge, for many years was in fashion, and, in compliment to the prince, was named by the loyal manufacturers "regency point." it was a durable and handsome lace (fig. 145). [illustration: fig. 143. wire ground.--(northampton.)] towards the year 1830, insertions found their way to the public taste (fig. 146). till the middle of the nineteenth century, in lace-making districts, almost the only schools were the lace schools--and there were several in most villages--where lace-making was the principal thing taught and a little reading added. i am indebted to mrs. roberts, formerly of spratton, near northampton, for the following description, which she kindly allows me to reprint. [illustration: fig. 144. valenciennes.--(northampton.)] {389}[illustration: fig. 145. regency point.--(bedford.)] [illustration: fig. 146. insertion.--(bedford.)] "the following are the few particulars of the old lace school for which this village was at one time famous. indeed, it may be borne in mind that, owing to the great interest taken in education by a former squire and a former vicar, spratton fifty years ago was far ahead of its neighbours in the matter of education; and the spratton school and mr. pridmore, the spratton schoolmaster, with his somewhat strict discipline, were well known, not only to the children of spratton, but to the boys and girls of most of the adjacent villages. but the lace school was, no doubt, a commercial institution, and i think it will be admitted that the hours were long and the work severe. the girls left the {390}day school at the age of eight years, and joined the lace school, and here the hours were from 6 a.m. to 6 p.m. in the summer, and from 8 a.m. to 8 p.m. in the winter. half an hour was allowed for breakfast and for tea, and one hour for dinner, so that there were ten hours for actual work. the girls had to stick ten pins a minute, or six hundred an hour; and if at the end of the day they were five pins behind, they had to work for another hour. on saturdays, however, they had a half-holiday, working only to the dinner-hour. they counted to themselves every pin they stuck, and at every fiftieth pin they called out the time, and the girls used to race each other as to who should call out first. "they paid twopence a week (or threepence in winter) for lights, and in return they received the money realised from the sale of the lace they made, and they could earn about sixpence a day. pay-day was a great event; it came once a month. "in the evenings eighteen girls worked by one tallow candle, value one penny; the 'candle-stool' stood about as high as an ordinary table with four legs. in the middle of this was what was known as the 'pole-board,' with six holes in a circle and one in the centre. in the centre hole was a long stick with a socket for the candle at one end and peg-holes through the sides, so that it could be raised or lowered at will. in the other six holes were placed pieces of wood hollowed out like a cup, and into each of these was placed a bottle made of very thin glass and filled with water.[1125] these bottles acted as strong condensers or lenses, and the eighteen girls sat round the table, three to each bottle, their stools being upon different levels, the highest nearest the bottle, which threw the light down upon the work like a burning-glass. in the day-time as many as thirty girls, and sometimes boys, would work in a room about twelve feet square, with two windows, and in the winter they could have no fire for lack of room." the makers of the best laces would sit nearest the light, and so on in order of merit. a "down" in northamptonshire is the parchment {391}pattern, generally about twelve inches long. in buckinghamshire they have two "eachs" ten inches long, and putting one in front of the other, so work round the pillow, which to many commends itself as a better plan than having one "down" and moving the lace back on reaching the end of the "down." the pillow is a hard round cushion, stuffed with straw and well hammered to make it hard for the bobbins to rattle on. it is then covered with the butcher-blue "pillow-cloth" all over; a "lace cloth" of the same, for the lace to lie on, goes over the top; then follows the lace-paper to pin it in as made, covered with the "lacing," which is a strip of bright print. the "hinder" of blue linen covers up all behind, the "worker" keeping the parchment clean in front where the hands rest. a bobbin bag and scissors are then tied on one side and a pin-cushion on the top; a cloth "heller" is thrown over the whole when not used. the pins are fine brass ones made on purpose;[1126] the bobbins are of various sizes and makes--very fine for fine lace, heavier and twisted round with strips of brass for coarser laces and gimp for the threads, which are the tracing ones, dividing the different characters of patterns; some are of bone with words tattoed round in columns. the usual bobbin is plain turned wood, with coloured beads at the end for the necessary weight. the number varies from twenty to five hundred, according to the width of the pattern.[1127] {392}the exhibition of 1851 gave a sudden impulse to the traders, and from that period the lace industry rapidly developed. at this time was introduced the maltese guipures and the "plaited" laces, a variety grafted on the old maltese (fig. 147). five years later appears the first specimen of the raised plait, now so thoroughly established in the market. at the time queen victoria's trousseau was made, in which only english lace was used, the prices paid were so enormous that men made lace in the fields. in those days the parchments on which the patterns were pricked were worth their weight in gold; many were extremely old and their owners were very jealous of others copying their patterns. but, of late years, we hear of so little store being set by these parchments that they were actually boiled down to make glue. [illustration: fig. 147. plaited lace.--(bedford.)] the decay which threatened almost total extinction of the industry belongs to the last twenty years. the contributory causes were several, chiefly the rapid development of machinery, which enabled large quantities to be sold at lower rates than the hand-workers could starve on, while the quality of the manufactured goods was good enough for the {393}large public that required lace to last but a short time. foreign competition, the higher wages required by all, and the many new employments opening to women took away the young people from the villages. in 1874 more than thirty young lace-women left a village of four hundred inhabitants to seek work elsewhere. the old workers gave up making good laces and supplied the popular demand with maltese, which grew more and more inferior both in design and quality of thread, and gradually the old workers died out and no new ones took their places. the lace association has been started with the object of stimulating and improving the local manufacture of pillow lace, of providing lace-workers with greater facilities for the sale of their work at more remunerative prices. its aim is also to save the old designs of the "point" lace and discourage the coarse maltese, to get new designs copied from old laces, and insist on only the best thread being used,[1128] and good workmanship, and finally, to bring the lace before the public, and send it direct from worker to the purchaser, thus enabling the former to get the full value, saving the large profits which the dealers, buying for the shopkeepers, intercept for their own advantage. [illustration: fig. 148. raised plait.--bedford.] pillow lace was also made to some extent in derbyshire. {394}suffolk. suffolk has produced bobbin-made laces of little artistic value. the patterns in most of the specimens in the victoria and albert museum collection are derived from simple mechlin, lille, and valenciennes patterns. "the make of the lace resembles that of buckinghamshire laces, and that of the norman laces of the present time. the entire collection displays varied combinations of six ways of twisting and plaiting thread."[1129] plate lxxxvii. [illustration: english, suffolk. bobbin lace.--nineteenth century. resembling inferior buckinghamshire, also normandy and saxony laces. victoria and albert museum.] _to face page 394._ {395}chapter xxxi. wiltshire and dorsetshire. from wiltshire and dorset, counties in the eighteenth century renowned for their lace, the trade has now passed away; a few workers may yet be found in the retired sea-side village of charmouth, and these are diminishing fast. of the wiltshire manufactures we know but little, even from tradition, save that the art did once prevail. peuchet alludes to it. when sir edward hungerford attacked wardour castle in wiltshire, lady arundel, describing the destruction of the leaden pipes by the soldiers, says, "they cut up the pipe and sold it, as these men's wives in north wiltshire do bone lace, at sixpence a yard." one mary hurdle, of marlborough, in the time of charles ii., tells us in her "memoirs"[1130] that, being left an orphan, she was apprenticed by the chief magistrate to a maker of bone lace for eight years, and after that period of servitude she apprenticed herself for five years more. again, at the time of the great plague, cautions are issued by the mayor of marlborough to all parents and masters how they send their children and servants to school or abroad in making bone lace or otherwise, in any public house, place, or school used for that purpose.[1131] in the proceedings of the anti-gallican society it is recorded that the second prize for needle point ruffles was, in 1751, awarded to mrs. elizabeth waterman, of the episcopal city of salisbury. such are the scanty notices we have been able to glean of the once flourishing lace trade in wiltshire. {396}dorset, on the other hand, holds a high place in the annals of lace-making, three separate towns, in their day--blandford, sherborne, and lyme regis--disputing the palm of excellence for their productions. of blandford the earliest mention we find is in owen's _magna britannica_ of 1720, where he states: "the manufacture of this town was heretofore 'band-strings,' which were once risen to a good price, but now times hath brought both bands themselves and their strings out of use, and so the inhabitants have turned their hands to making straw works and bone lace, which perhaps may come to nothing, if the fickle humour of fashionmongers take to wearing flanders lace." only four years later defoe writes of blandford:--"this city is chiefly famous for making the finest bone lace in england, and where they showed us some so exquisitely fine as i think i never saw better in flanders, france, or italy, and which, they said, they rated above £30 sterling a yard; but it is most certain that they make exceeding rich lace in this county, such as no part of england can equal." in the edition of 1762, defoe adds, "this was the state and trade of the town when i was there in my first journey; but on june 4, 1731, the whole town, except twenty-six houses, was consumed by fire, together with the church." postlethwayt,[1132] hutchins,[1133] lysons, and knight (_imperial cyclopædia_) all tell the same story. peuchet cites the blandford laces as "comparables à celles qu'on fait en flandres (excepté bruxelles), en france, et même dans les etats de venise"; and anderson mentions blandford as "a well-built town, surpassing all england in fine lace." more reliance is to be placed on the two last-named authorities than the former, who have evidently copied defoe without troubling themselves to inquire more deeply into the matter. [illustration: fig. 149. english needle-made lace, representing the defeat of the spanish armada. _to face page 396._] {397}it is generally supposed that the trade gradually declined after the great fire of 1731, when it was replaced by the manufacture of buttons, and no record of its former existence can be found among the present inhabitants of the place.[1134] fig. 149 represents a curious piece of lace, preserved as an heirloom in a family in dorsetshire. it formerly belonged to queen charlotte, and, when purchased by the present owner, had a label attached to it, "queen elizabeth's lace," with the tradition that it was made in commemoration of the defeat of the spanish armada, as the ships, dolphins, and national emblems testify. at this we beg to demur, as no similar lace was made at that period; but we do not doubt its having been made in honour of that victory, for the building is decidedly old tilbury fort, familiar to all by the pencil of stanfield. but the lace is point d'argentan, as we see by the hexagonal "bride" ground and the workmanship of the pattern. none but the best lace-workers could have made it; it was probably the handiwork of some english lady, or the pattern, designed in england, may have been sent to argentan to execute, perhaps as a present to queen charlotte. "since the reformation the clothing trade declined," writes defoe, of sherborne. "before 1700, making buttons, haberdashery wares, and bone laces employed a great many hands"; which said piece of information is repeated word for word in the _imperial cyclopædia_. other authors, such as anderson, declare, at a far later date, sherborne to carry on a good trade in lace, and how, up to 1780, much blonde, both white and black, and of various colours, was made there, of which a supply was sent to all markets. from the latter end of the eighteenth century, the lace trade of sherborne declined, and gradually died out. the points of lyme regis rivalled, in the eighteenth century, those of honiton and blandford, and when the trade of the last-named town passed away, lyme and honiton laces held their own, side by side, in the london market. the fabric of lyme regis, for a period, came more before the public eye, for that old, deserted, and half-forgotten mercantile city, in the eighteenth century, once more raised its head as a fashionable watering-place. prizes were awarded by the {398}anti-gallican society[1135] to miss mary channon, of lyme regis, and her fellow-townswoman, miss mary ben, for ruffles of needle point and bone lace. the reputation of the fabric, too, of lyme regis reached even the court; and when queen charlotte first set foot on english ground, she wore a head and lappets of dorset manufacture. some years later a splendid lace dress was made for her majesty by the workers of lyme, which, says the annalist of our southern coast,[1136] gave great satisfaction at court. the makers of this costly product, however, received but fourpence a day for their work. the laces of lyme, like all good articles, were expensive. a narrow piece set quite plain round an old woman's cap would cost four guineas, nor was five guineas a yard considered an exorbitant price. it was a favourite custom at lyme for lovers to have their initials entwined and worked together on a piece of ornamental lace. the making of such expensive lace being scarcely found remunerative, the trade gradually expired; and when the order for the marriage lace of queen victoria reached the southern counties, not one lace-maker was to be found to aid in the work in the once flourishing town of lyme regis. {399}chapter xxxii. devonshire. "bone lace and cyder."--_anderson._ "at axminster, you may be furnished with fyne flax thread there spunne. at honyton and bradninch with bone lace much in request."--westcote. honiton. the lace industry found its way to devonshire, if the generally-accepted theory be correct, by the flemish refugees flying from the persecutions of the duke of alva. there is much probability to support the theory, and some names,[1137] of undoubted flemish origin, appear among the entries of the church registers still preserved at honiton, towards the latter end of the sixteenth century--names all handed down to their descendants in the present generation, and in these families the fabric has continued for a long lapse of years. on the other hand, if there had been any considerable number of flemings in devonshire, they would surely have founded a company of their reformed church, and no reference is found in the published books of the archives of the london dutch church of any such company in devonshire, whereas references abound to places in the eastern counties and midlands where flemings were settled. lace was made on the pillow in the low countries by the middle of the sixteenth century, so by the date of the alva persecution (1568-77) the people might have learned it in sufficient numbers to start it wherever they set up their new home. up to that date in england lace was made with the needle,[1138] {400}and it was not till we read of "bone-lace" that it may be taken to mean pillow-lace. the term "bone," according to fuller, was applied from the custom of using sheep's trotters as bobbins. in devonshire, however, the tradition is that, owing to the high price of pins, the lace-makers, being within reach of the sea, made use of fish-bones, and thus pillow-lace became "bone-lace." the term "bobbin" came into use soon afterwards, but was not so universal as "bone"; it occurs in the wardrobe accounts and royal inventories (where one entry runs, "in ye shoppe, 4 oz. and ½ of bobbing lace, 6s. 4d."). although the earliest known ms.[1139] giving an account of the different towns in devon makes no mention of lace, we find from it that mrs. minifie,[1140] one of the earliest-named lace-makers, was an englishwoman. queen elizabeth was much addicted to the collecting and wearing of beautiful clothes; but no mention of english lace by name seems to occur in the inventories and accounts, and the earliest mention of honiton lace is by westcote, who, writing about 1620, speaks of "bone lace much in request" being made at honiton and bradninch; and again referring to honiton. "here," says he, "is made abundance of bone lace, a pretty toye now greatly in request; and therefore the town may say with merry martial- "in praise for toyes such as this honiton second to none is." the oft-cited inscription let into a raised tombstone, near the wall of old honiton church, together with westcote, {401}prove the industry to have been well established in the reign of james i. the inscription runs- "here lyeth y^e body of james rodge, of honinton, in y^e county of devonshire (bonelace siller, hath given unto the poore of honinton p'ishe, the benyfitt of £100 for ever), who deceased y^e 27 of july a^o d^i 1617 aetatae svae 50. remember the poore." there have been traditions that rodge was a valet who accompanied his master abroad, and there learning the fine flemish stitches, taught some devonshire women on his return home, and was enabled to make a comfortable competence by their work, bequeathing a sum of money to the poor of honiton; but it is more probable that he was an ordinary dealer. westcote,[1141] who wrote about the year 1620, when noticing bone lace, does not speak of it as a new manufacture; the trade had already taken root and flourished, for, including the above-mentioned rodge, the three earliest bone lace makers of the seventeenth century on record all at their decease bequeathed sums of money for the benefit of their indigent townspeople, viz., mrs. minifie,[1142] before mentioned, who died in 1617, and thomas humphrey, of honiton, laceman, who willed in the year 1658 £20 towards the purchase of certain tenements, a notice of which benefaction is recorded on a painted board above the gallery of the old parish church. by this time english lace had advanced in public estimation. in the year 1660 a royal ordinance of france provided that a mark should be affixed to thread lace imported from england as well as on that of flanders; and we have already told elsewhere how the earl of essex procures, through his countess, bone lace to a considerable amount as a present to queen anne of austria. speaking of bone lace, writes fuller in his _worthies_: "much of this is made in and about honyton, and weekly returned to london.... modern is the use thereof in england, and that not exceeding the middle of the reign of {402}queen elizabeth. let it not be condemned for a superfluous wearing because it doth neither hide, nor heat, seeing it doth adorn. besides, though private persons pay for it, it stands the state in nothing; not expensive of bullion like other lace, costing nothing save a little thread descanted on by art and industry. hereby many children, who otherwise would be burthensome to the parish, prove beneficial to their parents. yea, many lame in their limbs and impotent in their arms, if able in their fingers, gain a livelihood thereby; not to say that it saveth some thousands of pounds yearly, formerly sent over seas to fetch lace from flanders." the english were always ready to protect their own trades and manufactures, and various were the acts passed to prohibit the importation of foreign lace, for the encouragement of home workers. in 1698 it was proposed to repeal the last preceding prohibition; and, from the text of a petition sent to the house of commons, some interesting light is thrown on the extent of the trade at that time. "the making of bone-lace has been an ancient manufacture of england, and the wisdom of our parliaments all along thought it the interest of this kingdom to prohibit its importation from foreign parts.... this has revived the said languishing manufacture, and there are now above one hundred thousand in england who get their living by it, and earn by mere labour £500,000 a year, according to the lowest computation that can be made; and the persons employed on it are, for the most part, women and children who have no other means of subsistence. the english are now arrived to make as good lace in fineness and all other respects as any that is wrought in flanders, and particularly since the last act, so great an improvement is made that way that in buckinghamshire, the highest prized lace they used to make was about eight shillings per yard, and now they make lace there of above thirty shillings per yard, and in dorsetshire and devonshire they now make lace worth six pound per yard.... "... the lace manufacture in england is the greatest, next to the woollen, and maintains a multitude of people, which otherwise the parishes must, and that would soon prove a heavy burthen, even to those concerned in the woollen manufacture. on the resolution, which shall be taken in this affair depends the well-being, or ruin of numerous families in their country. many laws have been made to set our poor on work, and it is to be hoped none will be made to take away work from multitudes who are already employed."[1143] plate lxxxviii. [illustration: english, devonshire. reproductions of old honiton with the vrai réseau.--made under mrs. fowler's direction. widths about 4 inches. photo by a. dryden.] _to face page 402._ {403}even in 1655, when the variety of points furnished matter for a letter from the members of the baptist church assembled at bridgewater, the "beleeven men," unwilling to injure so nourishing a commerce, merely censure "points and more laces than are required on garments," and these they desired might be proceeded against "with all sweetness and tenderness and long-suffering."[1144] the conciliatory measures of the puritans, maybe, affected the trade less than the doing of lord cambury and lord churchill's dragoons in the suppression of monmouth's rebellion in 1680, by which time the lace-making art was carried on in many small country places in devon. they pillaged the lace-makers right and left, and, when quartered at colyton,[1145] these unruly soldiers broke into the house of one william bard, a dealer in bone lace, and there stole merchandise to the amount of £325 17s. 9d.[1146] "the valuable manufactures of lace, for which the inhabitants of devon have long been conspicuous, are extending now from exmouth to torbay,"[1147] writes defoe in 1724. {404}these must, however, have received a check as regards the export trade, for, says savary, who wrote about the same date, "depuis qu'on imite les dentelles nommées point d'angleterre en flandres, picardie et champagne, on n'en tire plus de londres pour la france." great distress, too, is said to have existed among the honiton lace-makers after the two great fires of 1756 and 1767. the second was of so devastating a character that the town had to be rebuilt. shawe declares, writing at the end of the eighteenth century: "for its present condition honiton is indebted to that dreadful fire which reduced three parts of it to ashes. the houses now wear a pleasing aspect, and the principal street, extending from east to west, is paved in a remarkable manner, forming a canal, well shouldered up on each side with pebbles and green turf, which holds a stream of clear water with a square dipping place opposite each door, a mark of cleanliness and convenience i never saw before." [illustration: fig. 150.] three years previous to the great fire,[1148] among a number of premiums awarded by the anti-gallican society for the encouragement of our lace trade, the first prize of fifteen guineas is bestowed upon mrs. lydia maynard, of honiton, "in token of six pairs of ladies' lappets of unprecedented beauty, exhibited by her." about this time we read {405}in bowen's _geography_[1149] that at honiton: "the people are chiefly employed in the manufactory of lace, the broadest sort that is made in england, of which great quantities are sent to london." "it acquired," says lysons, "some years since, the name of bath brussels lace." to give a precise description of the earliest devonshire lace would now be impossible. the bone or bobbin lace at first consisted of a small and simple imitation of the beautiful venetian geometrical cut-works and points, mere narrow strips made by coarse threads plaited and interlaced. they became wider and more elaborate as the workers gained experience. specimens may be seen on two devonshire monuments, though whether the lace of the district is imitated on the effigies is another matter; in any case similar patterns were probably made there at the time. one is on the monument of lady pole, in colyton church, where the lady's cape is edged with three rows of bone lace. the other, which is in excellent preservation, is on the recumbent effigy of lady doddridge (a member of the bampfylde family) in exeter cathedral, her cuffs and tucker being adorned with geometric lace of a good pattern. both belong to the first part of the seventeenth century. in the same cathedral is the monument of bishop stafford.[1150] his collar appears to be of a net-work, embroidered in patterns of graceful design (fig. 151). belgium was noted for her linens and delicately spun flax. in consequence the flemings soon departed from the style of their italian masters, and made laces of their own fine threads. they worked out their own designs also, and being great gardeners and fond of flowers, it naturally came about that they composed devices of blossoms and foliage. {406}[illustration: fig. 151. monument of bishop stafford, exeter cathedral.] these alterations in course of time found their way to england, there being much intercourse between their brethren here established and those remaining in flanders. the lace continued to get finer and closer in texture, the flax thread being required so fine that it became necessary to spin it in damp underground cellars. that the workers in england could not compete successfully against the foreigner with their home-made threads we find over and over again. they also altered the brussels designs, and instead of the beautiful "fillings" and open-work stitches, substituted heavy guipure bars. by this period "cordonnet" or "gimp" had come into use in brussels lace. the "_vrai réseau_" or pillow-net ground, succeeded the "bride" about the end of the seventeenth century. this fashion enabled the flowers to be made separately and worked in with the net afterwards, or rather the net was worked into the flowers on the pillow. it was from the introduction of these separate sprigs that honiton lace was able to compete with brussels. the pattern in fig. 153 is sewn on the plain pillow ground,[1151] which was very beautiful and regular, but very expensive. it was made of the finest thread procured from antwerp, the market price of which, in 1790, was £70 per pound,[1152] and an old lace-maker told the author her father {407}had, during the war, paid a hundred guineas a pound to the smugglers for this highly-prized and then almost unattainable commodity. nor were the lace-worker's gains less remunerative. she would receive as much as eighteen shillings a yard for the workmanship alone of a piece of this elaborate net, measuring scarce two inches in width;[1153] and one of the old lace-dealers showed mrs. treadwin a piece of ground eighteen inches square, for the making of which she was paid fifteen pounds shortly before the establishment of the machine net manufacture.[1154] the price of lace was proportionately high. a honiton veil would often cost a hundred guineas. [illustration: fig. 152. monument of lady doddridge. + 1614. (exeter cathedral.)] the flemish character of fig. 158 is unmistakable. the {408}design of the flower vase resembles those of the old angleterre à bride, and in execution this specimen may fairly warrant a comparison with the productions of brabant. if really of english make, we should place its fabrication at the beginning of the eighteenth century, for it was long before the devonshire lace-makers could rival in beauty the "cordonnet" of the flemish workers. fig. 154 is an example of the pattern worked in the favourite design of the butterfly and the acorn, already familiar to us in the old point d'angleterre and in the smock of queen elizabeth. [illustration: fig. 153.] the american war had an evil effect upon the lace trade, and still worse was the french revolution, which was followed by the fashion of classical dress. lace became no longer necessary to a lady's wardrobe, and the demand for it declined to a serious extent for the workers. worse than these, however, was the introduction of the machine net, the first factory being set up at tiverton in 1815. lysons writes shortly afterwards in 1822: "the manufactory of lace has much declined, although the lace still retains its superiority. some years ago, at which time it was much patronised by the royal family, the manufacturers of honiton employed 2,400 hands in the town and in the neighbouring villages, but they do not now employ above 300." for twenty years the lace trade suffered the greatest depression, and the honiton lace-workers, forsaking the designs of their forefathers, introduced a most hideous set of patterns, designed, as they said, "out of their own heads." "turkey tails," "frying pans," "bullocks' hearts," and the most senseless sprigs and borderings took the place of the graceful compositions of the old school. not a leaf, not a flower was copied from nature. anxious to introduce a purer taste, queen adelaide, to whom a petition had been sent on behalf of the distressed lace-makers, gave the order for a dress to be made of honiton sprigs,[1155] and commanded that the flowers should all be copied from nature. the order was executed by mrs. davey, of honiton. the skirt was encircled with a wreath of elegantly designed sprigs, the initial of each flower forming the name of her majesty.[1156] [illustration: fig. 154. old devonshire. _to face page 408._] {409}the example of the queen found new followers, and when, in the progress of time, the wedding lace was required for queen victoria, it was with difficulty the necessary number of workers could be obtained to make it. it was undertaken by miss jane bidney, who caused the work to be executed in the small fishing hamlet of beer[1157] and its environs. the dress cost £1,000. it was composed entirely of honiton sprigs, connected on the pillow by a variety of open-work stitches; but the patterns were immediately destroyed, so it cannot be described. the bridal dresses of their royal highnesses the princess royal, the princess alice, and the princess of wales were all of honiton point, the patterns consisting of the national flowers, the latter with prince's feathers intermixed with ferns, and introduced with the most happy effect. the application of honiton sprigs upon bobbin net has been of late years almost entirely superseded by the modern guipure (fig. 155). the sprigs, when made, are sewn upon a piece of blue paper, and then united either on the pillow by "cut-works" or "purlings," or else joined with the needle by various stitches--lacet point, réseau, cut-work, and buttonhole stitch (the most effective of all). purling is made by the yard. the honiton guipure has an original character almost unique. the large pieces surpass in richness and {410}perfection any lace of the same kind made in belgium. the reliefs are embroidered with the greatest delicacy, and the beauty of the workmanship is exquisite; and whereas the guipure applications of belgium require to be whitened with lead, the honiton workers give up their lace in all its original brilliancy and whiteness.[1158] the fault in the honiton lace has been its crowded and spiritless designs, but in these great improvement was manifested in the exhibition of 1867. captain marryat took much pains during a residence at sidmouth to procure for the lace-makers new patterns of flowers, insects, and other natural objects. the younger members of the community accepted with gratitude these new patterns, and one even reproduced a piece of braidwork in imitation of spanish point, and also a collar from vecellio's book, in a manner most creditable to her ingenuity. in consequence of this movement, some gentlemen connected with the bath and west of england society[1159] proposed that an exhibition should take place at the annual agricultural show, held at clifton, of honiton lace, "designs strictly after nature." prizes to the amount of £100 were given. the exhibition was most successful. queen victoria expressed a desire that the articles exhibited should be sent to windsor for her inspection, and graciously commanded that two flounces with a corresponding length of trimming lace should be made for her. a design executed by miss cecilia marryat having been approved of by her majesty, the order for the lace was given to mrs. hayman, of sidmouth. (fig. 156 is from one of the honeysuckle sprigs selected.) [illustration: fig. 155. honiton guipure. _to face page 410._] {411}the honiton lace-makers show great aptitude in imitating the brussels designs, and[1160] through the efforts of mrs. treadwin have succeeded in reproducing the ancient lace in the most wonderful manner. fig. 158 is a lappet in the brussels style shown in the international exhibition of 1874. mrs. treadwin produced admirable specimens after the pillow-made lace of genoa and flanders, and also a reproduction of the venetian point in relief. [illustration: fig. 156. honeysuckle sprig of modern honiton.] a new branch of industry has lately opened to the devonshire lace-maker--that of restoring or re-making old lace. the splendid mantles, tunics, and flounces which enrich the shop-windows of the great lace-dealers of london are mostly concocted from old fragments by the devonshire lace-workers. it is curious to see the ingenuity they display in re-arranging the "old rags"--and such they are--sent from london for restoration. carefully cutting out the {412}designs of the old work, they sew them upon a paper pattern of the shape required. the "modes," or fancy stitches, are dexterously restored, any deficient flower supplied, and the whole joined together on the pillow. [illustration: fig. 157. old devonshire point.] trolly lace. trolly lace comes next in order. it was quite different from anything else made in devonshire, and resembled many of the laces made in the midlands at the present time. it was made of coarse british thread, and with heavier and larger bobbins, and worked straight on round and round the pillow. the origin of "trolly" was undoubtedly flemish, but it is said to have reached devonshire at the time of the french revolution, through the normandy peasants, driven by want of employment from their own country, where lace was a great industry during the eighteenth century. the origin of "trolly" is from the flemish "trolle kant," where the design was outlined with a thick thread, or, possibly, it may be derived from a corruption of the french _toilé_, applied to distinguish a flat linen pattern from the ground or _treille_, a general term for a net ground. it is now almost extinct in devonshire, remaining in the hands of the midland counties,[1161] where it more properly belongs.[1162] [illustration: fig. 158. lappet made by the late mrs. treadwin, of exeter, 1864. _to face page 412._] {413}trolly lace was not the work of women alone. in the flourishing days of its manufacture, every boy, until he had attained the age of fifteen, and was competent to work in the fields, attended the lace schools daily.[1163] a lace-maker of sidmouth, in 1869, had learned her craft at the village dame school,[1164] in company with many boys. the men, especially the sailor returned from sea, would again resume the employment of their boyhood, in their hours of leisure, and the labourer, seated at his pillow on a summer's evening, would add to his weekly gains. mrs. treadwin, in her younger days, saw some twenty-four men lace-makers in her native village of woodbury, two of whom, palmer by name, were still surviving in 1869, and one of these worked at his pillow so late as 1820. captain marryat also succeeded in finding out a man of sixty, one james gooding, dweller in salcombe parish, near sidmouth, who had in his day been a lace-maker of some reputation. "i have made hundreds of yards in my time," he said, "both wide and narrow, but never worked regularly at my pillow after sixteen years of age." delighted to exhibit the craft of his boyhood, he hunted out his patterns, {414}and, setting to work, produced a piece of trolly edging, which soon found a place in the albums of sundry lace-collecting ladies, the last specimen of man-worked lace likely to be fabricated in the county of devon.[1165] the lace schools of this time were a great feature, there being many in every village, and as few other schools existed, boys in addition to the girls of the place attended and learnt the industry. the usual mode of procedure was this. the children commenced attending at the age of five to seven, and were apprenticed to the mistress for an average of two years, who sold all their work for her trouble: they then paid sixpence a week for a time and had their own lace, then threepence, and so on, according to the amount of teaching they still required. the young children went first from ten to twelve in the morning, to accustom them to work by degrees. at honiton the full hours were from eight to eight in the summer and in the depth of winter, but in the spring and autumn less, on account of the light, as candles were begun only on september 3rd--nutting day--till shrovetide. the old rhyme runs:- "be the shrovetide high or low, out the candle we will blow." at sidbury it was _de rigueur_ that directly a young girl married, however young, she wore a cap, but till then the lace-makers were famous for the beautiful dressing of their hair. when school began they stood up in a circle to read the "verses." if any of them read "jokily," they were given a penalty, and likewise for idleness--so much extra work. in nearly all schools they were taught reading from the bible, and in some they learnt writing; but all these are now things of the past. [illustration: fig. 159. venetian relief in point.--reproduced by the late mrs. treadwin. _to face page 414._] {415}speaking of the occupation of lace-making, cooke, in his _topography of devon_, observes: "it has been humanely remarked as a melancholy consideration that so much health and comfort are sacrificed to the production of this beautiful though not necessary article of decoration. the sallow complexion, the weakly frame and the general appearance of languor and debility of the operatives, are sad and decisive proofs of the pernicious nature of the employment. the small unwholesome rooms in which numbers of these females, especially during their apprenticeship, are crowded together are great aggravations of the evil." he continues at some length, as indeed do many writers of the eighteenth century, to descant on this evil, but times are changed, sanitary laws and the love of fresh air have done much to remedy the mischief.[1166] the pillows, too, are raised higher than formerly, by which means the stooping, so injurious to health, is avoided. old lace-makers will tell stories of the cruel severities practised on the children in the dame schools of their day--of the length of time they sat without daring to move from the pillow, of prolonged punishments imposed on idle apprentices, and other barbarities, but these are now tales of the past.[1167] ever since the great exhibition of 1851 drew attention to the industry, different persons have been trying to encourage both better design and better manufacture, but {416}the majority of the people have sought a livelihood by meeting the extensive demand for cheap laces. good patterns, good thread, and good work have been thrown aside, the workers and small dealers recking little of the fact that they themselves were ruining the trade as much as the competition of machinery and machine-made lace, and tarnishing the fair name of honiton throughout the world, among those able to love and appreciate a beautiful art. fortunately there are some to lead and direct in the right path, and all honour must be given to mrs. treadwin, who started reproducing old laces. she and her clever workers turned out the most exquisite copies of old venetian rose point, valenciennes, or flemish. her successor, miss herbert, carries it on; and while we have mrs. fowler and her school at honiton, and miss radford at sidmouth, it would be easier to say what the heads and hands of the devon lace-workers could not do than to enumerate the many beautiful stitches and patterns they achieve; needlepoint or pillow, tape guipure or _vrai réseau_--there are able fingers to suit all tastes.[1168] mrs. fowler, of honiton, has made a spirited attempt to teach some young people.[1169] she employs women and girls all the year round, who work under the factory acts. the girls are taught needlework in addition, and to put together the sprigs made by the out-workers, the arrangement of which requires great taste and careful superintendence. the county council grants courses of lessons in various places, some for all ages, others for children.[1170] the italian laces made at beer is a new branch, established by miss bowdon, and ably carried on by miss audrey trevelyan of seaton. this italian lace is made entirely on the pillow, and the way in which the women of beer have picked up the stitches and mode of making speaks volumes for their skilfulness and adaptability. there are still a good number of workers left in this most picturesque village.[1171] plate lxxxix. [illustration: english, devonshire. made at beer for the paris exhibition of 1900.--miss a. trevelyan adapted an italian design to the old honiton stitches.] _to face page 416._ {417}a beautiful county and a beautiful art have come down to us hand in hand. let us do our best to prevent the one being marred and the other lost, and keep them both together to be a joy and a pleasure for all time. japan. the versatile japanese have copied the honiton method of making bobbin lace. the government have encouraged a school at yokohama for pillow lace making, under the supervision of an english lady, where they turn out lace of a distinctive japanese character. {418}chapter xxxiii. scotland. "with the pearlin above her brow."--old scotch song. "pearlin-lace as fine as spiders' webs."--_heart of midlothian._ from her constant intercourse with france, lace must have been early known in scotland. of its use for ecclesiastical purposes, at a period when it was still unknown to the laity, we have evidence in the mutilated effigy of a crosiered ecclesiastic which once stood in a niche of the now ruined abbey church of arbroath. the lace which adorns the robes of this figure is very elaborately and sharply chiselled, and when first discovered, still preserved some remains of the gold leaf with which it had been ornamented. in the inventories of king james v. we find constant mention of "pasment" of gold and silver,[1172] as well as an entry of--"ane gown of fresit clayth of gold, with pasment of perle of gold smyth wark lynit with cramasy sating."[1173] and we have other proofs,[1174] in addition to the testimony of sir walter scott, as given in the monastery,[1175] that pasments of gold and silver as well as "purle," were already in daily use during king james's reign. {419}indeed, as early as 1575 the general assembly of scotland found necessary, as did the bishops in denmark, to express its mind as to the style of dress befitting the clergy, and prohibit "all begares (gardes) of velvet on gown, hose, or coat, all superfluous cut-out work, all sewing on of pasments and laces." a parchment, too, found in the cabinet of the countess of mar,[1176] entitled "the passement bond," signed by the duke of lennox and other nobles, by which they engaged themselves to leave off wearing "passement," as a matter of expense and superfluity, shows that luxury in dress had early found its way into scotland. notwithstanding these entries, it was not until the arrival of mary stuart in her northern dominions that lace in all its varieties appears. the inventory of the queen's effects in 1567, printed by the bannatyne club, gives entries of passements, guimpeure d'or, and guimpeure d'argent,[1177] with which her "robes de satin blanc et jaune" were "bordées" and "chamarées." each style of embroidery and lace is designated by its special name. there is the "natte d'argent faite par entrelatz, passement d'or et d'argent fait à jour, chamarré de bisette,"[1178] etc. the word dentelle, as told elsewhere,[1179] occurs but once. we have also alluded to the will made by the queen previous to the birth of james vi., and her bequest of her "ouvrages maschés."[1180] a relic of this expression is yet found in the word "mawsch," or "masch," as the pinking of silk and muslin is termed in scotland, an advertisement of which {420}accomplishment "done here" was seen a few years ago in the shop-windows of the old town of edinburgh. in the palace of holyrood is still exhibited a small basket lined with blue silk, and trimmed with a bone lace of rudely-spun flax, run on with a ribbon of the same colour, recorded to be an offering sent by queen elizabeth to her cousin previous to the birth of her godchild. antiquaries assert the story to be a fable. whether the lace be of the time or not, as a work of art it is of no credit to any country. how queen mary, in her youth, was instructed in the arts of point coupé and lacis, according to the works of vinciolo, has been already related.[1181] of her talents as a needlewoman there is ample proof in the numerous beds, screens, etc., treasured as relics in the houses of the nobles where she was held captive. she knitted head-dresses of gold "réseille," with cuffs and collars[1182] en suite,[1183] to say nothing of nightcaps, and sent them as presents to elizabeth,[1184] all of which, we are told, the queen received most graciously. mary, in her early portraits as dauphine of france, wears no thread lace. much fine gold embroidered with passament enriches her dresses; her sleeves are of gold rézeuil. in those of a later date, like that taken when in lochleven castle, her veil is bordered with a narrow bone lace--as yet a rarity--may be one of the same noted in the inventory of 1578, as "fyve litell vaills of wovin rasour (réseau) of threde, ane meekle twa of thame, passmentit with perle and black silk."[1185] when the queen of scots ascended the scaffold "she wore {421}on her head," writes burleigh's reporter, "a dressing of lawn edged with bone lace," and "a vest of lawn fastened to her caul," edged with the same material. this lace-edged veil was long preserved as a relic in the exiled stuart family, until cardinal york bequeathed it to sir john cox hippisley. miss pigott[1186] describes it of "transparent zephyr gauze, with a light check or plaid pattern interwoven with gold; the form as that of a long scarf."[1187] sir john, when exhibiting the veil at baden, had the indiscretion to throw it over the queen of bavaria's head. the queen shuddered at the omen, threw off the veil, and retired precipitately from the apartment, evidently in great alarm. "cuttit out werk," collars of "hollie crisp," quaiffs of woven thread,[1188] cornettes of layn (linen) sewit with cuttit out werk of gold, wovin collars of threde, follow in quick succession. the cuttit out werk is mostly wrought in gold, silver, cramoisi, or black silk.[1189] the queen's "towell claiths" are adorned in similar manner.[1190] the chartley inventory of 1568[1191] is rich in works of point coupé and rézeuil, in which are portrayed with the needle figures of birds, fishes, beasts, and flowers, "couppés chascune en son carré." the queen exercised much ingenuity in her labours, varying the pattern according to her taste. in the list are noted fifty-two specimens of flowers designed after nature, "tirés au naturel;" 124 birds; as well as sixteen sorts of four-footed beasts, "entre lesquelles y ha un lyon assailant un sanglier;" with fifty-two fishes, all of {422}divers sorts--giving good proofs of the poor prisoner's industry. as to the designs after nature, with all respect to the memory of queen mary, the lions, cocks, and fishes of the sixteenth century which have come under our notice, require a student of mediæval needlework rather than a naturalist, to pronounce upon their identity. james vi. of scotland, reared in a hotbed of calvinism, had not the means, even if he had the inclination, to indulge in much luxury in dress. certain necessary entries of braid pasmentis of gold, gold clinquant, braid pasmentis, cramoisi, for the ornamenting of clokkis, coittis, breikis, and roobes of the king, with "twa unce and ane half pasmentis of gold and silver to werk the headis of the fokkis," made up the amount of expense sanctioned for the royal wedding;[1192] while 34 ells braid pasmentis of gold to trim a robe for "his majesties darrest bedfellow the quene for her coronation,"[1193] gives but a poor idea of the luxury of the scottish court. various enactments[1194] were passed during the reign of james vi. against "unnecessary sumptuousness in men's apparel," by which no one except noblemen, lords of session, prelates, etc., were allowed to wear silver or gold lace. provosts were permitted to wear silk, but no lace pearlin or pasmenterie, only a "watling silk lace" on the seams.[1195] no one but the above same privileged persons were to have pearlin on their ruffles, sarkis, napkins, and sokkis, and that pearlin to be made in the kingdom of scotland. this act, dated 1621, is the first mention we have found of scottish-made lace. james vi. having granted to one james bannatyne of leith a patent for the "importing of foraine pearlin" into the country, in consequence of the great complaint of the embroiderers in 1639, this patent is rescinded, and the king forbids the entry of all "foraine pearlin." the word lace does not exist in the scotch language. "pearlin" is the term used in old documents, defined in the {423}dictionaries to be "a species of lace made with thread." in the old scotch songs it frequently occurs:--[1196] "then, round the ring she dealt them ane by ane, clean in her pearlin keck, and gown alane." --_ross helonora._ again- "we maun hae pearlins and mabbies and cocks, and some other things that ladies call smocks." as the latter articles may appear more familiar to the world in general than "kecks," and "mabbies," and "cocks," we may as well explain a "pearlin keck" to signify a linen cap with a lace border; a "mabbie," a mob; a "cock," or cock-up, no more eccentric head-dress than the lofty fontanges or commode of the eighteenth century. again, in _rob roy_ we have the term "pearlin:" when bailie nicol jarvie piteously pleads to his kinswoman, helen macgregor, he says- "i hae been serviceable to rob before now, forbye a set of pearlins i sent yoursell when you were gaun to be married." the recollection of these delicate attentions, however, has little effect on the highland chieftainess, who threatens to have him chopped up, if ill befalls her lord, into as many square pieces as compose the macgregor tartan, or throw him neck and heels into the highland loch. montrose, we read, sent his lace ruffles to be starched and dressed before they were sewn on the embroidered sark he had made only to wear at his execution. "pearlin" was provided for him which cost £10 an ell. the close-fitting velvet cap, enriched with lace, appears in the seventeenth century to have been adopted by the lawyers of the scotch courts. an example may be seen in the portrait of sir thomas hope, lord advocate of scotland, who died in 1646, which hangs in the hall of the advocates of edinburgh. another (fig. 160) appears in the engraving of sir alexander gibson, bart., lord durie, one of the lords of session, who died two years previously. in 1672, when lace--"point lace made of {424}thread"--came under the ban of the covenanters, with a penalty of "500 merks toties quoties," the wearing such vanities on liveries is strictly forbidden; servants, however, are allowed to wear out their masters' and mistresses' old clothes. in 1674, his majesty, understanding that the manufacture of "pearlin and whyt lace made of thread (whereby many people gain their livelihood) was thereby much prejudiced and impaired, declares that from henceforth it shall be free to all and every person within this kingdom to wear 'whyt lace,' as well as the privileged persons above mentioned." finding these exclusions of little or no avail, in january, 1685, the act remits the wearing of lace, both native and foreign, to all folks living. [illustration: fig. 160. sir alexander gibson, bart. (lord durie, lord of session. + 1644.)] the dead now came under the scrutiny of the scotch parliament, who order all lace or poynt, gold or silver, to be disused at interments, under the penalty of 300 pounds scots.[1197] from the united effects of poverty, covenanters and {425}legislation, after the departure of the court for england, luxury, small though it was, declined in edinburgh. it was not till 1680, when james ii., as duke of york, accompanied by mary of modena and his "duteous" daughter anne, visited the scotch capital, that anything like gaiety or dress can be said to have surprised the strait-laced population. dryden, sneering at the barbarism of the scotch capital, writes, in the prologue to a play delivered at oxford, referring to a portion of the troop that accompanied the court to scotland- "laced linen there would be a dangerous thing; it might perhaps a new rebellion bring- the scot who wore it would be chosen king." the highlander, however, when in full dress, did not disdain to adopt the falling band and ruffles of guipure or flanders lace. the advertisements and inventories of the first years of the eighteenth century give us little reason to imagine any change had been effected in the homely habits of the people. at the marriage of a daughter of thomas smythe, of methuen, in 1701, to sir thomas moncrieffe, the bride had a head-suit and ruffles of cut-work which cost nearly six pounds ten shillings.[1198] few and scanty advertisements of roups of "white thread lace" appear in the journals of the day.[1199] and in such a state matters continued till the jacobites, {426}going and coming from st. germains, introduced french fashions and luxuries as yet unheard of in the then aristocratic canongate. it sounds strange to a traveller, as he wanders among these now deserted closes of edinburgh, to read of the gay doings and of the grand people who, in the last century, dwelt within these poor-looking abodes. a difficult matter it must have been to the jacobite beauties, whose hoop (from 1725-8) measured nine yards in circumference, to mount the narrow winding staircases of their dwellings; and this very difficulty gave rise to a luxury of underclothing almost unknown in england or elsewhere. every lady wore a petticoat trimmed with the richest point lace. nor was it only the jupe that was lace-trimmed. besides "twa lappets at her head, that flaunted gallantlie," ladies extended the luxury to finely-laced garters. in 1720 the bubble company "for the trading in flanders laces" appears advertised in the scotch papers in large and attractive letters. we strongly doubt, however, it having gained any shareholders among the prudent population of edinburgh. the prohibition of lace made in the dominions of the french king[1200] was a boon to the jacobites, and many a lady, and gentleman too, became wondrous loyal to the exiled family, bribed by a packet from st. germains. in the first year of george ii., says the _gazette_,[1201] a parcel of rich lace was secretly brought to the duke of devonshire, by a mistake in the similarity of the title. on being opened, hidden among the folds, was found a miniature portrait of the pretender, set round with large diamonds. the packet was addressed to a noble lord high in office, one of the most zealous converts to loyalty.[1202] {427}smuggling was universal in scotland in the reigns of george i. and george ii., for the people, unaccustomed to imposts, and regarding them as an unjust aggression upon their ancient liberties, made no scruple to elude the customs whenever it was possible so to do. it was smuggling that originated the porteous riots of 1736; and in his description of the excited mob, sir walter scott makes miss grizel dalmahoy exclaim--"they have ta'en awa' our parliament. they hae oppressed our trade. our gentles will hardly allow that a scots needle can sew ruffles on a sark or lace on an owerlay."[1203] {428}chapter xxxiv. lace manufactures of scotland. "sae put on your pearlins, marion, and kirtle o' the cramasie."--scottish song. during the treasonable year of 1745 scotland was far too occupied with her risings and executions to give much attention to her national industry. up to that time considerable pains had been taken to improve the spinning of fine thread, prizes had been awarded, and the art taught in schools and other charitable institutions. it was not till the middle of the eighteenth century that anne, duchess of hamilton, known to society by tradition as "one of the beautiful miss gunnings," seeing lace-makers at work when travelling on the continent, thought employment might be given to the women of her own country by introducing the art into scotland. the duchess therefore brought over women from france, and caused them to teach the girls in her schools how to make "bunt lace," as it was termed. sir john sinclair thus notices the fabric:--"a small manufacture of thread lace has long been carried on here. at an early period it was the occupation of a good many women, but, from the fluctuation of fashion, it has fallen greatly into disuse. fashion again revived the demand, and the late duchess of hamilton, afterwards of argyle, found still some lace-workers remaining, to whom her own demand, and that of those who followed her example, gave employment. to these her grace added twelve orphan girls, who were clothed, maintained, and taught at her expense. others learned the art, and while the demand lasted, the manufacture employed a good many hands. though the number is again diminished, there are still above forty at the business, who {429}make handsome laces of different patterns, besides those who work occasionally for themselves or their friends. perhaps, under the patronage of the present respectable duchess, the manufacture of hamilton lace may again become as flourishing as ever."[1204] "the duchess of hamilton," says the _edinburgh amusement_ of 1752, "has ordered a home to be set up in hamilton for the reception of twelve poor girls and a mistress. the girls are to be taken in at the age of seven, clothed, fed, taught to spin, make lace, etc., and dismissed at fourteen." the work of the fair duchess throve, for, in 1754, we read how--"the duchess of hamilton has now the pleasure to see the good effects of her charity. her grace's small orphan family have, by spinning, gained a sum of money, and lately presented the duke and duchess with a double piece of holland, and some suits of exceeding fine lace ruffles, of their own manufacture, which their graces did them the honour to wear on the duke's birthday, july 14, and which vied with anything worn on the occasion, though there was a splendid company present. the yarn of which the ruffles were made weighed only ten drops each hank."[1205] it was probably owing to the influence of this impulsive irishwoman that, in the year 1754, was founded the select society of edinburgh for encouraging the arts and manufactures of scotland, headed by the duke of hamilton. this society was contemporary with the anti-gallican in england and the dublin society, though we believe, in this case, dublin can claim precedence over the capital of north britain. at a meeting of the society it was moved that "the annual importation of worked ruffles and of bone lace and edging into this country is considerable. by proper encouragement we might be supplied at home with these ornaments. it was therefore resolved-"that a premium be assigned to all superior merit in such work; such a one as may be a mark of respect to women of fashion, and may also be of some solid advantage to those whose laudable industry contributes to their own support. {430}"for the best imitation of dresden work, or a pair of men's ruffles, a prize of £5 5s. "for the best bone lace, not under twenty yards, £5 5s. the gainers of these two best articles may have the money or a gold medal, at their option." as may be supposed, the newly-founded fabric of the duchess was not passed over by a society of which the duke himself was the patron. in the year 1757 we have among the prizes adjudged one of two guineas to anne henderson, of hamilton, "for the whitest and best and finest lace, commonly called hamilton lace, not under two yards." a prize had already been offered in 1755,[1206] but, as stated the following year, "no lace was given in." prizes continued in 1758 and 1759 to be given for the produce of hamilton; in the last year to the value of four guineas.[1207] the early death of the duke of hamilton; and the second marriage of the duchess, did not in any way impede the progress of hamilton lace, for, as late as 1778, we read in locke's _essays on the scotch commerce_--"the lace manufactory, under the patronage of the amiable duchess of hamilton (now argyle), goes on with success and spirit." with respect to the quality of this hamilton lace, laudable as were the efforts of the duchess, she succeeded in producing but a very coarse fabric. the specimens which have come under our notice are edgings of the commonest description, of a coarse thread, always of the lozenge pattern (fig. 161); being strong and firm, it was used for nightcaps, never for dresses, and justified the description of a lady who described it as of little account, and spoke of it as "only hamilton." it appears that the edinburgh society died a natural death about 1764, but, notwithstanding the untimely demise of this patriotic club, a strong impetus had been given to the {431}lace-makers of scotland.[1208] lace-making was introduced into the schools, and, what was better far, many daughters of the smaller gentry and scions of noble jacobite houses, ruined by the catastrophe of 1745, either added to their incomes or supported themselves wholly by the making of the finer points. this custom seems to have been general, and, in alluding to it, mrs. calderwood speaks of the "helplessness" of the english women in comparison to the scotch. in the journals of the day we have constant advertisements, informing the public of the advantages to be gained by the useful arts imparted to their offspring in their establishments, inserted by ladies of gentle blood--for the scotchwomen of the last century no more disdained to employ themselves in the training of youth than does now a french dame de qualité to place herself at the head of the sacré-coeur, or some other convent devoted to educational purposes.[1209] [illustration: fig. 161. hamilton.] the entry of all foreign laces was excluded by law. the {432}scotch nation of the hanoverian persuasion were wrath at the frivolity of the jacobite party. "£400,000 have been sent out of the country during the last year," writes the _edinburgh advertiser_ of 1764, "to support our exiled countrymen in france, where they learn nothing but folly and extravagance." english laces were not included in the prohibition. in 1763, that "neat shop near the stinking style, in the lukenbooths," held by mr. james baillie, advertises "trollies, english laces, and pearl edgings." four years later, black silk lace and guipure are added to the stock, "mennuet," and very cheap bone lace.[1210] great efforts, and with success, were made for the improvement of the thread manufacture, for the purchase of which article at lille £200,000 were annually sent from scotland to france. badly-spun yarn was seized and burned by the stamp master; of this we have frequent mention.[1211] peuchet, speaking of scotland, says:--"il s'est formé près d'edinbourg une manufacture de fil de dentelle. on prétend que le fil de cette manufacture sert à faire des dentelles qui non-seulement égalent en beauté celles qui sont fabriquées avec le fil de l'étranger, mais encore les surpassent en durée. cet avantage serait d'autant plus grand que l'importation de ce fil de l'étranger occasionne aux habitans de ce royaume une perte annuelle de £100,000."[1212] whether about the year 1775 any change had taken place in the legislation of the customs of scotland, and they had become regulated by english law, we cannot say, but suddenly constant advertisements of brussels lace and fine point appear in the _gazette_, and this at the very time loch {433}was doing his best to stir up once more scotch patriotism with regard to manufactures.[1213] the scotch foresters set the example at their meeting in 1766, and then--we hear nothing more on the matter. the _weekly magazine_ of 1776 strongly recommends the art of lace-making as one calculated to flourish in scotland, young girls beginning to learn at eight years of age, adding: "the directors of the hospital of glasgow have already sent twenty-three girls to be taught by madame puteau,[1214] a native of lisle, now residing at renfrew; you will find the lace of renfrew cheaper, as good and as neat as those imported from brussels, lisle, and antwerp." david loch also mentions the success of the young glasgow lace-makers, who made lace, he says, from 10d. to 4s. 6d. per yard. he adds: "it is a pleasure to see them at work. i saw them ten days ago." he recommends the managers of the workhouse of the canongate to adopt the same plan: adding, they need not send to glasgow for teachers, as there are plenty at the orphan hospital at edinburgh capable of undertaking the office. of the lace fabricated at glasgow we know nothing, save from an advertisement in the _caledonian mercury_ of 1778, where one william smith, "lace-maker," at the greenhead, glasgow, informs the public he has for some years "made and bleached candlewicks." anderson and loch did not agree on the subject of lace-making, the former considering it an unstable fabric, too easily affected by the caprices of fashion.[1215] {434}be that as it may, the manufacture of thread for lace alone employed five hundred machines, each machine occupying thirty-six persons: the value of the thread produced annually £175,000. loch adds, that in consequence of the cheapness of provisions, scotland, as a country, is better adapted to lace-making than england. in consequence of loch's remarks, his majesty's board of trustees for the fisheries and manufactures, after asking a number of questions, determined to give proper encouragement and have mistresses for teaching the different kinds of lace made in england and france, and oblige them to take girls of the poorer class, some from the hospitals, and the mistress for five years to have the benefit of their work. a girl might earn from 10d. to 1s. per day. they gave a salary to an experienced person from lisle for the purpose of teaching the making of thread; his wife to instruct in lace-making. with the records of 1788 end all mention of lace-making in scotland.[1216] {435}chapter xxxv. ireland. "the undoubted aptitude for lace-making of the women of ireland."--_juror's report, international exhibition._ 1862. "it is peculiarly interesting to note the various foreign influences which have done their part in the creation of irish lace. italian and flemish, greek, french and english, all have lent their aid."--a. loyd. _the queen_, feb. 6th, 1897. little is known of the early state of manufactures in ireland, save that the art of needlework was held in high estimation. by the sumptuary laws of king mogha nuadhad, killed at the battle of maylean, a.d. 192, we learn that the value of a queen's raiment, should she bring a suitable dowry, ought to amount to the cost of six cows; but of what the said raiment consisted history is dark. the same record, however, informs us that the price of a mantle, wrought with the needle, should be "a young bullock or steer."[1217] this hooded mantle is described by giraldus cambrensis as composed of various pieces of cloth, striped, and worked in squares by the needle; maybe a species of cut-work. morgan, who wrote in 1588, declares the saffron-tinted shirts of the irish to contain from twenty to thirty ells of linen. no wonder they are described- "with pleates on pleates they pleated are, as thick as pleates may lie."[1218] it was in such guise the irish appeared at court before queen elizabeth,[1219] and from them the yellow starch of mrs. turner may have derived its origin. the irish, however, {436}produced the dye not from saffron, but from a lichen gathered on the rocks. be that as it may, the government prohibited its use, and the shirts were reduced in quantity to six ells,[1220] for the making of which "new-fangled pair of gally-cushes," _i.e._, english shirts, as we find by the corporation book of kilkenny (1537), eighteenpence was charged if done with silk or cut-work. ninepence extra was charged for every ounce of silk worked in. an irish smock wrought with silk and gold was considered an object worthy of a king's wardrobe, as the inventory of king edward iv.[1221] attests:--"item, one irishe smocke wrought with gold and silke." the rebellion at an end, a friendly intercourse, as regards fashion, was kept up between the english and the irish. the ruff of geometric design, falling band, and cravat of flanders lace, all appeared in due succession. the irish, always lovers of pomp and show, early used lace at the interments of the great, as appears from an anecdote related in a letter of mr. o'halloran:--"the late lord glandore told me," he writes, "that when a boy, under a spacious tomb in the ruined monastery at his seat, ardfert abbey (co. kerry), he perceived something white. he drew it forth, and it proved to be a shroud of flanders lace, the covering of some person long deceased." in the beginning of the eighteenth century a patriotic feeling arose among the irish, who joined hand in hand to encourage the productions of their own country. swift was among the first to support the movement, and in a prologue he composed, in 1721, to a play acted for the benefit of the irish weavers, he says:- "since waiting-women, like exacting jades, hold up the prices of their old brocades, we'll dress in manufactures made at home." plate xc. [illustration: irish, youghal.--needle-point fan mount, made at the presentation convent, youghal, for h.r.h. princess maud of wales on her marriage, 1896. width in centre 8½ in. photo in victoria and albert museum.] _to face page 436._ {437}shortly afterwards, at a meeting, he proposed the following resolution:-"that the ladies wear irish manufactures. there is brought annually into this kingdom near £90,000 worth of silk, whereof the greater part is manufactured; £30,000 more is expended in muslin, holland, cambric, and calico. what the price of lace amounts to is not easy to be collected from the custom-house book, being a kind of goods that, taking up little room, is easily run; but, considering the prodigious price of a woman's head-dress at ten, twelve, twenty pounds a yard, it must be very great." though a club of patriots had been formed in ireland since the beginning of the eighteenth century, called the dublin society, they were not incorporated by charter until the year 1749; hence many of their records are lost, and we are unable to ascertain the precise period at which they took upon themselves the encouragement of the bone lace trade in ireland. from their _transactions_ we learn that, so early as the year 1743, the annual value of the bone lace manufactured by the children of the workhouses of the city of dublin amounted to £164 14s. 10½d.[1222] in consequence of this success, the society ordain that £34 2s. 6d. be given to the lady arabella denny to distribute among the children, for their encouragement in making bone lace. indeed, to such a pitch were the productions of the needle already brought in ireland, that in the same year, 1743, the dublin society gave robert baker, of rollin street, dublin, a prize of £10 for his imitation of brussels lace ruffles, which are described as being most exquisite both in design and workmanship. this brussels lace of irish growth was much prized by the patriots.[1223] from this time the dublin society acted under their good genius, the lady arabella denny. the prizes they awarded were liberal, and success attended their efforts. in 1755 we find a prize of £2 15s. 6d. awarded to {438}susanna hunt, of fishamble street, aged eleven, for a piece of lace most extraordinarily well wrought. miss elinor brereton, of raheenduff, queen's county, for the best imitation of brussels lace with the needle, £7. on the same occasion miss martha m'cullow, of cork bridge, gains the prize of £5 for "dresden point." miss mary gibson has £2 for "cheyne lace,"[1224] of which we have scarcely heard mention since the days of queen elizabeth. bone lace had never in any quantity been imported from england. in 1703 but 2,333 yards, valuing only £116 13s., or 1s. per yard, passed through the irish custom house. ireland, like the rest of the united kingdom, received her points either from france or flanders. the thread used in the irish fabric was derived from hamburg, of which, in 1765, 2,573 lbs. were imported. it was in this same year the irish club of young gentlemen refused, by unanimous consent, to toast or consider beautiful any lady who should wear french lace or indulge in foreign fopperies. during the two succeeding years the lace of various kinds exhibited by the workhouse children was greatly approved of, and the thanks of the society offered to the lady arabella denny.[1225] prizes given to the children, to the amount of £34 2s. 6d.; the same for bone lace made by other manufacturers; and one half the sum is also to be applied to "thread lace made with knitting needles." a certain mrs. rachel armstrong, of inistioge (co. kilkenny), is also awarded a prize of £11 7s. 6d. "for having caused a considerable quantity of bone lace to be made by girls whom she has instructed and employed in the work." among the premiums granted to "poor gentlewomen" we find: to miss jane knox, for an apron of elegant pattern and curiously wrought, £6 16s. 6d., and silver medals to two ladies who, we suppose, are above {439}receiving money as a reward. the society recommend that the bone lace made be exposed for sale in the warehouses of the irish silk company. in consequence of the emulation excited among all classes, advertisements appear in the _dublin news_ of ladies "very capable of instructing young misses in fine lace-making, needlework point, broderie en tambour, all in the genteelest taste." lady arabella stood not alone as a patroness of the art. in 1770 we read how "a considerable quantity of bone lace of extraordinary fineness and elegance of pattern, made at castlebar in the co. of mayo, being produced to the society, and it appearing that the manufacture of bone lace was founded, and is at present supported there by lady bingham, it was ordered that the sum of £25 be paid into the hands of her ladyship, to be disposed of in such encouragements as she shall judge will most effectually conduce to the carrying on and improvement of the said manufacture at castlebar." the thanks of the society are at the same time voted to her ladyship. in consequence of the large quantity fabricated, after the lapse of a few years the society, in 1773, found themselves compelled to put some bounds to their liberality. no prizes are given for any lace exhibited at less than 11s. 4½d. the yard, and that only to those not resident in the city of dublin or within five miles of it. twenty per cent. will be given on the value of the lace, provided it shall not exceed £500 in value. the society do not, however, withdraw the annual premium of £30 for the products of the "famishing children" of the city of dublin workhouse,[1226] always directed by the indefatigable lady arabella denny.[1227] from that period we hear no more of the dublin society and its prizes awarded for point, dresden, brussels, or bone lace. the manufacture of gold and silver lace having met with considerable success, the irish parliament, in 1778, gave it their protection by passing an act prohibiting the entry of all such commodities either from england or foreign parts. {440}and now for forty years and more history is silent on the subject of lace-making by the "famishing children" of the emerald isle.[1228] no existing irish lace industry is as old as the appliqué lace which has been made in the neighbourhood of carrickmacross since the year 1820. the process of its manufacture is simple enough, for the pattern is cut from cambric and applied to net with point stitches. many accounts have been given of its origin. some assign its genesis to india or to persia, while the florentine historian, vasari, claims the artist botticelli as its inventor. in any case, there can be no doubt that vast quantities were produced in italy from the thirteenth to the seventeenth centuries. such a specimen it was that mrs. grey porter, wife of the then rector of dunnamoyne, taught her servant, anne steadman, to copy, and also spread the art amongst the peasant women in the neighbourhood with such success that miss reid, of rahans, gathered together the young women round culloville and taught them to make lace on the same model. the girls flocked in from the surrounding districts to learn the work. it was, however, only dependent on private orders, and gradually suffered from over-production, and threatened to die out, until it was revived after the great famine of 1846. by mr. tristram kennedy, the manager of the bath estate, and captain morant, the agent of the shirley estate, a vacant house was turned into a school, and this gave rise to the bath and shirley school, which has done so much to hand down this industry to the present day. some samples of brussels and guipure lace were brought to the school, where the teacher had them remodelled and placed in the hands of the best workers: and carrickmacross became identified with some of the finest "guipure" that ireland has produced.[1229] in the year 1829 the manufacture of limerick tambour lace was first established in ireland. tambour work is of eastern origin, and was known in china, persia, india and {441}turkey long before it spread to the united kingdom. this work is still extensively carried on in the east, where it is much appreciated for its varied colours, as well as the labour expended upon it. until the middle of the last century, tambour lace was unknown in europe, with the exception of turkey. it was about that time it was introduced into saxony and switzerland, but the knowledge of the art of making the lace did not reach england until 1820. lace, in the strictest sense of the word, it cannot be termed. it is called tambour from the fact that the frame on which it is worked bears some resemblance to a drum-head or tambourine. on this is stretched a piece of brussels or nottingham net. a floss thread or cotton is then drawn by a hooked or tambour needle through the meshes of the net, and the design formed from a paper drawing which is placed before the worker. _run_ lace is of a finer and lighter character. the pattern is formed on the net with finer thread, which is not drawn in with the tambour, but run in with the point needle. (this description of lace was made in nottinghamshire during the eighteenth century, and appears to have been copied from foreign designs, chiefly from those of lille.) it came into fashion after nottingham machine net had made the work possible, and is still called by old people nottingham lace. this fabric was first introduced into ireland by one charles walker,[1230] a native of oxfordshire, who brought over twenty-four girls as teachers, and commenced manufacturing at a place in limerick called mount kennet. his goods were made entirely for one house in st. paul's churchyard, until that house became bankrupt in 1834, after which a traveller was sent through england, scotland and ireland to take orders. her excellency lady normanby, wife of the lord lieutenant, gave great encouragement to the fabric, causing dresses to be made, not only for herself, but also for her majesty the queen of the {442}belgians, and the grand duchess of baden. the subsequent history of limerick laces bears a close resemblance to that of the other irish lace industries. mr. charles walker died in 1842. many of his workers returned to england;[1231] the stimulus of constant supervision was gone; old designs deteriorated from inferior copying, and new designs were not forthcoming. it was mainly due to the convent of the good shepherd that this lace industry was saved from absolute extinction. mrs. r. v. o'brien has, however, done valuable service in its revival by her energy in establishing and maintaining the limerick lace training school, which may be said to owe its origin to a lecture delivered by mr. alan s. cole at the limerick chamber of commerce in september, 1888, where photographs of ancient and modern lace and a loan collection of limerick lace was shown. in this collection the work of the early days of limerick, when the design was of the highest order, was contrasted with the more modern specimens.[1232] the first attempt to adapt the point de venise to the necessities of the irish people was made at tynan, in co. armagh, on the borders of tyrone. mrs. maclean, the wife of the rev. william maclean, then rector of the parish, was the owner of some old point de venise, and she resolved to turn her collection to some practical use. the lace was examined and re-examined, until the secret workings underlying every stitch, every picot, every filling, and every relief, had been grasped and understood. steps were taken in 1849 to teach the people this industry, and by 1851 a handsome flounce was ready, which was purchased by lord john george beresford, then archbishop of armagh and primate of ireland. it was exhibited at the great exhibition of that year in london, and attracted a large amount of attention, and brought many orders in its train. the business was thus considerably extended and enlarged, and the primate and his nieces, mrs. eden and mrs. dunbar, did all they could to promote the sale of the work. the good fortune and prosperity of tynan was, however, but of a temporary character. the rev. william maclean died in 1865, and, with his death, the local industry died out from want of supervision and organisation. plate xci. [illustration: irish, carrickmacross. insertion and border of appliqué lace, made at the bath and shirley schools. end of nineteenth century. width of insertion, 6 in.; border, 9¼ in. victoria and albert museum.] plate xcii. [illustration: irish. limerick lace. tambour embroidery on net, made at kinsale. end of nineteenth century. width, 17 in. victoria and albert museum.] _to face page 442._ {443}irish point[1233] also owes its genesis to the failure of the potato crop in 1846, and its original inspiration was given by a piece of point de milan which fell into the hands of mother mary ann smith, of the presentation convent at youghal, co. cork. she there conceived the idea of setting up an industry for the children attending the convent school. she studied the lace which had come into her possession, examined the process by which it had been made, unravelled the threads one by one, and at last succeeded in mastering its many details. she then selected some of the convent children who had shown a taste for fine needlework, and taught them separately what she herself learned. the convent school was opened in 1852. the main characteristic of this lace is that it is worked entirely with the needle. though irish point lace owes its origin to youghal convent, its workers have done much to spread their art in other parts of ireland, and in few districts more effectually than in the neighbourhood of kenmare, co. kerry, where the late mother abbess o'hagan introduced the industry into the convent of the poor clares in 1861. the work is {444}based upon the same lines, though the kenmare work claims as its speciality that it is entirely worked in linen thread, while at youghal cotton is occasionally used. the convent of the poor clares devote themselves chiefly to the production of flat point, appliqué, and guipure laces. many other convents and lace centres in ireland have had their teachers from youghal and kenmare. flat point has been made for fifty years under the supervision of the carmelite convent at new ross, co. wexford, though the workers are now better known for their adaptation of venetian rose point and the perfection to which they have brought their crochet than for their plain irish point. for the first ten years the carmelite nuns confined their attention to cut-work, flat point, and net lace. as the workers grew more expert, a heavy rose point was introduced. this style proved too heavy for the fashion; hence it was that, in 1865, the nuns turned their attention to finer work. it was about that time that a travelling jewish pedlar called at the convent with a miscellaneous assortment of antique vestments, old books, and other curiosities, among which were some broken pieces of old rose point lace. the then prioress, the late mother augustine dalton, purchased the specimens from the jew, as she realised that they would give her the opportunity she wanted of varying the quality of the lace, and making the design finer and lighter in the future than it had been in the past. for weeks and for months she devoted herself to the task of ripping up portions, stitch by stitch, until she had mastered every detail. from this time dates the production of that fine rose point for which the convent at new ross has deservedly earned so high a reputation. this rose point has gone on increasing in fineness of quality and in beauty of design. the defects in the earlier specimens were mainly due to the want of artistic culture in the girls, who could neither appreciate nor render the graceful sweeps and curves, nor the branching stems. irish crochet is another widespread national industry. its main centres have been cork in the south and monaghan in the north of ireland. the industry can be traced as far back as 1845, when the sisters of the ursuline convent at blackrock, co. cork, received £90 for the work done by the poor children in their schools. it may indeed be said that {445}the growth of this great industry spread from this centre; so much so, that within the space of a few years it formed part of the educational system of almost every convent in the land, and spread from the southern shores of co. cork to wexford, to monaghan and to sligo. cork city was itself the natural centre of the industry, which extended so far and wide through the country that some thirty years ago there were no less than 12,000 women in the neighbourhood of cork engaged in making crochet, lace collars, and edgings after spanish and venetian patterns. on the outbreak of the franco-german war a further impetus was given to the industry, when the supply of continental laces was cut off. several years of unique prosperity followed, until the competition of the machine-made work of nottingham and switzerland ousted the irish crochet from the market. at the present there has been a reaction against the usurpation by machinery of the place that art ought to occupy, and the cork work is now once more coming to the fore. as cork has been the centre on the south, so is clones in the north, and yet the industry which has for so many years done so much for the people of monaghan owes its origin to the philanthropic efforts of mrs. w. c. roberts, of thornton, co. kildare, who helped the poor to ward off the worst attacks of the famine of 1847 by the production of guipure and point de venise crochet. after a few years of prosperity, the industry languished and disappeared from the neighbourhood, but twenty-four of the best-trained and most efficient of mrs. roberts's workers were sent out to other centres. one of these came to mrs. hand, the wife of the then rector of clones. this parish is the biggest in the county, and the poor from the surrounding mountains flocked down to learn the crochet; and knotted and lifted as well as ordinary guipure, greek and spanish, and also jesuit lace[1234] has been produced with the crochet-needle in clones, which still continues to be the most important centre of the industry. at the killarney presentation convent at newton barry,[1235] and cappoquin, drawn linen work in the style of {446}the italian reticella, and at parsonstown pillow laces of the same character as honiton are made. in ardee, a novel lace is made with braid and cord.[1236] the rose point lace is often called "innishmacsaint" from the village in the county of fermanagh where the industry was transplanted on the death of the rev. w. maclean, of tynan, by his daughter, who went to live with her sister, mrs. george tottenham, the wife of the rector. what was tynan's misfortune proved a boon to innishmacsaint, and it became the chief centre of the irish rose point industry. both the heavier and finer kinds are made there. as at tynan, the art of making the lace has been learnt by the unravelling and close examination of venetian point. as in english work, some of the irish is spoilt by the woolly cotton thread. foreign lace likewise in these days suffers from the same fault. the workmanship at the present time can be so good that every effort ought to be made to use only fine silky linen thread. in ireland, where flax can be grown, there should be no excuse for employing any other. plate xciii. [illustration: irish. crochet lace.--end of nineteenth century. width of cuff, 5 in.; length of plastron, 12 in. victoria and albert museum.] _to face page 446._ {447}chapter xxxvi. bobbin net and machine-made lace. [illustration: fig. 162. arms of the frame-work knitters' company.] bobbin net. a sketch of the history of lace would be incomplete without a few words on bobbin net and machine lace, manufactures which have risen to so much importance both in england and france, and have placed lace within the reach of all classes of society. the subject has been so ably treated by mr. felkin that we refer our readers to his excellent work for its full history.[1237] this manufacture has its epochs:-1768. net first made by machinery. 1809. invention of bobbin net. 1837. the jacquard system applied to the bobbin net machine. it has been already told how barbara uttmann made a plain thread net in germany three centuries before any attempt was made to produce it by machinery.[1238] this invention is usually assigned to hammond, a stocking framework knitter of nottingham, who, examining one day the broad lace on his wife's cap, thought he could {448}apply his machine to the production of a similar article.[1239] his attempt so far succeeded that, by means of the stocking-frame invented the previous century,[1240] he produced, 1768, not lace, but a kind of knitting, of running loops or stitches, like that afterwards known as "brussels ground." in 1777, else and harvey introduced at nottingham the "pin" or point net machine, so named because made on sharp pins or points. "point net" was afterwards improved, and the "barleycorn" introduced: "square" and "spider net" appear in succession. but with all these improvements machinery had not yet arrived at producing a solid net, it was still only knitting, a single thread passing from one end of the frame to the other; and if a thread broke the work was unravelled; the threads, therefore, required to be gummed together, to give stiffness and solidity to the net. to remedy this evil, the warp or chain machine was invented, uniting the knitter's and the weaver's mechanism. vandyke,[1241] a flemish workman, and three englishmen dispute the invention. this new machine was again improved and made "mechlin net," from which the machine took its name. for forty years from hammond's first attempt on the stocking-frame, endless efforts were made to arrive at imitating the ground of pillow lace, and there are few manufactures in which so much capital has been expended, and so much invention called forth. each projector fancied {449}he had discovered the true stitch, and patents after patents were taken out, resulting mostly in disappointment. the machine for making "bobbin" net was invented by john heathcoat, son of a farmer at longwhatton (leicestershire). after serving his apprenticeship he settled at nottingham, and while occupied in putting together stocking and net machines, gave his attention to improving the mechlin net frame.[1242] in 1809, in conjunction with mr. lacy, he took out a patent for fourteen years for his new and highly ingenious bobbin net machine, which he called old loughborough, after the town to which he then removed. "bobbin net" was so named because the threads are wound upon bobbins.[1243] it was "twisted" instead of "looped" net. heathcoat began by making net little more than an inch in width,[1244] and afterwards succeeded in producing it a yard wide. there are now machines which make it three yards and a half in width.[1245] in 1811 that vandal association called the luddites[1246] entered his manufactory and destroyed twenty-seven of his machines, of the value of £8,000. indignant at their conduct he removed to tiverton,[1247] in devonshire. {450}in 1818 the first power machines were put to work, and the year 1823 is memorable for the "bobbin net fever." mr. heathcoat's patent having expired, all nottingham went mad. everyone wished to make bobbin net. numerous individuals, clergymen, lawyers, doctors, and others, readily embarked capital in so tempting a speculation. prices fell in proportion as production increased; but the demand was immense, and the nottingham lace frame became the organ of general supply, rivalling and supplanting in plain nets the most finished productions of france and the netherlands.[1248] dr. ure says: "it was no uncommon thing for an artisan to leave his usual calling and betake himself to a lace frame, of which he was part proprietor, and realize, by working upon it, twenty, thirty, nay, even forty shillings a day. in consequence of such wonderful gains, nottingham, with loughborough and the adjoining villages, became the scene of an epidemic mania. many, though nearly void of mechanical genius or the constructive talent, tormented themselves night and day with projects of bobbins, pushers, lockers, point-bars, and needles of every various form, till their minds got permanently bewildered. several lost their senses altogether, and some, after cherishing visions of wealth as in the olden time of alchemy, finding their schemes abortive, sank into despair and committed suicide." such is the history of the bobbin net[1249] invention in england.[1250] {451}we now pass on to france. "to the great trading nation, to the great manufacturing nation, no progress which any portion of the human race can make in knowledge, in taste for the conveniences of life, or in the wealth by which these conveniences are produced, can be matter of indifference."--macaulay. since the failure[1251] of lee, in 1610, to introduce the stocking-frame into france, that country remained ignorant of a manufacture which was daily progressing in england, on whom she was dependent for stockings and for net. in 1778 caillen attempted a kind of net "tricot dentelle," for which he obtained a gratuity from the academy of £40, but his method did not succeed; it was, like the first efforts of our countrymen, only knitting. in 1784 louis xvi. sent the duke de liancourt to england to study the improvements in the stocking and net machinery, and to bring back a frame. he was accompanied by rhumbolt, who worked in a manufactory at nottingham, and having acquired the art, returned to france. monarchy had fallen, but the french republic, 1793-4, granted rhumbolt the sum of 110,000 francs (£4,400). the machine he brought with him was the point net.[1252] the cessation of all commercial intercourse prevented france from keeping pace with the improvements making in england; yet, singularly enough, at the beginning of the nineteenth century more net was manufactured in france than in england. at the time of the peace of amiens (1802) there were 2,000 frames in lyons and nîmes, while there were scarcely 1,200 in england; but the superiority of the english net was incontestable, so, to protect the national manufacture, napoleon prohibited the importation. this of course increased its demand; the net was in request in proportion as it was prohibited. the best mart for nottingham was the french market, so the nottingham net trade took every means to pass their produce into france. {452}hayne, one of the proprietors of the "barley-corn" net, had gone to paris to make arrangements for smuggling it over, when the war broke out, and he was detained. napoleon proposed that he should set up a machine in france; but he preferred continuing his illicit trade, which he carried on with great success until 1809, when his own agent informed against him, his goods were seized and burned, and having in one seizure lost £60,000 (1,500,000 fr.), he was completely ruined, and fled to england.[1253] the french manufacturers took out various patents for the improvement of their "mechlin" machines, and one was taken, in 1809, for making a crossed net called "fond de glace"; but the same year heathcoat producing the bobbin net machine, the inventors could not sustain the competition. every attempt was made to get over bobbin net machines; but the export of english machinery was punished by transportation, and the nottingham manufacturers established at their own expense a line of surveillance to prevent the bobbin net machines from going out. in spite of all these precautions, cutts, an old workman of heathcoat's, contrived to elude their vigilance, and, in 1815, to import a machine to valenciennes, whence he removed it to douai, where he entered into partnership with m. thomassin. in 1816 they produced the first bobbin net dress made in france. it was embroidered by hand by a workwoman of douai, and presented by the makers to the duchesse d'angoulême. about the end of the year 1816 james clark introduced a machine into calais, which he passed in pieces by means of some french sailors. these two were the first bobbin net machines set up in france. it is not within our limits to follow the calais lace manufacturers through their progress; suffice it to say that it was in 1817 that the first bobbin net machine worked, concealed from all eyes, at saint-pierre-lez-calais, now, if not the rival of nottingham, at least the great {453}centre of the bobbin net and machinery lace manufactures in france.[1254] st. quentin, douai, cambrai, rouen, caen, have all in turn been the seats of the tulle manufacture. some of these fabrics are extinct; the others have a very limited trade compared with saint-pierre and lyons. at lyons silk net is mostly made.[1255] dating from 1791, various patents have been taken out for its manufacture. these silk nets were embroidered at condrieu (rhône), and were (the black especially for veils and mantles) much esteemed, particularly in spain. in 1825 the "tulle bobine grenadine," black and white, was brought out by m. doguin, who afterwards used the fine silks, and invented that popular material first called "zephyr," since "illusion." his son, in 1838, brought out the "tulle bruxelles." belgium. in 1834[1256] eight bobbin net machines were set up in brussels by mr. washer, for the purpose of making the double and triple twisted net, upon which the pillow flowers are sewn to produce the brussels application lace. mr. washer devoted himself exclusively to the making of the extra fine mesh, training up workmen specially to this minute work. in a few years he succeeded in excelling the english manufacture; and this net, universally known as "brussels net," has nearly superseded the expensive pillow ground, and has thereby materially decreased the price of brussels lace. it is made of english cotton, stated, in the specimens exhibited in 1867, as costing £44 per pound. {454}machinery lace. "qui sait si le métier à tulle ne sera pas un jour, en quelque sorte, un vrai coussin de dentellière, et les bobines de véritables fuseaux manoeuvrés par des mains mécaniques."--aubry, in 1851. if england boasts the invention of bobbin net, to france must be assigned the application of the jacquard system to the net-frame, and consequently the invention of machinery lace. shawls and large pieces in "run lace," as it is termed, had previously been made after this manner at nottingham and derby. the pattern proposed to be "run in" is printed by means of engraved wood blocks on the ground, which, if white, is of cotton; if black, of silk. the ground is stretched on a frame; the "lace-runner" places her left hand under the net, and with the right works the pattern. the filling up of the interior is termed either "fining" or "open-working," as the original meshes of the net are brought to a smaller or larger size by the needle.[1257] in 1820 symes, of nottingham, invented a pattern which he called "grecian" net. this was followed by the "spot," or "point d'esprit," and various other fancy nets--bullet-hole, tattings, and others. the jacquard system had been used at lyons with the mechlin frame in 1823-4 for making patterned net and embroidered blondes. this suggested the possibility of applying the jacquard cards to making lace, and in 1836 to 1838 mr. ferguson,[1258] by applying it to the circular bobbin net frame, brought out the black silk net called "dentelle de cambrai," an imitation of chantilly. the pattern was woven by the machine, the brodé or relief "run in." various patents[1259] were immediately taken out in england and france. nottingham and saint-pierre-lez-calais rival {455}each other in the variety of their productions. at the international exhibition of 1867 nottingham exhibited spanish laces, most faithful copies of the costly pillow-made barcelona; imitations of mechlin, the brodé and picot executed by hand; brussels needle-point; caen blondes, and valenciennes rivalling those of calais; also cluny and the black laces of chantilly and mirecourt. the french, by adopting what is technically termed eight "motives," produce their lace of a finer make and more complex pattern. the calais lace is an admirable copy of the square-grounded valenciennes, and is the staple trade of the manufacture. calais also produces blondes, black and white, silver and gold, the white nearly approaching in brilliancy and whiteness the famed productions of caen, which, by their cheapness, they have expelled from competition. she also imitates the woollen laces of le puy, together with black and white laces innumerable. "broadly speaking, lace-making by machinery is more nearly like the pillow lace-making process than that of needle-point. the machine continues to twist any desired threads around one another. in pillow lace-making, besides twisting, we have plaiting, and this plaiting has not been reproduced by the majority of lace machines. quite recently, however, a french machine, called the 'dentellière,' has been invented to do the plaiting. a description of this machine has been published in _la nature_ (march 3rd, 1881). "whilst the ordinary lace-making machine belongs to the family of weaving machines, the dentellière more nearly resembles the pillow of a lace-worker with the threads arranged over the pillow. in general appearance it looks something like a large semicircular frame-work of iron--with thousands of threads from the outer semicircle converging to the centre, representing the table or pillow. over this central table is the apparatus which holds the end threads side by side, and which regulates the plaiting of them. the cost of producing lace in this manner is said to be greater at present than by hand."[1260] {456}almost every description of lace is now fabricated by machinery;[1261] and it is often no easy task, even for a practised eye, to detect the difference. still, we must ever be of opinion that the most finished productions of the frame never possess the touch, the finish, or the beauty of the laces made by hand. the invention of machine-made lace has this peculiarity--it has not diminished the demand for the finer fabrics of the pillow and the needle. on the contrary, the rich have sought more eagerly than ever the exquisite works of brussels and alençon, since machinery has brought the wearing of lace within the reach of all classes of society. [illustration: fig. 163. the lagetta, or lace-bark tree.] the inner bark of the lagetta, or lace-bark tree[1262] of jamaica, may be separated into thin layers, and then into distinct meshes, bearing some resemblance to lace (fig. 163). of this material a cravat and ruffles were presented to king charles ii. by the governor of jamaica; and at the exhibition of 1851 a dress of the same fibre was presented to queen victoria, which her majesty was graciously pleased to accept. {457}caterpillars have been made to spin lace veils by the ingenious contrivance of a gentleman of munich.[1263] these veils are not strong, but surprisingly light--one, a yard square, would scarcely weigh five grains, whilst a patent net veil of the same size weighs 262. asbestos has also been woven into lace: and a specimen of this mineral lace is, we have been told, in the cabinet of natural history at the garden of plants, paris. {459}appendix. _the notes marked with an * show that the works referred to have been examined by the author._[1264] 1. [sidenote: 1527. _cologne. p. quentell._] eyn new kunstlich boich, dair yn. c. vnd. xxxviij. figuren, monster ad' stalen befonden, wie man na der rechter art, lauffer werck, spansche stich, mit der nälen, vort vp der ramen, vnd vp der laden, borden wirckenn sall, wilche stalen all etzo samen verbessert synt, vnd vyl kunstlicher gemacht, d[=a] dye eirsten, &c. sere nutzlich allen wapen sticker, frauwen, ionfferen, vnd met ger, dair uns solch kunst lichtlich tzu leren. d gedruckt tzu collen vp dem doemhoff dwrch peter quentell. anno. m. d. xxxvjj.[1265] small 8vo, 22 ff., 42 plates. title in gothic letters; beneath, woodcuts representing women at work. on the back of the leaf, a large escutcheon, the three crowns of cologne in chief; supporters, a lion and a griffin. below, "o foelix colonia. 1527." the patterns consist of mediæval and arabesque borders, alphabets, etc., some on white, others on black grounds. some with counted stitches. quentell refers to a previous edition. brunet and the marquis d'adda mention a copy, 1529, with the portrait of charles v., and a second edition 1532. 2. [sidenote: 1527. _cologne. p. quinty._] liure noveau et subtil touchant lart et sci[=e]ce tant de brouderie fronssures, tapisseries c[=o]me aultres mestiers qu[=o] fait alesguille, soit au petit mestier, aultelisse ou sur toille clere, tresvtile et necessaire a toutes, gens usans des mestiers et ars {460}dessuld, ou semblables, ou il y ha c. et. xxxviij patrons de diuers ouvraiges faich per art et proportion. en primere a culoge (cologne) par matrepiere quinty demor[=a]t denpre leglie de iii roies.[1266] the same cut as the preceding, with the arms of cologne, which seems to have been engraved for a great bible printed by quentell, in 1527, and is no guide for the date. figs. 164, 165. [illustration: fig. 164. metre p. quinty.--cologne, 1527.] [illustration: fig. 165. metre p. quinty.--cologne, 1527.] 3. [sidenote: 1530. _venice. a. taglienti_] opera nuova che insegna a le d[=o]ne a cuscire: a racc[=a]mare: e a disegnar a ciascuno: et la ditta opera sara di grande utilita ad ogni artista: per esser il disegno ad ogniuno necessario: la qual e ititolata esempio di rac[=a]mi.[1267] 4to, 23 ff., 36 plates. title in red gothic letters; beneath four woodcuts representing women at work. two pages of dedication to the ladies, by giovanni antonio taglienti, in which he says his book is for the instruction of each "valorosa donna & tutte altre donzelle, con gli huomini insieme & fanciulli, liquali si dilettarano de imparar a disegnar, cuscir, & raccammar." {461}then follows a most miscellaneous collection of what he terms, in his dedication, "fregi, frisi, tondi maravigliosi, groppi moreschi et arabeschi, ucelli volanti, fiori, lettere antique, maiuscoli, & le francesche," etc., three pages very much like the pictures in a child's spelling book, rounds (tondi) for cushions, and two pages representing hearts and scrolls; hearts transfixed, one with an arrow, another with a sword, a third torn open by two hands, motto on the scroll:- "la virtù, al huomo sempre li resta nè morte nol pò privar di questa." on the other page hearts transfixed by two arrows, with two eyes above: "occhi piangete accompagnete il core. inclita virtus." then follow six pages of instructions, from which we learn the various stitches in which these wonderful patterns may be executed, "damaschino, rilevato, a filo, sopra punto, ingaseato, ciprioto, croceato, pugliese, scritto, incroceato, in aere, fatto su la rate, a magliata, desfilato, & di racammo," to be sewn in various coloured silks, gold and silver thread, or black silk, for "collari di huomo & di donna, camisciole con pettorali, frisi di contorni di letti, entemelle di cuscini, frisi di alcun boccassino, & scufie," etc. on the last page, "stampa in vineggia per giovan antonio tagliente & i fratelli de sabbio. 1530." brunet gives an edition dated 1528. 4. [sidenote: 1530. _paris f. pelegrin._] la fleur de la science de pourtraicture et patrons de broderie. facon arabicque, et ytalique. cum priviligio regis. frontispiece. title in gothic letters. a large figure of sol (?), with a yoke, his feet chained, a ball, maybe the earth, at the end of the chain. in one hand he holds a scroll with the legend, "exitus acta probat." privilege of "francoys par la grace de dieu roy de france," to "francisque pelegrin de florence," to publish "ung livre de fueillages, entrelatz et ouvraiges moresques, et damasquins," for six years. "d[=o]ne a bordeaulx le xvii. jour de juing. l'an de grace mil cinq cens tr[=e]te et de nostre regne le seiziesme." ce present livre a este imprime a paris par jaques nyverd. le iv. jour daoust. lan de grace mil cinq c[=e]s xxx. pour noble h[=o]me messire francisque pelegrin de florence. on les vend a paris en la grant rue sainct anthoyne devant les tournelles. au logis de monseigneur le comte de carpes. par messire fr[=a]cisque pelegrin de florence.[1268] small fol., 62 ff., 58 plates, consisting of graceful moresque patterns, no animals or natural objects represented. at plate 33, surrounded by arabesques, is an n, the initial of the printer. 5. [sidenote: 1529. _venice. n. zoppino._] esemplario di lavori: dove le tenere fanciulle & altre donne nobile potranno facilment imparare il modo & ordine di lavorare, cusire, racamare, & finalmente far tutte quelle gentillezze & lodevoli opere, le quali pò fare una donna virtuosa con laco in {462}mano, con li suoi compasse & misure. vinezia, per nicolo d'aristotile detto zoppino mdxxix. 8vo.[1269] 46 plates. the cav^{re} merli quotes another edition, date 1530, in the possession of the avvocato francesco pianesani, and another he believes of 1529. 6. [sidenote: 1532. _venice. n. zoppino._] convivio delle belle donne, dove con li. nuovi raccami, &c. in fine: finisce il convivio delle, &c. nuovamente stampato in vinegia, per nicolo d'aristotile, detto zoppino del mese d'agosto. mdxxxii. in 4to, ff. 24.[1270] 7. [sidenote: 1537. _venice. n. zoppino._] gli universali de i belli recami antichi, et moderni, ne i quali un pellegrino ingegno, si di huomo come di donna potra in questa nostra eta con l'ago vertuosamente esercitar si. non ancora da alcuni dati altri inluce. frontispiece, two ladies at work; dedication to "gli virtuosi giovani et gentilissime fanciulle." at the end styles himself "nicolo d'aristotile detto zoppino." march, 1537. in 4to, ff. 25, printed on both sides.[1271] 8. [sidenote: 1534. _augsburg. schartzemberger._] ain new formbüchlin bin ich gnandt allen künstlern noch unbekandt sih mich (lieber kauffer) recht an, findst drefftlich in diser kunff stan sch[=o]n gschnierlet, geböglet, auf gladt, und gold, auch sch[=o]n von premen stadt, es gibt dir ain prem unb ain kledyt. wenn mans recht aussainander schneydt, das kanst schneyden auss der ellen, von samat, seyden, wie manss wolle, ich mag braucht wern in allem landt, wen man mich ers[=u]cht mit verstandt. (at the end.) gedruckt in der kaiserlichen riechstatt, augspurg, durch johan schartzemberger. fomschneyder. 1534.[1272] small obl., 20 ff., 38 plates. frontispiece. title in black gothic letters, at the foot three subjects of women at work, printed in red. the patterns, consisting of graceful arabesque borders, are also in red (figs. 166, 167, 168). [illustration: fig. 166. pattern book.--augsburg, 1534.] [illustration: fig. 167. pattern book.--augsburg, 1534.] _to face page 462._ {463}[illustration: fig. 168. augsburg. 1534.] 9. [sidenote: _n. d. antwerp. w. vorsterman._] a neawe treatys: as c[=o]cernynge the excellency of the nedle worcke spânisshe stitche and weavynge in the frame, very necessary to al theym wiche desyre the perfect knowledge of seamstry, quiltinge and brodry worke, côteinynge an cxxxviij figures or tables, so playnli made & set tout in portrature, the whiche is difficyll; and natôly for crafts m[=e] but also for gentlewem[=e] & and iôge damosels that therein may obtayne greater conynge delyte and pleasure. these books be to sell at andwarp in the golden unycorne at will[=m] vorstermans. gheprent tot antwerpen in die camerstrate in den gulden eenhoren bey willem vorsterman.[1273] 8vo, 24 ff., 46 plates. title in gothic letters, with figures. p. 1, dorso: woodcut of a woman at work and a man sitting by her side. patterns mediæval, small black squares, arabesques, etc. vorsterman worked from 1514 to 1542.[1274] 10. [sidenote: 1542. _venice._] giardinetto novo di punti tagliati et gropposi, per exercitio et ornamento delle donne. ven. 1542, in 4to.[1275] {464}11. [sidenote: 1543. _venice._] esemplare che insegna alle donne el modo di cucire. venetia, 1543.[1276] 12. [sidenote: 1544. _venice._] il specchio di pensiere (_sic_), delle belle donne dove si vede varie sorti di punti, cioè, punti tagliati, gropposi, &c. venetia, 1544. in 4to.[1277] 13. [sidenote: 1544. _venice._] ornamento delle belle donne et virtuose: opere in cui troverai varie sorti di frisi con li quali si potra ornar ciascun donna. ven. 1544.[1278] 14. [sidenote: 1546. _paris. gormont._] le livre de moresques, tres utile et necessaire à tous orfevres, tailleurs, graveurs, painctres, tapissiers, brodeurs, lingieres et femmes qui besongnent de l'aiguille. paris. gormont, 1546. fig. en bois.[1279] 15. [sidenote: 1549. _lyon. p. de ste. lucie._] la fleur des patrons de lingerie, a deux endroitz, a point croise, a point couche, et a point picque, en fil dor, fil darg[=e]t, & fil de soye, ou aultre en quelque ouvraige que ce soit, en comprenant lart de broderie et tissuterie. imprimees a lyon, en la maison de pierre de saincte lucie (dict le prince, pres nostre dame de confort).[1280] (at the end.) imprimé à lyon par piarre de saincte lucie, dict le prince. 1549. 8vo, 12 ff., 21 plates. frontispiece. title in gothic letters, with woodcuts representing people at work. below, two women sitting at frames; above, two others; and between, a man with a frame in his hand. on each side a shield, one with crowned heart, on the other a lion, three fleurs de lys in chief. patterns mediæval. at the end, the device of the printer, a mountain, on the top of which is a city against which a youth is placing his hand: motto, "spero." at the foot of the mountain a cavern in which is seated a fury. this device is engraved no. 616 in silvestre, who gives 1530 to 1555 as the date of pierre de saincte lucie. {465}16. [sidenote: _n. d. lyon. p. de ste. lucie._] livre nouveau, dict patrons de lingerie, cest assavoir a deux endroitz, a point croise, point couche & point picque, en fil dor, dargent, de soye & autres, en quelque ouvrage que ce soit: comprenant lart de broderie & tissoterie. imprimees a lyon, chez pierre de saincte lucie, pres nostre dame de confort.[1281] 8vo, 24 ff., 44 plates. frontispiece. title in gothic letters; the same shields as the preceding; two women at work. patterns mediæval. at the end the same device. the copy of the arsenal is a different impression. instead of "imprimees," &c, we have, "on les vend," etc. 17. [sidenote: _n. d. lyon. p. de ste. lucia._] patrons de diverses manieres inventez tressubtilement duysans a brodeurs et lingieres et a ceusy lesquelz vrayement veullent par bon entendement user dantique, et roboesque, frize et moderne proprement, en comprenant aussi moresque. a tous massons, menuisiers, & verriers feront prouffit ces pourtraictz largement aux orpheures, et gentilz tapissiers a ieunes gens aussi semblablement oublier point ne veuly auscunement c[=o]trepointiers & les tailleurs dymages et tissotiers lesquelz pareillement par ces patrons acquerront heritages. imprimees a lyon, par pierre de saincte lucie, dict le prince, pres nostre dame de confort.[1282] 8vo, 16 ff., 31 plates. title in gothic letters. patterns mediæval. the copy at the arsenal is a later impression. "on les vend a lyon, par pierre de saincte lucie, en la maison du deffunct prince, pres," etc. it has only 12 ff., and 23 plates. 18. [sidenote: _n. d. lyon. le prince._] sensuyuent lis patrons de messire antoine belin, reclus de sainct martial de lyon. item plusieurs autres beaulx patrons nouveaulx, qui out este inventez par jeban mayol carme de lyon. on les vend à lyon, chez le prince.[1283] {466}small 8vo, 6 ff., 85 plates. copy at the arsenal has 12 ff. the same device of the printer in the frontispiece and at the end of the book. "finis." one of the patterns represents st. margaret holding the cross to a dragon, but in these four books the designs are copied from each other, and are many of them repetitions of quinty. 19. [sidenote: _n. d. lyon. d. celle._] ce livre est plaisant et utile a gens qui besongnent de leguille pour comprendre legèrement damoyselle bourgoyse ou fille femmes qui out l'esperit agille ne scauroint faillir nullement corrige est nouvellement dung ho[=n]este ho[=m]e par bon zelle son nom est dominicque celle qui a tous lecteurs shumylie domicille a en italie. en thoulouse a prins sa naissance. mise il a son intelligence a lamender subtillement taillé il est totallement par jehan coste de rue merciere a lyon et consequemment quatre vingtz fassons a vrayement tous de differente maniere.[1284] 28 ff., 27 plates. title in gothic letters. dedication to the reader, in which it states the book is for the profit of "tant hommes que femmes." patterns mediæval. at the end of the preface, "finis coronat opus." 20. [sidenote: _n. d. venice. g. a. vavassore._] esemplario di lavori: che insegna alle d[=o]ne il modo e ordine di lavorare: cusire: e racámare: e finalm[=e]te far tutte [=q]lle opere degne di memoria: lequale po fare una donna virtuosa con laco in mano. et uno documento che insegna al c[=o]pratore accio sia ben servito.[1285] in 8vo, 25 ff., printed on both sides, 48 plates. title in red gothic characters, framed round by six woodcuts similar to that of vorsterman; at the foot, "fiorio vavasore fecit." then follows the "documento per el compratore," and an address to ladies and readers, by "giovandrea vavassore detto guadagnino," saying that he had already "fatti alcuni libri di esempli di diverse sorte." there is no date to this copy; but in the library of prince messimo, at rome, is a copy dated venice, 18 feb., 1546, containing 50 plates; and brunet quotes an edition, "stampato in vinezia, 1556;" cav. merli also possesses an edition of the same date. mr. e. arnold has also a copy with the same date. the patterns are mediæval, on black grounds, with counted stitches, a large flower pot, mermaid, paschal lamb, and a double plate representing orpheus playing to the beasts. {467}21. [sidenote: _n. d. venice. g. a. vavassore._] essemplario novo di pin di cento variate mostre di qualunque orte bellissime per cusire intitolato fontana di gli essempli. oblong 8vo. no date. 16 ff., 28 plates. in the frontispiece is a fountain with the motto, "solicitudo est mater divitiarum," and on each side of the fountain- "donne donzelle ch per farvi eterne alla. el cusir seguite fonte venite." on the back of the frontispiece is the dedication, headed, "il pelliciolo alla molta magnifica madona chiara lipomana;" the page finished by a sonnet; in the last leaf, "avviso alle virtuose donne et a qualunque lettore giovanni andrea vavassore detto guadagnino." says he has "negli tempi passati fatto imprimere molto e varie sorte d'essemplari di mostre," etc. at the foot, "nuovamente stampato."[1286] this work is also described by count cicognara with the same title, only with the date 1550. in the bibliotheca communitativa, bologna, is a copy of the same date. in this last edition the author writes his name valvassore. 22. [sidenote: _n. d. venice. g. a. vavassore._] vavassore gio. andrea. opera nova universal intitulata corona di ricammi; dove le venerande donne e fanciulle: trovera[=n]o di varie opere [per] fare colari di camisiola & torni[=a][=e]nti di letti [=e]ternelle di cuscini boccasini schufioni: cordlli di piu sorte; et molte opere per rec[=a]matori [per] dipitore poreuesi: (_sic_) de lequale opere o vero esempli ciascuno le potra pore in opera sec[=o]do el suo bisogno: con gratia novamente stampata ne la inclita citta di vineggia per giovanni andrea vavassore detto guadagni[=o]. 36 pp., sm. 4to. 13 ff., 52 designs, none of which are repetitions of the preceding.[1287] 23. [sidenote: _n. d. venice. g. a. vavassore._] vavassore gio. andrea detto guadagnino. opera nova, etc. ... dove le venerande donne et fanciulle trovaranno di varie opere et molte opere per recamatori et per dipintori; etc. nuovamente stampata, etc.[1288] quite a different collection from the preceding. a little of everything in this volume. zoan andrea vavassore was the pupil in drawing and engraving of andrea mantegna. towards the beginning of the sixteenth century, he worked on his own account, and his engravings are much sought after. so greedy was he of gain as to obtain for him the name of guadigno, in venetian patois, "covetous." he lived to a great age. {468}24. [sidenote: _n. d. a. paganino._] libro questo di rechami per el quale se impara in diversi modi l'ordine e il modo de recamare, cosa non mai più fatta n' è stata mostrata. by alessandro paganino.[1289] 20 plates, with a long explanation how these works are done. (communicated by prince massimo.) 25. [sidenote: _n. d. paris vve. ruelle._] patrons pour brodeurs, lingieres, massons, verriers, et autres gens d'esprit. a paris. pour la veuve jean ruelle, rue s. jacques, à l'enseigne sainct nicolas.[1290] 4to, 23 ff., 32 plates of mediæval designs. ornamented title-page. 26. [sidenote: 1548. _venice. m. pagan._] il specchio di pensieri delle belle et virtudiose donne, dove si vede varie sorti di punti, cioè punti tagliati, punti gropposi, punti in rede, et punti in stuora. mdxlviii. stamp. in venetia, per mathio pagan in frezzaria, in le case nove tien per insegna la fede.[1291] 16 ff. 27. [sidenote: 1551. _venice. m. pagan._] 1. l'honesto essempio del vertuoso desiderio che hanno le donne di nobile ingegno circa lo imparare i punti tagliati e fogliami. in venetia per mathio pagan in frezaria al segno della fedo, m.d.l.[1292] in the v. and a. museum is a copy dated 1550. 28. [sidenote: 1551. _venice. m. pagan._] giardineto novo di punti tagliati et gropposi, per esurcitio et ornamento delle donne. at the end, venetia, mathio pagan in frezzaria, in le case nove (tien per insegna della fede) mdli. dedication, alla signora lucretia, romana mathio pagan, salute.[1293] see also no. 38. 29. [sidenote: 1554. _dubois._] variarum protractionum quas vulgo maurusias vocant omnium antehac excusarum libellus longe copiasissimus pictoribus, aurifabris, polymilariis, barbaricariis variisque id genus {469}artificibus etiam acu operantibus utilissimus nuncque primen in lucem editus anno 1554. balthazar sylvius (dubois) fecit. jo. theodoret, jo. israel de bry excud.[1294] in 4to, ff. 23, copperplate. 30. [sidenote: 1555. _padua. fra hieronimo._] triompho di lavori a fogliami de i quali si puo far ponti in aere; opera d' fra hieronimo da cividal di frioli, de l'ordine de i servi di osservantia. cum gratia et privileggio per anni xi.[1295] obl. 4to, 14 ff., 22 pl. ornamental title-page. on the top, a female seated in a triumphal car drawn by unicorns, with attendants. on each side of the title are women teaching children to work. p. 1, dorso. dedication of the author, "alla magnifica & illustre signora isabella contessa canossa," whose "immortal triompho" is represented in the above woodcut. fra hieronimo speaks of preparing "più alte e divine imprese." then follow three pages of verses in terzette, and p. 3, dorso, the impresa of the printer, a lion rampant, holding a sword in his fore paws. below, "in padou per jacobo fabriano, ad instantia de fra hieronimo da cividal di frioli: de l'ordine de i servi di osservantia 1555." 31. [sidenote: 1556. _venice. torello._] lucidario di ricami di guiseppe torello. venezia, 1556. in 4to. 32. [sidenote: 1556. _strasburg. h. hoffman._] new modelbüch, allen nägerin, unnd sydenstickern sehr nutzlich zü branchë, vor nye in druck aussgangen durch hans hoffman, burger und formschneider zu strassburg. at the end, zu strassburg gedruckt am kommarckt durch jacob frölich. 1556. 4to.[1296] 4to. a to g in fours. (28 leaves.) title printed in red and black. on it a woodcut of two women, one engaged in embroidery, the other fringing her some stuff. the last leaf (giiii.) has on the recto a woodcut of a woman at a frame, the verso blank. 33. [sidenote: _n. d. zurich. c. froschover._] nüw modelbüch, allerley gattungen däntelschnür, so diser zyt in hoch tütschlanden geng und brüchig sind, zu underricht jren leertöchteren unnd allen anderen schurwirckeren zu zurych {470}und wo die sind, yetz nüwlich zübereit, und erstmals in truch verfergket durch r. m.[1297] no place or date, but as appears, both from the title and preface, to be printed at zurich, by christopher froschover. the date probably from 1530 to 1540. 4to. signatures a to f in fours. 24 leaves. on the title a woodcut of two women working at lace pillows. 34. [sidenote: _n. d. frankfort._] modelbüch welscher, ober und niderlandischer arbait. getruckt zü franckfort. no date, but probably at least as early as 1530. 4to. signatures a to d in fours. 20 leaves. title enclosed in an elegant woodcut border. 35. [sidenote: 1537. _frankfort. c. egenolffs._] modelbüch, von erhabener unnd flacher arbait, auff der ramen, laden, und nach der zale. getruckt zu franckfort, bei christian egenolffs, erben. the date, 1537, occurs on one of the patterns. 4to. aa to hh in fours. 32 leaves. title in a woodcut border. 178 patterns. 36. [sidenote: 1571. _frankfort on the mayn. n. baseus._] new modelbüch. von allerhandt art, nehens und stickens, jetzt mit viellerley welscher arbeyt, mödel und stahlen, allen steinmetzen, seidenstickern und neterin, sehr nützlich und kunstlich, von newem zugericht. getruckt zu frankfurt am mayn, 1571. device and motto of nicolas baseus on title-page. sm. 4to. (library v. and a. museum.) 37. [sidenote: 1568. _frankfort on the mayn. n. baseus._] das new modelbüch, &c. franckfurt am mayn, 1568, 4to. printer, nicholas baseus, ff. 40. 38. [sidenote: 1569. _frankfort on the mayn._] modelbüch; zweiter theil: franckfurt am mayn, 1569. 4to, ff. 44. nos. 36 and 37 are cited by the marquis d'adda. {471}39. [sidenote: 1558. _venice. m. pagan._] la gloria et l'honore de ponti tagliati et ponti in aere venezia per mathio pagan in frezzeria al segno della fede. 1558.[1298] 16 plates. dedicated to vittoria farnese, duchess of urbino. 40. [sidenote: _n. d. venice._] il monte. opera nova di recami intitolata il monte, nella quale si ritrova varie, & diverse sorti di mostre, di punti in aiere, à fogliami. dove le belle & virtuose donne protranno fare ogni sorte di lavoro, accommodate alle vera forma misura & grandezza, che debbono essere ne mai piu per l'adietro da alcuno vedute. opera non men bella che utile, & necessaria.[1299] below, the impresa of the printer, an eagle with its young; motto, "virtute parta sibi non tantum." in venetia. 4to, 16 ff., 29 plates of bold scroll borders. 41. [sidenote: 1559. _venice. g. a. bindoni._] il monte (libro secondo) opera dove ogni bella donna potrà fare ogni sorte di lavori cioè colari, fazzoletti, maneghetti, avertadure (berthes), &c., in venetia, 1560.[1300] printer's mark and motto as no. 39: afterwards the dedication dated 1559, "à vittoria da cordova gio. ant. bindoni," in which he states "ho preso arditamente di presentarvi questo secondo monte." 4to. ff. 16. 42. [sidenote: 1558. _venice._] bellezze de recami et dessegni opera novo non men bella che utile, e necessaria et non più veduta in luce. venezia, 1558.[1301] ob. 4to. 20 plates of patterns. 43. [sidenote: 1558. _venice. i. foresto._] lo splendore delle virtuose giovani con varie mostre di fogliami e punti in aere. venezia. per iseppo foresto in calle dell'acqua a s. zulian all' insegno del pellegrino, 1558.[1302] 16 plates. {472}44. [sidenote: 1559. _venice._] trionfo di virtù libro novo da cucir, con fogliami, ponti a fili, ponti cruciati, &c. venezia, 1559.[1303] 16 plates. 45. [sidenote: _n. d._] burato. consisting of four leaves, with patterns of canvas (tela chiara), in squares, for works in "punta" of various widths, with instructions how to increase or diminish the patterns. see cutwork. on the back of the last page is printed in large characters, "p. alex. pag. (paganinus). benacensis f. bena. v. v."[1304] 46. [sidenote: _n. d._] burato ... con nova maestria, gratiose donne, novo artificio vi apporto. a second edition without date. 4to, ff. 59; frontispiece, ladies at work, verso, triumph of fame. four books of designs of great elegance and taste. the marquis d'adda assigns them to vavassore. 47. [sidenote: _n. d. a. passerotti._] passerotti aurelio pittore bolognese dissegnatore e miniatore figlio di bartolommeo passerotti circa al 1560. libro primo di lavorieri alle molto illustre et virtuosissime gentildonne bolognesi. libro secondo alle molto magnifici et virtuosissimi signori.[1305] in fol. obl. 67 ff., including two dedications and a frontispiece. designs for embroidery, etc., drawn with a pen. in the title-page of the first book is the device of a sunflower, "non san questi occhi volgere altrove." 48. [sidenote: 1557. _venice._] le pompe. opera nova di recami dove trovansi varie mostre di punto in aere. venezia, 1557.[1306] probably an earlier impression of the following. 4to, ff. 16. 49. [sidenote: 1559.] le pompe, opera nova nella quale si ritrovano varie, & diverse sorti di mostre, per poter far cordelle over bindelle, d' oro, di seta, di filo, overo di altra cosa di dove le belle et virtuose donne potranno fare ogni sorte di lavoro, cioè merli di diverse sorte, cavezzi, colari, maneghetti, & tutte quelle cose {473}che le piaceranno. opera non men bella, che utile, & necessaria. e non più veduta in luce. 1559.[1307] below, the same impresa of the eagle, as in "il monte," nos. 39 and 40. 8vo, 16 ff., 30 plates. a great variety of borders and indented patterns (merli). (fig. 169.) "si vendeno alla libraria della gatta." [illustration: fig. 169. le pompe, 1559.] in the cat. d'estrées is noted, "le pompe, opera nella quale si retrovano diverse sorti di mostse per poter far cordelle, bindelle, d'oro di seta, di filo. 1559, fig." probably the same work. 50. [sidenote: 1560. _venice._] le pompe, libro secondo. opera nuova nella quale si ritrovana varie e diverse sorti di mostre, per poter fare cordelle, ovver bindelle, d'oro, di seta, di filo, ovvero di altra cosa. dove {474}le belle & virtuose donne potranno far ogni sorte di lavoro, coèi merli di diverse sorte, cavezzi, colari, maneghetti & tutte quelle cose che li piaceno. opera hon men bello che utile & necessaria e non più veduta in luce. impresa of the printer, "pegasus," and below, in "venetia 1560." obl. 8vo, 16 ff., 29 plates.[1308] mrs. stisted's copy is dated 1562, and there is one at vienna, in the imperial library, of the same date. 51. [sidenote: 1563. _venice. j. calepino._] splendore delle virtuose giovani dove si contengono molte, & varie mostre a fogliami cio è punti in aere, et punti tagliati, bellissimi, & con tale arteficio, che li punti tagliati serveno alli punti in aere. et da quella ch' è sopragasi far si possono, medesimamente molte altre. in venetia appresso jeronimo calepino, 1563.[1309] 8vo, 20 ff., 35 plates of scroll patterns in the style of "il monte." dedication "alla molto honorata m. anzola ingegniera succera mia digniss." francesco calepino, wishing, he says, to "ristampare la presente opera," he dedicates it to her. in bib. melzi, milan, a copy dated 1567. 52. [sidenote: 1563. _venice. j. calepino._] lucidario di recami, nel qual si contengono molte, & varie sorti di disegni. a punti in aere et punti tagliati, & a fogliami, & con figure & di più altre maniere, come al presente si usano non più venute in luce per lequali ogni elevato ingegno potrà in diversi modi commodissimamente servirsi. in venetia, appresso ieronimo calepino, 1563.[1310] 8vo, 16 ff., 29 plates of flowing borders like the preceding. 53. [sidenote: 1564. _venice._] i frutti opera nuova intitulata i frutti de i punti in stuora, a fogliami, nella quale si ritrova varie, et diverse sorti di mostre di ponti in stuora, a fogliami, & punti in gasii & in punti in trezola.[1311] dove ogni bella et virtuosa donna potrà fare ogni sorte di lavoro, cioè fazoletti, colari, maneghetti, merli, frisi, cavezzi, intimelle, overo forelle, avertadure da camise, & altre sorti di lavori, come piu a pieno potrai vedere, ne mei per l' adietro d' alcun altro fatte & poste in luce. {475}opera non men bella, che utile et necessaria a ciascuna virtuosa gentildonna. in vinegia, 1564.[1312] obl. 8vo, 16 ff., 30 plates of patterns either in dots or small squares. 54. [sidenote: 1564. _paris._] patrons pour brodeurs, lingières, massons, verriers, et autres gens d'esperit; nouvellement imprimé, à paris, rue saint-jacques, à la queue-de regnard m.dlxiiii.[1313] 55. [sidenote: 1564. _venice. d. de franceschi._] fede (opere nova) intitulata: dei recami nella quale si contiene varie diverse sorte di mostre di punti scritto, tagliato, in stuora, in rede, &c. in venetia, appresso domenico de franceschi in frezzaria, all' insegna della regina. m.dlviii. in 4to, ff. 16. in his _avis au lecteur_, franceschi alludes to three other works he had published, styled _la regina_, _la serena_, and _la speranza_. 56. [sidenote: 1564. _venice. d. de franceschi._] serena opera nova di recami, nella quale si ritrova varie et diverse sorte di punti in stuora et punti a filo. in venetia, domenico di franceschi. 1564. obl. 4to, ff. 16. nos. 55 and 56 cited by marquis d'adda. 57. [sidenote: 1581. _lyon. j. ostans._] le trésor des patrons, contenant diverses sortes de broderies et lingeries; pour coudre avec grande facilité et pour ouvrer en diverses sortes de piquer avec l'ésguille, pulveriser par dessus et faire ouvrages de toutes sortes de points &ct par jean ostans. lyon, ben. rigaud. 1581, in 4-to.[1314] 58. [sidenote: 1567. _venice. j. ostans._] ostans giovanni. la vera perfettione del disegno di varie sorti di recami, et di cucire, &c. ... punti a fogliami punti tagliati punti a fili et rimessi punti in cruciati, punti a stuora, et ogni altra arte che dia opera a disegni. fatta nuovamente per gio. ostans. vittoria, con gratia et privilegio dell' illus. {476}senato venetiano per anni.[1315] in venetia appresso gio. ostans, 1567. 4to obl., 4 cahiers of 8 ff., 74 plates. letter of ostans to lucretia contarini; verso, an engraving of lucretia romana, surrounded by her women, signed jose. sal. (joseph salviati), who furnished the design, two sonnets, and aves. a striking example of the borrowing between france and italy in the sixteenth century, probably of the school of fontainebleau. grotesques like a. du cerceau, scrolls after e. de laulne, fresco of figures from g. tory. brunet describes a copy dated 1591. 59. [sidenote: 1584. _venice. valvassore's heirs._] ostans. la vera perfettione del desegno &ct. venetia m.dlxxxiiii., presso gli heredi valvassori e gio. dom. micheli al segno dell' ippogrifo. in 4to obl. (cited by marquis d'adda.) 60. [sidenote: 1582. _b. tabin._] neues künstlicher, modelbuch von allerhand artlichen und gerechten mödeln, &c., bei b. tabin.[1316] 61. [sidenote: _paris._ 1584. _d. de sera._] le livre de lingerie, composé par maistre dominique de sera, italien, enseignant le noble & gentil art de l'esguille, pour besongner en tous points: utile & profitable à toutes dames & damoyselles, pour passer le temps, & euiter oysiveté. nouvellement augmenté, & enrichi, de plusieurs excelents & divers patrons, tant du point coupé, raiseau, que passement, de l'invention de m. jean cousin, peintre à paris. a paris. chez hierosme de marnef, & la veufve de guillaume cauellat, au mont s. hilaire à l'enseigne du pelican. 1584. avec privilege du roy.[1317] in the cat. d'estrées; no. 8848, is _livre de pourtraicture de jean cousin_. paris, 1637, in 4 fig. 4to, 28 ff., 51 plates of mediæval design. frontispiece, three women and a child at work, on each side of the title a man and a woman at work under a trifoliated canopy. privilege for three years to h. de marnef, "juré libraire en l'université de paris." "l'auteur aux lecteurs." he takes his pen to portray what he has seen "en italie, espagne, romanie, allemagne, & autre païs, dont je ne fais aucune mention à cause de trop longue plexite," that he gives at {477}least eighty designs for the use and singular profit of many, "hommes tant que femmes." below, "finis coronat opus." then follows a "balade" of 28 lines. on the last page, the impresa of cavellat, a pelican in its piety, "mors in me vita in me." 62. [sidenote: 1596. _g. frano._] frano gio. libro delle mostre da ceuser per le donne. 16 engravings on wood and 8 on copper. (cited by marquis d'adda.) 63. [sidenote: _bologna. a. parisini._] danieli bartholomeo recamatore libro di diversi disegni per collari, punti per fazzoletti et reticelle divarie sorte. agostino parisini forma in bologna. 15 leaves obl. 8vo, entirely engraved au burin, towards the end of the sixteenth century.[1318] 64. [sidenote: _n. d._] ornamento delle belle et virtuose donne opera nova nella quale troverrai varie sorti di frisi, con li quali si potra ornar ciascuna donna, & ogni letti con ponti tagliato, ponti gropposi, & ogni altra sorte di ponti per fare quelle belle opere che si appartengono alle virtuose & lodevoli fanciulle. on a scutcheon, with 3 figures below, "libro primo." lib. victoria and albert museum. 65. [sidenote: 1587. _paris. 1st edit. 1st part. f. vinciolo._] les singuliers et nouveaux pourtraicts et ouvrages de lingerie. servans de patrons à faire toutes sortes de poincts, couppé, lacis & autres. dedie a la royne. nouvellement inventez, au proffit & c[=o]tentement, des nobles dames & damoiselles & autres gentils esprits, amateurs d'un tel art. par le seigneur federic (_sic_) de vinciolo venitien. a paris. par iean le clerc le ieune, ruë chartiere, au chef sainct denis. 1587. avec privilege du roy.[1319] [sidenote: _2nd part._] les singuliers et nouveaux pourtraicts et ouvrages de lingerie ou est representé les sept planettes, & plusieurs autres figures & pourtraitz servans de patrons à faire de plusieurs sortes de lacis. nouvellement inventez, au proffit & c[=o]tentement des nobles dames & damoiselles & autres gentils esprits, amateurs d'un tel art. par le seigneur federic de vinciolo venitien. a paris. par iean le clerc le ieune, ruë chartiere, au chef sainct denis. 1587. avec privilege du roi. (at the end.) privilege for nine years to "iean le clerc le ieune, 'tailleur d'histoires,' à paris," signed 27 june, 1587. "de l'imprimerie de david le clerc rue frementel à l'estoille d'or." {478}4to. the first part consists of 40 ff., 36 of patterns and 4 preliminary pages. p. 1. the title-page with decorated border, in which are two ladies at work. (see title-page of this work.) p. 2. dedication of "le seigneur federic de vinciolo aux benevolles lecteurs," in which he sets forth that several authors before him having published certain patterns for work that "les seigneurs, dames, & damoyselles ont eu pour agréable," he, to show "la bonne volonté que je porte à la france, laquelle m'ayant été douce et favorable, depuis certain temps que j'ay quitté venize, païs de ma nativité," wish to portray the present "pourtraicts d'ouvrages magnifiques tous differ[=e]s, & non encor usitez en cette c[=o]tree ni aultres, & que j'ay tenus cachés & inc[=o]gnus jusques à maintenant," feeling assured that if the first you had seen "on engendré quelque fruit & utilité, ceux cy en aporteront d'avantage," and if i see this my invention pleases you, i will "vous faire participer d'un aultre seconde bande d'ouvrages." p. 3. dedication "a la royne," louise de vaudemont, by le clerc, saying that having received from italy some rare and singular patterns, and "ouvrages de l'ingerie & en ay[=a]t inv[=e]te quelques uns, selon mon petit sçavoir, j'ay pensé puis que ces choses là appartienent principallement aux dames," that he cannot do better than present them to the queen, as if these patterns are useful (as he hears some less perfect and more rudely sketched have served and profited before), they ought to be offered to her majesty. signed last day of may, 1587. p. 4. a sonnet. aux dames et damoiselles. "l'un sefforce à gaigner le coeur des gr[=a]ds seigneurs pour posséder enfin une exquise richesse, l'autre aspire aux estats pour monter en altesse, et l'autre par la guerre alléche les honneurs. quand à moy, seulement pour chasser mes langueurs, je me sen satisfait de vivre en petitesse, et de faire si bien, qu'aux dames je délaisse un grand contentement en mes graves labeurs. prenez doncques en gré (mes dames), je vous prie, ces pourtrais ouvragez lesquelz je vous dédie, pour tromper vos ennuis, et l'esprit employer. en ceste nouveauté, pourrés beaucoup apprendre, et maistresses en fin en cest oeuvre vous rendre. le travail est plaisant. si grand est le loyer." "_morir assidouamente per virtu,_ _non morirè._" then follow the 36 patterns set off in white on a black ground, viz., 20 "ouvrages de point couppé," the first plate with the double [greek: ll], according to the fashion introduced by francis i. of using greek monograms, standing for queen louise. on the second page are two escutcheons, one of france, the other with the letter h for henry iii. then follow eight "passemens de point couppé," which are succeeded by eight more "ouvrages de point couppé." part 2, 24 ff. same decorated frontispiece and 22 plates of subjects in squares for stitches like the german patterns of the present day. these consist of the seven planets, sol, luna, mars, mercury, jupiter, venus and saturn. four in squares of various designs; two of amorini shooting stags and birds; neptune and the winds; an arabesque with impresa of a column with circle and double triangle; five borders and squares, and {479}two "bordures à carreaux," diamond-shaped meshes. the last page contains the extract from the privilege. this is the original edition of vinciolo, of which we know but one copy existing--that in the library at rouen. it was followed the same year by two other editions, with alterations.[1320] 66. [sidenote: 1587. _2nd ed. 1st part. f. vinciolo._] les singuliers et nouveaux pourtraicts pour les ouvrages de lingerie. nouvellement augmentez de plusieurs differens pourtraits servans de patrons à faire toutes sortes poincts couppé, lacis, et autres reseau de poinct conté. dedié à la royne. le tout inventé, au proffit & contentement des nobles dames & damoiselles & autres gentils esprits, amateurs d'un tel art. par le seigneur federic de vinciolo venitien. a. paris. par iean le clerc le ieune, ruë chartiere, au chef sainct denis, pres le college de coqueret. avec privilege du roy. 1587. [sidenote: _2nd part._] les singuliers et nouveaux pourtraicts pour les ouvrages de lingerie ou avons augm[=e]té plusieurs nouveaux & differens portraitz de reseau, tout point conté, plusieurs nouvelles bordures et autres sortes differentes. nouvellement inventez au proffit & c[=o]tentement des nobles dames & damoiselles & autres gentils esprits amateurs d'un tel art. par le seigneur federick de vinciolo venitien. a paris. par iean le clerc le ieune, ruë chartiere, au chef sainct denis, pres le college de coqueret. avec privilege du roy. 1587.[1321] 1st part, 40 ff. the same frontispiece, dedications, date, and sonnet, as the first, the same number of patterns, only the eight styled in the first "passemens" are here all called, like the others, "ouvrages" de point couppé. (see fig. 4.) 2nd part, 32 ff. this part has 30 patterns, comprising the 24 of the first edition, and six additional ones, consisting of squares and two hunting subjects. 67. [sidenote: 1587. _3rd edit. no. 1. parts 1 and 2._] les singuliers et nouveaux pourtraicts, du seigneur federic de vinciolo venitien, pour toutes sortes d'ouvrages de lingerie. dedie a la royne. derechef et pour la troisieme fois augmentez outre le reseau premier et le point couppé et lacis, de plusieurs beaux et differens portrais de reseau de point c[=o]té avec le nombre des mailles, choze non encor veue ni inventée. {480}a paris. par iean le clerc le ieune, ruë chartiere, au chef sainct denis, pres le college de coqueret. avec privilege du roy. 1587.[1322] this must be the first impression of the third edition. [sidenote: 1588. _3rd edit. no. 2. 1st part._] les singuliers et nouveaux pourtraicts, du seigneur federic de vinciolo venitien, pour toutes sortes d'ouvrages de lingerie. dedié a la royne. derechef et pour la troisiesme fois augmentez, outre le reseau premier & le point couppé & lacis, de plusieurs beaux et differens portrais de reseau de point c[=o]té, avec le nombre des mailles, chose non encor veuë, ny inventée. a paris. par iean le clerc le ieune, au mont saint hilaire, du chef sainct denis, pres le clos bruneau. avec privilege du roy. 1588.[1323] 68. [sidenote: _2nd part._] les singuliers et nouveaux pourtraicts, du seigneur federic de vinciolo venitien, pour toutes sortes d'ouvrages de lingerie. dedié a la royne. derechef et pour la troisiesme fois augmentez, outre le reseau premier & le point couppé & lacis, de plusieurs beaux et differens portrais de reseau de point c[=o]té, avec le nombre des mailles, chose non encor veuë, ny inventée. a paris. par iean le clerc le ieune, au mont saint hilaire, au chef sainct denis, pres le clos bruneau. avec privilege du roy. 1588.[1324] this must be subsequent to the brussels impression, as jean le clerc has changed his address. in the third edition, dorso of pp. 1 and 2, we have the addition of portraits of louise de vaudemont and henry iii., with a complimentary stanza of four lines under each. in his advertisement au lecteur, vinciolo says that having promised, since the first impression of his book, to give a "nouvelle bande d'ouvrages," and not to disappoint certain ladies who have complained that he has not made "du reseau assez beau à leur fantaisie," i have wished for the third time to place before their eyes many new and different patterns of "reseau de point conté que j'ay cousus et attachez à la fin de mes premières figures," beneath which i have put the number and quantity of the stitches. same dedication and sonnet as before. privilege for nine years dated paris, 25 may, 1587. "de l'imprimerie de david le clerc, ruë s. jacques, au petit bec, devant le college de marmouttier." 1st part, 40 ff., 36 plates, 27 of point couppé, two stomachers, and seven "passemens" de point couppé; the same lettered "ouvrages" as in the preceding impression. 2nd part, 36 ff., 50 plates. the thirty already published in the second edition, after which follow the twenty additional of "reseau de point conté," announced in the preface, consisting of "6 quarrés, 2 coins de {481}mouchoir, 2 bordures, 6 animals: lion, pelican, unicorn, stag, peacock, and griffon"; and the four seasons. "déesse des fleurs, representant le printemps," etc. these last twenty have the number of stitches given. (see fig. 5.) on the last page is an escutcheon with the arms of france and poland. 69. [sidenote: 1588. _3rd edit. no. 3. parts 1 and 2._] a later impression still. same title, date, portraits, dedication, and sonnet, only the privilege is dated "ce douzième jour de novembre 1587. de l'imprimerie de david le clerc, rue s. jaques, aux trois mores."[1325] 34 ff. 30 plates, 1st part; 50 plates in 2nd. 70. [sidenote: 1595. _3rd edit. no. 4. parts 1 and 2._] les singuliers et nouveaux pourtraicts, du seigneur frederic de vinciolo, venitien, pour toutes sortes d'ouvrages de lingerie. dedie à la royne douairière de france. de rechef et pour la troisiesme fois augmentez, outre le reseau premier & le point couppé & lacis, de plusieurs beaux & differens portrais de reseau de point c[=o]té, avec le nombre des mailles, chose non encore veuë ny inventée. a paris. par iean le clerc, ruë saint jean de latran, à la salemandre. avec privilege du roy. 1595.[1326] this impression is dedicated to louise de vaudemont, now "reine douairière," henry iii. having died in 1589. 71. [sidenote: 1606. _3rd edit. no 5. parts 1 and 2._] the same title as that of 1595--differing only in date.[1327] privilege for six years, "donné à mantes, le 3 juillet 1593." at the foot, "de l'imprimerie de david le clerc au petit corbeil 1606." the 1st part has 32 ff. and 36 plates; 32 "ouvrages de poinct couppé," and 4 stomachers. the 2nd part 46 plates, same as those of 1588, only four less. on the last page the escutcheon of france and navarre. 72. [sidenote: 1589. _4th edit. turin. parts 1 and 2._] les singuliers et nouveaux pourtraicts, du seigneur federic de vinciolo venitien, pour toutes sortes d'ouvrages de lingerie. dedie a la royne. derechef et pour la quatrieme fois augmentez, outre le reseau premier et le point couppé et lacis, de plusieurs beaux et differens portrais de reseau de point conté, avec le nombre de mailles, chose non encore veue ni inventee. a thurin. par eleazaro thomysi. 1589.[1328] described in cat. cicognara with the date 1658. the 1st part 44 ff. and 39 plates; the 2nd with 36 plates. {482}the editions of 1613 and 1623 are described in their chronological order. nos. 64 and 71. that of 1603 we have not seen; but m. leber states it to be equally rich with that of 1623. the copies of vinciolo in the bodleian bear the dates of 1588, 1603, and 1612. baron pichon has a copy of an impression of 1612. one at bordeaux, in the bib. de la ville, is dated 1588. in a book sale at antwerp, march, 1864, there was sold the following:- lot 528. _livre de patrons de lingerie dediè a la royne, nouvellement invente par le seign^r frederic de vinciolo, venitien._ paris, jean le clerc, 1598.--_les singuliers et nouveaux pourtraicts pour toutes sortes d'ouvrages de lingerie._ paris, _ibid._, 1598.--_les secondes oeuvres et subtiles inventions de lingerie._ paris, _ibid._, 1598.--_nouveaux pourtraicts de point coupé et dantelles en petite moyenne et grande forme._ a. montbeliard, jacques foillet, 1598. 4 tom. 1 vol. in-4. v. anc. fig. sur bois. it went for 440 francs to a mr. ross. we do not know the editions of 1598. as m. leber observes, the various editions of vinciolo, published by le clerc and his widow, from 1587 to 1623, and perhaps later, are only impressions more or less varied of the two distinct books, the one of point coupé, the other of lacis. the work of vinciolo has been reprinted in several countries. in england it has been translated and published by wolfe. (see no. 72.) at liege, by jean de glen. (see no. 79.) mr. douce says that it was reprinted "at strasburg, 1596, and at basle, 1599, with a second part, which is rare, and sometimes contains a portrait by gaultier of catherine de bourbon." in the bib. nat. (grav. b. c. 22), a volume headed _vinciolo (federigo) peintre venitien et ses imitateurs_, contains, with "la pratique," etc., of mignerak (see no. 93), a german copy of the "nouveaux pourtraits," the work printed by ludwig künigs, at basle, 1599 (see no. 85); and a german work headed "broderies sur filet," 50 plates engraved upon copper. 73. [sidenote: 1591. _london. wolf._] new and singular patternes and workes of linnen. serving for patternes to make all sortes of lace edging and cut-workes. newly invented for the profite and contentment of ladies, gentlewomen, and others that are desirous of this arte. london: imprinted by j. wolfe and edward white, 1591.[1329] epistle to the reader. having framed a body of the best and rarest manner in true perfection of sundrie sortes of deuises or workes, as well for frame-workes as other needle-workes, i devised with all diligence and industrious studie to sattisfy the gentle mindes of vertuous women by bringing to light things never before as yet seene nor committed to print; all which devises are soe framed in due proportion as taking them in order, the one is formed or made by the other, and soe proceedeth forward; whereby with more {483}ease they may be sewed and wrought in cloth, and keeping true accompt of the threads, maintaine the bewtey of the worke. and more, who desyrith to bring the worke into a lesser forme, let them make the squares lesse. and if greater, then inlarge them, and so may you worke in divers sortes, either by stitch, pouncing, or pouldering upon the same as you please. alsoe it is to be understood that these squares serve not onely for cut-workes, but alsoe for all other manner of seweing or stitching, noteing withall that they are made to keepe the work or deuise in good order and even proportion--and even if ye will that squares be greater, make of two, one, four, two, and soe they will be larger. and in this manner may you proceed in all. god prosper your desires. then follows the dedication: to the right worshipful gentlewoman, mistress susan saltonstall, wife to the right worshipfull mr. richard saltonstall, alderman of the city of london (afterwards lord mayor, and knighted in 1597). it being my chance (right worshipfull) to lighten upon certaine paternes of cut-worke and others brought out of foreign countries which have bin greatly accepted of by divers ladies and gentlewomen of sundrie nations and consequently of the common people; this seemed unto mee a sufficient instance and argument to bestowe likewise some paines for the publishing thereof, but being in suspense of the dedication two causes induced mee to imbolden myselfe to present it unto your acceptation and patronage: first because that rare devises and inventions are for the most part more agreeable and gratefuller accepted, than ordinarie and common things, although of great price and value, secondlie because these workes belong chiefly to gentlewomen for to passe away their time in vertuous exercises wherefore to fit and accommodate the dedication aright to the contents and subject of the book i thought it not amisse to offer it unto your worship in token of thankfullness for so many benefites which i have received so bountifullie at your hands assuring myselfe moreover that as these patternes will bring sufficient contentment and profite to all well-willers, that are desirous of this arte, soe they shall for ever acknowledge themselves to be beholden chiefly unto you, being the chiefest occasion of the publishing and setting forthe thereof. and therefore uppon hope that you will take these inventions in good parte, which in time i am purposed (if god permit) to increase and augment with more paternes of worke. in the meantime i pray god give to your worship a happie prosperous and long life with a full accomplishment of all your vertuous desires. your worshipps most dutiful servant and kinsman, adrian poyntz. 74. [sidenote: 1591. _bologna. t. pasini._] fiori di ricami nuovamente posti in luce ne i quali sono varii, et diversi dissegni di lavori; come merli, bauari, manichetti, & altre sorti di opere, che al presente sono in uso, utilissimi ad ogni stato di donne. seconda impressione. impresa of mercury. below- in bologna, per giovanni rossi. mdxci. ad instanza di tomaso pasini.[1330] {484}obl. 8vo, 20 ff., 18 plates like vecellio, one "bavaro." dedicated by the author to "la signora silveria rossi ghisolieri." mostly indented patterns on black grounds. 75. [sidenote: 1591. _venice. f. di franceschi._] prima parte de' fiori, e disegni di varie sorti di ricami moderni come merli, bavari, manichetti, & altri nobili lavori che al presente sono in uso. a figure of peace. below- in venetia, appresso francesco di franceschi senese all' insegna della pace 1591.[1331] obl. 8vo, 20 ff., 17 plates in the style of vecellio. dedication to "la signora gabriella zeno michele," signed "di venetia alli 19 di marzo, 1591, giovanbattista ciotti." the last plate a figure of fortune, with "finis in venetia 1591. appresso nicolo moretti, ad instantia di francesco di franceschi." 76. [sidenote: 1591. _venice. f. di franceschi._] la vera perfettione del disegno di varie sorti di ricami & di cucire ogni sorti de punti à foglami, punti tagliati, punti a fili & rimessi, punti incrociati, punti à stuoro & ogn' altre arte, che dia opera à disegni. e di nuovo aggiuntovi varie sorti di merli, e mostre, che al presente sono in uso & in pratica. impresa of peace differing from the preceding. in venetia, appresso francesco di franceschi senese all' insegna della pace. 1591.[1332] obl. 8vo, 86 ff., 72 plates. dedicated to "signora lucretia contarini, per matrimonio priula nobile gentildonna venetiana," by giovanni ostans. a woodcut of lucretia working with her maidens, signed jose sol. 1557. patterns, small squares, gorgets, youth, paris, pyramus and thisbe, arabesques, grotesques, and an alphabet. on the last leaf, dorso, a. b. c. d. "tutte sono quaderni." a figure again of peace, and "in ven. 1590." 77. [sidenote: 1592. _venice. 1st book. c. vecellio._] corona delle nobili et virtuose donne. libro primo. nel quale si dimostra in varij dissegni, tutti le sorti di mostre di punti tagliati, punti in aria, punti à reticello, e d' ogni altra {485}sorte cosi per freggi come per merli, & rosette, che con l' aco si usano hoggidì per tutta l' europa. et molte delle quali mostre possono servire anchora per opere à mazzette. aggiuntivi in questa quarta impressione molti bellissimi dissegni non mai più veduti. then follows the printer's impresa of the stork and serpent. "voluptatum et malorum effetuu dissipatio," with a lady at work on each side, and below- con privilegio. in venetia, appresso cesare vecellio in frezzaria nelle case de' preti. 1592.[1333] which is repeated in the 2nd and 3rd books. obl. 4to, 32 ff., 28 plates. dedication of vecellio "alla clarissima, et illustrissima signora, viena vendramina nani, dignatissima consorte dell' illust^{amo} sig. polo nani, il procurator di s. marco," in which he refers to his work on costume, and says that he dedicates this book to her for the delight she takes in these works and "in farne essercitar le donne di casa sua, ricetto delle piu virtuose giovani che hoggidì vivano in questa città." signed: venice, jan. 20, 1591. beautiful designs, among which are three corners for handkerchiefs, the last lettered: "diverse inventioni p. cantoni dee fazoletti." on plate 3, within a point coupé border, is a statue of venus standing upon a tortoise, with other figures, and above, "conviensi, che della donna la bontà, & non la bellezza sia divulgata," and underneath:- "veneer io son, de le mirabil mani del dotto fidia d' un bel marmo finta. in me vedete atti gentili, e humani, ch' esser dè donna à gentilezza accinta. io sopra una testugine dimora, perchè stia in casa, e sia tacita ogn' hora." [sidenote: _2nd book._] corona delle nobili et virtuose donne. libro secondo. nel quale si dimostra in varij dissegni, tutte le sorti di mostre de puute tagliati, punti in aria, punti à reticello, e d' ogni altra sorte, cosi per freggi, come per merli, & rosette, che con l' aco si usano hoggidì per tutta l' europa. et molti delle quali mostre possono servire anchora per opere à mazzette. aggiuntivi in questa quarta impressione molti bellissimi dissegni non mai più veduti. con privilegio. in venetia, appresso cesare vecellio, in frezzaria nelle case de' preti. 1592. 28 ff., 26 plates. the dedication of this and the next book, though differently worded, are addressed to the same lady as the first. this is dated jan. 24, 1591. among the patterns are two designs for handkerchiefs, and on the last plate a statue of vesta, within a point coupé border. [sidenote: _3rd book._] corono delle nobili et virtuose donne. libro terzo. nel {486}quale si dimostra in varii dissegni molte sorti di mostri di punti in aria, punti tagliati, punti a reticello, and ancora di picciole; cosi per freggi, come per merli, & rosette, che con l' aco si usano hoggidi per tutta l'europa. con alcune altre inventione di bavari all' usanza venetiana. opera nouva e non più in luce. con privilegio. in venetia appresso cesare vecellio, stà in frezzaria nelle case de' petri. 1592. dedication dated june 15, 1591. vecellio says he has added "alcune inventioni di bavari all' usanza nostra." in the copy (bib. de l'arsenal, 11,955 _bis_) are added instructions to transfer the patterns upon parchment without injuring the book. the last plate shows how to reduce the patterns and how to prick them (fig. 170). this is sometimes given at the end of the first book instead of the third. 28 ff., 26 plates, two of bavari. [illustration: fig. 170. manner of pricking the pattern.--(vecellio.)] on pl. 27, woman with a torch and cupid. at pl. 28, in a point coupé border, is a fox holding the bust of a lady, the conceit of which is explained by the verses to be, that sense is better than beauty:- "trovò la volpe d' un scultore eletto una testa sì ben formata, tale, che sol le manca spirito havresti detto, tanto l' industria, e l' arteficio vale, la prende in man, poi dice; o che perfetto capo, e gentil; ma voto è d' inteletto." 78. [sidenote: 1594. _venice. c. vecellio._] gioiello della corona per le nobili e virtuose donne. libro quarto. nel quale si dimostra altri nuovi bellissimi dissegni di tutte le sorte di mostre di punti in aria, punti tagliati & punti à reticello; così per freggi, come per merli, & rosette, che con l' aco si usano hoggidì per tutta l' europa. et molte delle quali mostre possono servire anchora per opere à mazzette nuovament posto in luce con molte bellissime inventioni non mai più usate, nè vedute. con privilegio. in venetia, appresso cesare vecellio, in frezzaria nella casa de i preti. 1594. same impresa of the stork and serpent. dedicated to the sign. isabella palavicina lupi marchesa di soragana, dated "venetia alli 20 novembrio 1592." cesare vecellio. 30 plates.[1334] {487}vecellio, author of the _corona_ and _gioiello_, also published a work on costume styled _degli habiti antichi et moderni_. _in venezia_, 1590. _presso damian zenero._ in the frontispiece is a salamander; on the last leaf a figure of vesta. it has been reproduced by f. didot, paris. he was not, as is often incorrectly stated, a relation, or even of the same family as titian. these are the earliest impressions we have had an opportunity of examining of vecellio's works, which appear to have been widely circulated. the bib. de l'arsenal possesses two copies of the _corona_ (no. 11,955), from which we have described. in the other (no. 11,155 _bis_), book 1 "ultima," book 2 "quarta," are both dated 1593; and book 3 "nuovamente ristampata la quarta volta," 1592. the plates all the same. the library of rouen (no. 1,315) has a volume containing the _corona_ and _gioiello_. book 1 "quarta imp.," book 2 "ultima," both dated 1594; and book 3 "quinta," 1593. the _gioiello_, 1593. in the bodleian is a copy of the three books, date 1592; and another, date 1561, was in the possession of the late mrs. dennistoun of dennistoun. at venice, in the doge's library, is a volume containing the three books of the _corona_ and the _gioiello_, dated 1593. mrs. stisted, bagni di lucca, also possesses the three books of the corona, dated 1597, and the gioiello, 1592. at bologna the library has one volume, containing the first and second books only, evidently the original impressions. the titles are the same as the above, only to each is affixed, "opera nuova e non più data in luce," and "stampata per gli hered' della regina. 1591. an instantia di cesare vecellio, stà in frezzaria." the same library also possesses a volume, with the three books of the _corona_, the first and third "ottava," the second "quarta," and the _gioiello_, "nuovamente posto in luce." all "in venetia appresso gli heredi di cesare vecellio, in frezzaria. 1608." at vienna, in the new museum for art and industry, is a copy of the five books, dated 1601.[1335] cav. merli cites from a copy of the four books, dated 1600. the various impressions, therefore, date from 1591 to 1608. we see these different parts, like those of vinciolo and all these old collections, have been printed and reprinted independently of each other, since the third part was at its fifth impression in 1593, while the first, which ought to have preceded it, was only at its fourth in 1594.[1336] 79. [sidenote: 1593. _st. gall. g. strauben._] new model buch darinnen allerley gattung schöner modeln der newen aussgeschitnen arbeit auff krägen, hempter, jakelet und dergleichen zu newen, so zuvor in teutschlandt nicht gesehen. allen thugentsamen frawen und jungkfrawen, nätterinnen, auch allen audern so lust zu solcher kunstlichen arbeit haben, sehr dienstlich. {488}getruckt in uerlegung george strauben, von s. gallem, anno 1593.[1337] _translation._ new patternbook, in which are all sorts of beautiful patterns of the new cutwork for collars, shirts, jackets, and such like, such as never before were seen in germany. most useful to all virtuous dames and such artistic works, very respectfully dedicated. printed for the publisher, g. strauben. a reprint of the third book of vecellio's corona. 80. [sidenote: _n.d. lindau am bodensee._] neu model-buch, darinnen allerley gattung schöner modeln der neuen, etc. probably a reprint of no. 79. 27 plates. 81. [sidenote: 1597. _liége. j. de glen._] les singuliers et nouveaux pourtraits, pour toutes sortes de lingeries de jean de glen, dediés à madame loyse de perez; à liége, chez jean de glen, l'an 1597.[1338] obl. 4to, 39 plates, mostly borrowed from vinciolo, as well as the title. 82. [sidenote: 1596. _florence. m. florini._] fior di ricami nuovamente porti in luce. fiorenze, 1596, ad instanza di mattheo florini. 4to obl., 24 plates and 2 leaves of text.[1339] 83. [sidenote: 1603. _siena. m. florini._] fiori di ricami nuovamente porti in luce nei quali sono varie et diversi disegni di lavori, como merli, bavari, manichetti e altre sorte di opera. siena, appresso matteo florini, 1603. 4to obl., 24 pages.[1340] 84. [sidenote: 1603. _siena. m. florini._] giojello, &c. nel quale si di mostra altri novi bellissimi disegni di tutte le sorte, di mostre &c. ... di punti &c., cosi {489}per fregi come per merli et rosette che con l' aco si usanno hoggi di per tutte l' europa. opere a mazzetto nuovamente posta in luce con motte bellissime inventioni non mai più usate ne vedute. in siena, matteo florini mdciii. 4to obl. (cited by marquis d'adda.) 85. [sidenote: 1597. _nuremberg. b. laimoxen._] schön neues modelbuch von allerley lüstigen mödeln naczunehen zu würken un zu sticke; gemacht im jar ch. 1597, zu nürmberg, bey balthaser laimoxen zu erfragen.[1341] _translation._ fine new patternbook of all sorts of pleasant patterns for sewing, working, and embroidering: made in the year of christ 1597, at nurmberg: to be had of balthasar laimoxen. obl. fol., 27 ff. 5 sheets, title-page, and poem, signed j. s. (johann sibmacher.) mr. gruner has communicated to us a work with the same title, dated 1591.[1342] 86. [sidenote: 1598. _montbéliard. j. foillet._] nouveaux pourctraicts de point coupé et dantelles en petite moyenne et grande forme nouvellement inventez & mis en lumiere imprimé a montbéliard par jacques foillet (|)|)xciix (1598).[1343] small 4to, 82 ff., 78 plates. frontispiece with borders composed of squares of point coupé. "avertissement aux dames," of three pages, stating these works are all composed of "point devant l'esguille, de point en toille, en bouclages, & de cordonnages." the writer gives patterns of roses of all sizes, "very little, middling, large, and very large," with from one to nine _pertuis_, or openings, holes. also carreaux in different forms, and lastly _dantelles_. "je n'ay voulu omettre de vous dire que pour faire des dantelles, il vous fault jetter un fil de la grandeur que desiré faire vos dantelles, & les cordonner, puis jetter les fils au dedans, qui fera tendre le cordon & lui donnera la forme carrée, ronde, ou telle forme que desires, ce qu'estant faict vous paracheverès facilement. enoultre vous verrez qu'estant bien petites deviennent peu a peu bien grandes jusques a la fin. elles vous enricheront & embelliront vos ouvrages en les applicant aux bords d'iceux." directions, we confess, perfectly enigmatical to us. the author finishes by exhorting the ladies to imitate minerva and arachne, "qui ont acquis un grand renom, pour avoir (c[=o]me à l'envie l'une de l'autre) travaillé de l'esguille." the avertissement is followed by an "exhortation aux jeunes filles." in verse, of 21 lines, beginning- "si nuisible est aux humains la paresse," etc. 40 patterns of "roses," of point coupé. {490}and 18 of "carreaux," variously disposed. then follow 20 patterns of lace, of "bien petites, petites, moyennes, & grosses," all "au point devant l'esguille." (see figs. 8 to 12.) at the end: "la fin courone l'oeuvre." this is the earliest pattern-book in which the word "dantelle" occurs. 87. [sidenote: 1598. _montbéliard. j. foillet._] new modelbuch darinnen allerley ausgeschnittene arbeit, in kleiner, mittelmässiger und grosser form erst neulich erfunden. allen tugenden frawen vnnd jungfrawen sehr nutzlich. gedruckt zu mumpelgarten durch jacob foillet, 1598.[1344] 88. [sidenote: 1599. _basle._] fewrnew modelbuch von allerhandt künstlicher arbeidt, nämlich gestricht, aussgezogen, aussgeschnitten, gewiefflet, gesticht, gewirckt, und geneyt: von wollen, garn, faden, oder seyden: auff der laden, und sonderlich auff den ramen, jetzt erstmals in teutschlandt an tag gebracht: zu ehren und gl[=u]cklicher zeitvetreibung allen dugentsamen frawen, und jungfrawen nächerinen, auch allen andern, so lust zu solcher kunstlicher arbeit haben sehr dienstlich. getruckt zu basel. in verlegung ludwig k[=u]nigs mdxcix.[1345] small obl., 33 ff., 32 plates. frontispiece border of point coupé. title in gothic red and black. patterns, mostly borders, number of stitches given, "mit xxxxvii., bengen," etc. "ende dieses modelbuchs." 89. [sidenote: 1601. _paris._] béle prérie contenant divers caracters, et differentes sortes de lettres alphabetiques, à sçavoir lettres romaines, de formes, lettres pour appliquer sur le reseuil ou lassis, et autres pour marquer sur toile et linges, par pier. le bé. paris, 1601.[1346] in 4to obl. 90. [sidenote: 1601. _nuremberg. sibmacher._] modelbuch in kupfer gemacht, nürmberg, bei michel kuisner, 1601, by j. sibmacher.[1347] 91. [sidenote: 1604. _nuremberg. j. sibmacher._] newes modelbûch fûr kûpfer gemacht, darinnen allerhand art newen model von dem mittel und dick ausgeschniden duer {491}arbeit auch andern kunstlichen nahework zu gebrauchen mit fluss fur druck verfertigt. mit röm. kais. maj trentich nürmberg 1604.[1348] _translation._ new book of patterns (on copper) in which are copied out all kinds of new patterns for thick and thin materials, to be used also in the making of other artistic needlework. obl. 4to, 58 plates carefully engraved upon copper. title-page surrounded by a richly ornamented border, with two figures, one sewing, the other at embroidery; also a second ornamented frontispiece, dedication to maria elizabeth, electress palatine, dated 1601. nuremberg, j. sibmacher, citizen and engraver. then follow five pages of dialogue, given page 6, note 24, and 227. a printed title to the next plate. "the following pattern may be worked in several different ways, with a woven seam, a flat, round, or crossed jew stitch."[1349] it is probably meant for cut-work made on thin materials. then follow 58 leaves of patterns, the greater number of which have the number of rows written over each pattern. pl. 38, with two patterns, is inscribed, "the following patterns are for thick cut-work." in the upper pattern, on the first leaf, are the arms of the palatine; on the second, those of juliers and mark. 92. [sidenote: 1600. _venice. i. c. parasole._] pretiosa gemma delle virtuose donne dove si vedono bellissimi lavori di ponti in aria, reticella, di maglia e piombini disegnati da isabella catanea parasole. e di nuovo dati in luce da luchino gargano con alcuni altri bellissimi lavori nuovamente inventati. stampata in venetia ad instantia di luchino gargano mdc.[1350] see also no. 99. 93. [sidenote: _n. d._] allerhand model zum stricken un nähen.[1351] obl. 4to, 64 plates. no date. 94. [sidenote: 1604. _padua. p. p. fozzi._] a book of models for point coupé and embroidery, published at padua, october 1st, 1604, by pietro paolo fozzi. "romano."[1352] 95. [sidenote: 1605. _frankfort on the mayn. s. latomus._] schön newes modelbuch von 500 schönen aussor wählten, kunstlichen, so wol italiähnischen, frantzösischen, {492}niederländischen, engelländischen, als teutschen mödeln, allen, näher.... hstichern, &c., zu nutz. (_some of the words are illegible._) livre des modelles fort utile à tous ceux qui besoignent à l'esguille. at the foot of last page recto is, "franckfurt am mayn, bey sigismund latomus, 1605."[1353] small obl. 100 plates (fig. 171), and coloured title-page with figures. [illustration: fig. 171. frankfort-on-the-main, 1605.] in the first plate is an escutcheon with this monogram (fig. 172) surrounded with embroidery. [illustration: fig. 172. monogram.] in the nuremberg copy it is at p. 83. 96. [sidenote: 1607. _frankfort on the mayn. s. latomus._] schön newes modelbuch, von hundert vnd achtzig schönen kunstreichen vnd gerechten mödeln, teutsche vnd welsche, welche auff mancherley art können geneet werden, als mit zopffnath, creutz vnnd judenstich, auch auff laden zu wircken: dessgleichen von ausserlesenen zinnigen oder spitzen. allen seydenstickern, mödelwirckerin, näderin, vnd solcher arbeitgeflissenen weibsbildern sehr dienstlich, vnd zu andern mustern {493}anleytlich vnd verstendig. franckfurt am mayn, in verlegung sigismundi latomi. m.d.c.vii.[1354] small 4to obl. 180 patterns. sheets a-o (the last has only 3 leaves). on the title-page are two ladies, one working at a pillow, the other at a frame; in the back-ground, other women employed at various works. another copy dated 1629. mr. arnold and mr. f. s. ellis. 97. [sidenote: 1605. _paris. m. mignerak._] la pratique de l'aiguille industrieuse du très excellent milour matthias mignerak anglois, ouvrier fort expert en toute sorte de lingerie ou sont tracez divers compartimens de carrez tous differans en grandeur et invention avec les plus exquises bordures, desseins d'ordonnances qui se soient veux jusques à ce jourd'hui tant poetiques historiques, qu'au tres ouvrages de point de rebord. ensemble les nouvelles invencions françoises pour ce qui est de devotion et contemplation. a la tres-chrestiene roine de france et de navarre. avec privilege 1605 du roy.[1355] a paris, par jean leclerc, rue st.-jean de latran, à la salamandre roialle. extract from "discours du lacis." "ce chef d'oeuvre divin n'est pas à l'adventure mais par art composé, par nombre, et par mesure; il commence par un, et va multipliant le nombre de ses trouz qu'un noeud va reliant, sans perdre aucunement des nombres d'entresuitte, croissant, et decroissant d'une mesme conduitte: et ainsi qu'il commence il acheve par un, du monde le principe et le terme commun. si l'on veut sans faillir cet ouvrage parfaire, il faut multiplier, adjouster, et soustraire: il faut bien promptement assembler, et partir, qui veut un beau lacis inegal compartir. mais se peut il trouver, souz la voute azurée, chose plus justement en tous sens mesurée? ouvrage ou il y ait tant de proportions, de figures, de traicts et de dimensions? d'un point premièrement une ligne l'on tire, puis le filet courbé un cercle va descrire, et du cercle noué se trouve le quarré pour lequel retrouver tant d'esprits ont erré. de six mailles se faict une figure egale, de trois costez esgaux, pour forme pyramidale: et l'ouvrage croissant, s'en forme promptement {494} une autre dont les deux sont egaux seulement. si l'on tire un des coings, se forme une figure. d'un triangle en tout sens, d'inegale mesure. le moule plus tiré faict les angles pointuz, et l'ouvrage estendu faict les angles obtuz. de mailles à la fin un beau quarré se faict, composé de quarrez, tout egal, et parfaict, quarré qui toutesfois se forme variable, or en lozange, et or en figure de table. la bande de lacis recouvert, à nos yeux, est comme un beau pourtraict de l'escharpe des cieux, dont chaque endroit ouvré nous represente un signe, le milieu, les degrez de l'eclyptique ligne; le quarré, des vertus le symbole, et signal de science du livre et bonnet doctoral, nous va representant l'eglise et la justice. la façon de lacer figure l'exercice d'enfiler une bague on bien l'art d'escrimer. . . . . . le lacis recouvert sert de filet aux dames pour les hommes suprendre et enlacer leurs ames, elles en font collets, coiffures, et mouchoirs, des tentures de lits, tauayoles, pignoirs, et maint autre ornement dont elles les enlacent, c'est pourquoi en laçant les femmes ne se lassent." in 4to, 76 ff., 72 plates. frontispiece: two ladies, with frames in their hands, labelled "diana" and "pallas." on the top, an escutcheon per pale france and medicis, supported by cupids. beneath, cupids with distaff and winding reels. between the sides of a pair of scissors is a cushion on which is extended a piece of lacis, a "marguerite" in progress. (see fig. 6.) above, "petrus firens fecit, i. le clerc excud." below, "a paris par jean le clerc rue st. jean de latran à la salamandre royalle." dedication of jean le clerc "a la royne," then marie de medicis, stating: "j'avois recouvré d'un personnage anglois tres-expert en toute sorte de lingerie;" but who this milour mignerak may be, history tells not. then follows the "discours du lacis," a poem, of which we give an extract. the privilege is signed aug. 2, 1605. the patterns consist of the queen's arms and cypher, 4 scripture subjects: adam and eve, the annunciation, ecce homo, and magdalen; 4 elements, 4 seasons; roman charity, lucretia, venus, and "pluye d'or;" 6 arbes à fruit, 6 pots à fleurs, 30 carrés grands, moyens et petits; 6 bordures, and, what is quite a novelty, 6 "passements faits au fuseau." (see fig. 13): the first mention of pillow lace in any of the french pattern-books. 98. [sidenote: 1613. _paris. f. vinciolo._] les secondes oeuvres, et subtiles inventions de lingerie du seigneur federic de vinçiolo venitien; nouvellement augmenté de plusieurs carrez de point de rebort. dediée à madame, soeur unique du roy. ou sont representees plusieurs figures de reseau, nombres de carrez et bordures tous differents, le tout de poinct conté, avec autres sortes de carrez de nouvelles inventions non encore vues. {495}a paris. par jean le clerc, rue sainct jean de latran, à la salemandre, 1613. avec privilege du roy.[1356] a scarce and valuable volume, the fullest edition of the second part of vinciolo's work. 4to, 68 ff., 61 plates. it contains a- sonnet aux dames & damoyselles. "esprits rarement beaux qui fuyez la paresse, je vous fais un present qui la pourra chasser, quand vous desirez de gayement passer vostre temps, et monstrer de vostre main l'adresse. le present est utile et plein de gentillesse, il monstre les moyens de bien entrelasser. et faire au point couppé tout ce qu'on peut penser. cet exercise plaist à pallas la deesse. par ses enseignemens, avec l'esguille on fait des fleurons, des oyseaux, en ouvrage parfait, des chiffres et des noeuds, tels que l'amour desire. aymez cet exercise, et vous y occupez, et puis vous cognoistrez que sur les points couppez en diverses façons quelque portrait se tire." the author's address to the reader, and a dedication to "madame, soeur unique du roy" (catherine de bourbon, sister of henry iv., married, 1599, to the duc de bar), signed by le clerc. on the second plates are her arms, a lozenge, france and navarre with crown and cordelière, and the same lozenge also surmounts the decorated frontispiece, supported on either side by a genius (?) working at a frame and point coupé drapery. 7 scripture subjects: the salutation, st. sacrement, passion, crucifixion, adoration of the kings, etc.; the number of the stitches given to each. 2 stomachers, and various patterns of "carrez " and borders. 2 of "point de rebort." at the end is the "discours du lacis," already printed by mignerak. 99. [sidenote: 1616. _rome. e. c. parasole._] teatro delle nobili et virtuose donne, dove si rappresentano varij disegni di lavori novamente inventati et disegnati da elisabetta catanea parasole romana. dedicata alla serenissima principessa donna elisabetta borbona d' austria, principessa di spagna, da e. c. parasole. data di roma a di 5 marzo 1616.[1357] other editions, 1620, 1625, and 1636. the last is dedicated to the grand duchess of {496}tuscany, and has the medici and della rovere arms in the title-page. obl. 4to, 47 ff., 46 plates (44 in prince massimo's copy) beautifully executed, the titles printed to each plate, as "lavori di punti in aria, merletti di ponti reticella, merletti a piombini," etc. (see fig. 15.) 100. [sidenote: 1600. _venice. i. c. parasole._] pretiosa gemme delle virtuose donne dore si vedono bellisimi lavori di ponto in aria, reticella, dimaglia e piombini disegnati da isabella catanea parasole. e di nuovo dati in luce da luchino gargano con alcuni altri bellisimi lavori nuovamente inventate. stampata in venetea ad instantia de luchino gargano mdc.[1358] 101. [sidenote: 1625. _rome. i. c. parasole._] gemma pretiosa delle virtuose donne, dore si vedono bellisimi lavori de ponti in aria, reticella, di maglia, e piombini disegnatida isabella catanea parasole. in rome, appreso guliegno facciotti, 1625. 102. [sidenote: 1618. _frankfort on the mayn. d. meyer._] zierat buch, von allerhandt kutschnur, schleyer deckel, krägen, leibgürtel, passmenten, händschug, wehrgeheng und schubenehen, messerscheyden, secklen, früchten, blumen und ands. mehr. allen perlenbefftern, nederin, lehrinngen und andern welche lust zu dieser kunst tragen, sehr nützlich. inn diese format zusammen ordiniert und gsetzt durch daniel meyer mahlern. 1ster theil. franckfuhrt am mayn, bey eberhardt kusern zu finden. 11 ff., 9 plates. _translation._ decoration book of all sorts of cords, veil covers, collars, belts, laces, gloves, shoulder knots, shoe-seams (?), knife sheaths, bags, fruit, flowers, and other things besides. very useful to all beadworkers, seamstresses, apprentices, and others, who take a pleasure or are fond of this art. arranged and put into this form by d. m. m. 1st part. 103. [sidenote: 1619. _leipsic. a. bretschneider._] new modelb[)u]ch darinnen allerley kunstliche virsirung und müster artiger z[)u]ege und schöner bl[)u]mmen zu zierlichen ueberschlagen, haupt schurtz schn[)u]ptüchern hauben handschuhen, uhren (?) gehenzen, kampfütern [)u]nd dergleichen auf muhler naht und seidenst[)u]cker arbeit gantz kunstlich gemahlt {497}und vorgerissen, dergleichen sie bevorn noch nie in druck ausgegangen. 16 leipzicht 19. inn verleg[)u]ng henning grosseren, de j[)u]ngeren andreas bretschneider mahller.[1359] _translation._ new pattern-book, in which all sorts of artistic ornamentations and patterns of pretty stuffs and beautiful flowers for covers for head, aprons, and pocket-handkerchiefs, caps, gloves, clock cases, comb cases, and such like, artistically sketched from painter and silk embroiderer's work, and which have never before gone out of print. small folio, 53 plates, and half a sheet of text, containing the dedication of the work to madame catherine von dorstats, née löser. there appear to be 3 plates wanting. 104. [sidenote: 1624. _london._] a schole house for the needle. 1624.[1360] obl. 4to. was sold at the white knight's sale for £3 15s. 105. [sidenote: 1620. _venice. lugretia romana._] corona delle nobili et virtuose donne. libro terzo. nel quale si dimostra in varii dissegni tutte le sorti di mostre di punti tagliati e punti in aria, punti fiamenghi, punti a retcello, e d' ogn' altra sorte, cosi per fregi, per merli e rosette, che con aco si viano hoggidi per lutta l'europa. e molte delle quali mostre porsono serviri ancora per opera à mozzete. con le dichiarationi a le mostre a' lavori fatti da lugretia romana. in venetia, appresso allessandro de vecchi, 1620.[1361] 27 ff., obl. 8vo. 106. [sidenote: 1625. _venice. lugretia romana._] corona delle nobili et virtuose donne, libro primo, nel quale si dimostra in varij dissegni tutte le sorti di mostre di punti tagliati, punti in aria, punti fiamenghi, punti a reticello, e d' ogni altre sorte, cosi per freggi, per merli, e rosette, che con l' aco si usano per tutta l'europa. e molte delle quali mostre possono servire ancora per opere a mazzete. con le dichiarazioni a le mostre, a lavori fatti da lugretia romana. in venetia appresso alessandro de vecchi mdcxxv. si vendono in venetia al ponte de' baretteri alla libreria delle tre rose.[1362] lady wilton, in her _art of needlework_, quotes a copy dated 1620. obl. 4to, ff. 27. portrait of maria d'aragon. {498}107. [sidenote: _n. d. venice. lucretia romana._] ornamento nobile, per ogni gentil matrona, dove si contiene bavari, frisi d' infinita bellezza, lavori, per linzuoli, traverse, e facuoli, piena di figure, ninfe, satiri, grotesche, fontane, musiche, caccie di cervi, uccelli, ed altri animali. con ponti in aria, fiamenghi, et tagliati, con adornamenti bellissimi, da imperare, per ogni virtuosa donna, che si diletta di perfettamente cucire. opera, per pittori, scultori, e disegnatori giovevole alle lor professioni, fatta da lucretia romana, il quinto volume di suoi lavori. dedicato alle virtuose donne, in venetia.[1363] fol., 20 plates. frontispiece, in point coupé frame. a woman in classic attire is represented under a doric porch, standing on a tortoise, symbol of a home-loving woman. (see no. 77.) she holds a ball of thread in her hand. behind, on the left, are two women at work; on the right, a sculptor chiselling a statue of minerva. the plates, which are rich and beautiful, are each accompanied by a short explanation, as "degna de esser portata de ogni imperatrice;" "hopera bellissima che per il piu il signora duchesa et altre signore si servano per li suoi lavori;" "questa bellissima rosette usano auco le gentildonne venetiane da far traverse," etc. (fig. 173.) the bavari are executed in three different stitches: punto d' aieri, p. flamingo, and p. tagliato. this author and vecellio give flemish patterns (punti fiamenghi). they consist mostly of rosettes and stars (gotico). 108. [sidenote: 1623. _paris._] les excellents eschantillons, patrons et modelles du seigneur federic de vinciolo venitien, pour apprendre à faire toutes sortes d'ouvrages de lingerie, de poinct couppé, grands et petits passements à jour, et dentelles exquises. dediez à la royne. a paris. chez la veufve jean le clerc, ruë sainct jean de latran, à la salamandre royalle. avec privilege du roy, 1623.[1364] in 4to, 56 ff. the old frontispiece and same "avertissement." dedication to the queen, anne of austria. the goddess pallas invented "les ouvrages de lingerie, le poinct couppé, les grands and petits passements à jour, toutes sortes de dentelles, tant pour se desennuyer que se parer, par l'artifice de ses ingenieuses mains. araciné s'y adonna, and bien qu'inferieure se voulant comparer à elle & en venir à l'experience, mais sa presomption fut chastiée." many illustrious ladies have delighted in this "honneste exercise." fastrade and constance, wives of the emperor charlemagne and of king robert, "s'employèrent de cette manufacture, & de leurs ouvrages ornèrent les églises & les autels." this royal "mestier" has reached perfection through the works of vinciolo. i reprint and again increase his work, which i dedicate to your majesty, to whom i presume they will be agreeable; the subject of which it treats is "une invention de déesse & une occupation de royne--vous estant autant royne des vertus que vous l'estes de deux royaumes." signed, "la veufve de feu iean le clerc." same sonnet. privilege for six years, dated paris, last day of march, 1623. 55 ff., 58 plates, 24 ouvrages de point couppé and 8 of "passements au fuzeau" (see figs. 14 and 15), and alphabet. [illustration: fig. 173. bavaro di ponto d' aere.--con belissime figure ed altri flori. "bavari."--from _ornamento mobile_ of lucretia romana. _to face page 498._] {499}109. a schole howse for the needle. teaching by sundry sortes of patterns and examples of different kindes, how to compose many faire workes; which being set in order and forme according to the skill and understanding of the workwoman will, no doubt, yield profit unto such as live by the needle and give good content to adorne the worthy. london printed in shoe lane at the "faulcon" by richard shorleyker, 1632. to the reader. gentle reader, i would have you know that the diversities of examples which you shall find in this "schoole-howse for the needle" are only but patternes which serve but to helpe and inlarge your invention. but for the disposing of them into forme and order of workes that i leave to your own skill and understanding. whose ingenious and well practised wits will soe readily (i doubt not) compose them into such beautiful formes as will be able to give content, both to the workers and the wearers of them. and againe for your behoafe i have in the end of this booke made two scales or checker patternes which by enlarging or contracting into greater or lesser squares you may enlarge or make lesser any of the saide patternes and examples in the booke or any other whatever. vale! and because i would not have any one mistaken in any of these patternes contayned in this booke, for some peradventure will look to find workes set out in order as they should be wrought with the needle or florished upon the tent, &c. but as i have said before in the beginning of this booke, that, that is here published are only but diversitie of patternes, out of which the workwoman is to take her choice of one or more at her pleasure and so have them drawne out into forme and order of worke. of which skill if it may be i would have serving-men (such as have time enough) to practice and be skilful in which will be quickly learned if they would, with a little patience applie their mindes to practise it. a quarter of the time that they spend in playing at cards, tables, quaffing and drinking would make them excellent in this knowledge especially such as are ingenious and indued with good wits, as for the most part all of them have; againe it is a thing that no doubt would yield them both praise and profit, beside the pleasure and delight it would be unto them, and a good inducement to drawe on others of their own ranke and qualitie to the like practice and imitation. 110. [sidenote: 1632. _london._] here followeth certaine patternes of cut-workes; and but once printed before. also sundry sorts of spots, as flowers, birds, and fishes, &c., and will fitly serve to be wrought, some {500}with gould, some with silke, and some with gewell (_sic_) or otherwise at your pleasure. london; pinted (_sic_) in shoe-lane, at the signe of the faulcon, by richard shorleyker. 1632.[1365] obl. 4to. the copy in the bodleian is probably due to the above. it has no date and varies in title: "newly invented and never published before," with "crewell in coullers," etc.; and "never but once published before." printed by rich. shorleyker. 33 patterns and title. 111. [sidenote: 1640.] the needles excellency, a new booke wherein are divers admirable workes wrought with the needle. newly invented and cut in copper for the pleasure and profit of the industrious. printed for james boler, &c., 1640.[1366] "beneath this title is a neat engraving of three ladies in a flower garden, under the names of wisdom, industrie, and follie. prefixed to the patterns are sundry poems in a commendation of the needle, and describing the characters of ladies who have been eminent for their skill in needlework, among whom are queen elizabeth and the countess of pembroke. these poems were composed by john taylor, the water poet. it appears the work had gone through twelve impressions.... from the costume of a lady and gentleman in one of the patterns, it appears to have been originally published in the reign of james i."--(douce.) from this description of the frontispiece, it seems to be copied from sibmacher. "the needle's excellency, or a new book of patterns, with a poem by john taylor, in praise of the needle." london, 1640. obl. 4to, engraved title, and 28 plates of patterns. sold, 1771, £6 17s. 6d. (lowndes, _bibliographer's manual_. new edit., by h. bohn). another copy of the same date, marked 12th edition, is in the library of king's college, cambridge. it consists of title, four leaves with the poem, subscribed john taylor, and 31 leaves of copper cuts of patterns. 112. [sidenote: 1642 _pistoja. p. a. fortunato._] le pompe di minerva, per le nobili e virtuose donne che con industriosa mano di trattenersi dilettano di far rezze, maglia quadra, punti in aria, punti in tagliati, punti a reticello, cosi per fregio come per merletti e rosette di varie sorti, si come oggidi con l'aco di lavorar usati per tutto l'europa, arrichite di bellissimi et vaghi intagli cavati da più celebri autori di tal professione. in pistoja, per piero a. fortunato. in 8vo obl., dedicated to caterina giraldini, in cellesi. august 20 1642.[1367] {501}113. [sidenote: 1666. _nuremberg._] dass neue modelbuch von schönen nädereyen, ladengewerk und soterleins arbeit. ander theil. nürnberg, bey paulus fürsten kunsthändler. obl. 4to, 3 sheets of text, 50 plates. dedicated to the princess rosina helena. nürnberg, march 20, 1666.[1368] 114. in the bib. imp. (gravures, l. h. 4. c.) is a vol. lettered "guipure, gravures burin," containing a collection of patterns engraved on copper, 43 plates, four of which are double, pasted in the book, without title or date. pomegranates, narcissus, lilies, carnations, most of them labelled "kreutzstick, frantzösischenstick, and fadengewürck" (thread work), the number of stitches given, with clocks (zwickel) of stockings and other patterns. 115. [sidenote: 1676. _nuremberg. c. gerharts._] model buch, dritter theil von unterschiedlicher vögeln, blumen und früchten &cte. von und in verlegung rosina helena fürtin. nürnberg, christoff gerharts, 1676. 4to obl., engraved title and printed list; 42 wood plates, 4 large. 116. [sidenote: 1722. _paris._] methode pour faire une infinité de desseins differens, avec des carreaux mi-partis de deux couleurs par une ligne diagnonale ou observations du père dominique donat, religieux carme de la province de touleuse sur une mémoire inserée dans l'histoire de l'académie royale des sciences à paris, l'année 1704, presenté par le rev. père sebastien truchet. paris, 1722.[1369] 72 geometric squares, with directions how to make them useful to architects, painters, embroiderers, "tous ceux qui se servent de l'aiguille," and others. 117. [sidenote: 1784. _nuremberg and leipzig. christoph weigel._] neues netaund strickbuch fur das schöne geschlecht, worinnen allerhand zierrathen, wie auch viele neue zwickel, nebst buchstaben und zahlen, sowohl zum nähen als stricken in zierlichen nissen und mustern befindlich sind. mit vielen kupfertafeln. nürnberg und leipzig, der christoph weigel und schneider. 1784.[1370] {502}118. [sidenote: _n. d. nuremberg. f. m. helmin._] continuation der kunstund fleisz-übenden nadel-ergötzung oder des neu ersonnenen besondern nehe-buchs dritter theil, worinnen fleiszige liebhaberinnen deeser nöthig und nützlichen wissenchaft, ihr kunstliches nadel-exercitium, beij unterschiedlich vorfallenden belegenheiten zu haben allerhand noch nie vorgeko[=m]ene muster zu deso gebrauch, vorlegt und en die hand gegeben werden von fr. margaretha helmin, zu finden in nürnberg bei joh. christoph weigel. nürnburg. no date.[1371] oblong fol. 119. [sidenote: _n. d. nuremberg. j. chr. weigel._] zierlich webende minerva, oder neu erfundenes kunstund bild-buch der weberund zeichner-arbeit, worinnen treue anweisung geschieht, wie man kunstlich wirken und schöne arbeit verfertigen soll, von der vierschäfftigen an, bis auf zwey und dreissig-schafftige. nurnberg (johann christoph weigel). no date.[1372] 49 plates in sheets. {503}glossary of terms. _bars._ see _brides_. _bead edge._ a simple heading for pillow lace. _bobbins._ small elongated wooden or bone reels on which the thread is wound for the purpose of lace-making. they are frequently ornamented with patterns pricked or stained, and polished. they are weighted with "gingles" or "jingles" (_i.e._, beads, coins, seals, seeds, or various articles). _brides._ a small strip or connection (1) of threads overcast with buttonhole stitches, or (2) of twisted or plaited threads. it is used instead of a ground-work of net; the word is french, its english equivalent being _pearl-tie_. the french word is chiefly employed. _brides ornées_ = brides ornamented with picots, loops, or pearls. _buttonhole stitch._ one of the chief stitches in needle-made lace; also known as _close stitch_, _point noué_, and _punto a feston_. _cartisane._ a strip of parchment or vellum covered with silk or gold or metal thread, used to form a pattern. _close stitch_ = buttonhole stitch. _cordonnet._ the outline to ornamental forms. the cordonnet consists (1) of a single thread, or (2) of several threads worked together to give the appearance of one large thread, or (3) of a thread or horsehair overcast with buttonhole stitches. in england called _gimp_. _couronnes._ ornaments to the cordonnet. when they ornament the raised cordonnet in the body of the pattern they are known as _fleurs volantes_. _coxcombs_ = bars. _dentélé_ = scalloped border. _droschel._ flemish word used in belgium for net-ground made with bobbins. _dressed pillow._ a term used by bobbin-lace makers to intimate that all accessories necessary are in their proper positions.[1373] {504}_edge._ there are two edges to lace; the outer, which in trimmings and flounces is either scalloped or ornamented with picots, and the _engrêlure_ or _footing_. _engrêlure_ = footing, or heading, of a lace, used to sew the lace on to the material it is to decorate. _entoilage._ french term for a plain mesh ground or galloon.[1374] _fil de crin._ a thick or heavy outline or cordonnet.[1374] _fil de trace._ the name by which the outlines of needle-made laces are distinguished.[1374] _fillings._ a word occasionally used for _modes_ or _jours_; fancy stitches employed to fill in enclosed spaces in needle-made and bobbin laces.[1374] _flax._ is composed of the filaments of the fibrous portion of _linum usitatissimum_, an annual, native of europe, and from it linen thread is spun. that of flanders is the best for lace-making. _fleurs volantes._ see _couronnes_. _fond._ identical with _champ_, _entoilage_, and _treille_. the groundwork of needle-point or bobbin lace as distinct from the toilé or pattern which it surrounds and supports. grounds are divided into _fonds claires_, _brides claires_, and _brides ornées_. the _fond claires_ include the _réseau_ or net-patterned grounds. _fond de neige_ is also known as _oeil de perdrix_. _fond simple._ sometimes called _point de lille_; is the purest, lightest, and most transparent of all grounds. the sides of the meshes are not partly plaited as in brussels and mechlin, nor wholly plaited as in valenciennes and chioggia; but four of the sides are formed by twisting two threads round each other, and the remaining two sides by simply crossing of the threads over each other. [see _grounds_.][1374] _footing._ see _engrêlure_. _gimp._ the _pattern_ which rests on the ground or is held together by brides. the work should not, however be confounded with the material gimp, which was formerly called _guipure_. in honiton and the midlands, the word denotes the coarse glazed thread used to raise certain edges of the design.[1374] _gingles._ a name given in buckinghamshire, etc., to the bunches of coloured beads hung on to bobbins by means of brass wire, in order to give extra weight and so increase the tension of the threads.[1374] {505}_groppo_ [italian]. a knot or tie. _grounds._ the grounds of laces are divided into two classes, one being called the _bride_, the other the _réseau_. the _bride_ ground is formed with plain or ornamental bars, in order to connect the ornaments forming the pattern. the _réseau_ ground is a net made with the needle or with bobbins, to connect the ornaments forming the pattern. _guipure._ a lace-like trimming of twisted threads. the word is now used to loosely describe many laces of coarse pattern. _guipure d'art_ is the name given to modern darned netting.[1375] _heading_ = _footing_, _engrêlure_. _jours._ ornamental devices occurring in various parts of a piece of lace. the earliest forms of _jours_ may be seen in venetian point lace, where they are introduced into the centre of a flower or other such device. [_modes_ are identical with _jours_.] _legs_ = bars. _mat_, or _math_. the closely-plaited portions of flowers or leaves in bobbin-made lace; also the closely-worked portion of any lace.[1375] _modes._ see _jours_. _oeil de perdrix._ see _fond_. _orris._ a corruption of arras. the term is now used to denote galloon for upholstering purposes. in the eighteenth century it was applied to laces of gold and silver.[1375] _passement._ until the seventeenth century, laces, bands, and gimps were called _passements à l'aiguille_; bobbin laces, _passements au fuseau_. at present the word denotes the pricked pattern on parchment upon which both needle-point and bobbin laces are worked. _passementerie._ now used for all kinds of fringes, ribbons, and gimp for dress trimmings. _pearls_, or _purls_ = _bars_. _pearl edge_, or _purl edge_. a narrow thread edge of projecting loops used to sew upon lace as a finish to the edge.[1375] _pearlin_, or _pearling_ [scotch]. lace. _picot._ minute loops worked on to the edge of a _bride_ or _cordonnet_, or added as an enrichment to a flower--as in the case of rose point, in which _picots_ play an important part. {506}_pillow lace._ lace made on the pillow, by twisting and plaiting threads. the french term is _dentelle au fuseau_. _pizzo_ [italian]. lace. _ply_ = a single untwisted thread. _point lace._ lace made with the point of the needle. the french term is _point à l'aiguille_. the term point has been misused to describe varieties of lace, such as _point d'angleterre_, _point de malines_, etc., which are laces made on the pillow, and not with the point of the needle. _point de raccroc._ a stitch used by lace-makers to join _réseau_ ground. _point noué_ = buttonhole stitch. _point plat._ a french term for flat point executed without a raised cordonnet or outline cord.[1376] _pricked._ the term used in pillow lace-making to denote the special marking out of the pattern upon parchment. _pricker._ a short instrument used in bobbin lace to prick holes in the pattern to receive the pins.[1376] _punto a feston_ = buttonhole stitch. _purls_ = _brides_. _purlings_ = a stitch used in honiton guipure to unite the bobbin-made sprigs.[1376] _réseau._ ground of small regular meshes made on the pillow in various manners, and made by the point of the needle in fewer and less elaborate manners. the french term, as here given, is generally used in preference to any english equivalent. _réseau rosacé._ see _argentella_ (ch. argentan). _rouissage._ the process of steeping the flax preparatory to its being spun for lace-making. _rezél_, _reseuil._ see lacis, chap. ii. _runners._ the name by which the bobbins which work across a pattern in bobbin lace are known. _sam cloth._ old name for a sampler. {507}index aberdeen, qualifications of schoolmistress of, 431 n1209 aberdein, mrs. frank, cited, 400 n1140 abrahat, mrs., pensioned by queen anne, 347 abrantès, duchesse d', 105, 128 n343, 185 n542, 186 and n545, 237 n638 abruzzi, the, lace-making in, 68 addison, cited, 349 addo, marquis d', 459 n1264 adelaide, queen, 409 and n1155, n1156 adélaïde de france, 182 adelhaïs, queen (wife of hugh capet), 5 agriculture, women employed in, lace-makers contrasted with, 370 aquesseau, chancellor d', quoted, 264 alb lace, at granada, 92 albert, archduke of austria, 113 n326 -----museum (exeter), tallies in, 78 n242 albissola, lace manufacture at, 75, 77 and n240, 78, 79 and n246 alcuid, embroidery taught by, 6 alenches, 249 alençon numbers of lace-workers at chantilly and, (1851), 257 n688, refugees from, in 18th century, 347 --------, duke d', 140 n395 -------lace (see point d'alençon) alice, princess, bridal dress of, 409 almagro, lace industry at, 102 and n297, 103 n305 aloe thread, florentine use of, 93 n273 ---thread lace greek, 86 italian, 79 and n245 portuguese, 107 spanish, 91, 93, 99, 101 alost valenciennes, ground stitch of, 133 altar-cloths, alternate designs on, 24 bock collection, in, 23 prague, at (by anne of bohemia), 9 altar frontal in point conté, (mrs. hailstone's), 23 altenburg, 268 alva, duke of, 366 n1085 alvin, m., 480 n1322 amelia, princess, 128 america, impulse given to lace industry by u.s., 187 lace imported to, from- bailleul, 241 england (baby lace) 385 grammont, 134 italy, 75, 79 mirecourt, 253 portugal, 106 saxony, 263 spain, 102 puritan lace-makers in, 372 n1099 war with, effect of, on lace trade, 408 amsterdam, establishment of lace fabric at, 259 anderson, quoted, 74, 83, 101, 124, 271,288, 371 n1093, 384, 396; cited, 264 n709, 265 n713, 286, 397 --------, lady, robbery at house of, 346 angoulême, duchesse d', 196 anne of austria, influence of, on french fashions, 147, 150 mechlin veil of, 125-126 and n356 pattern-book dedicated to, 144, 498 pilgrimage to thierzac, 248 presents of english lace from henrietta maria to, 330 and n961, 401 ---of bohemia, queen (wife of richard ii.), altar-cloth by, 9 ---of denmark, cost of lace of, 317 and n904, 320 and n925 elizabeth's old clothes presented to, 320 english home industries encouraged by, 319 foreign lace purchased by, 327 funeral of, 325 and n934 ---of england (queen anne) household management of, 174 n516 mechlin lace of, 126 and n360 period of, 347-350 anspach, 265 --------, margrave of, 178 anti-gallican society edinburgh and dublin societies contemporaneous with, 429 prizes awarded by, 119, 262, 297, 355 and n1058, 374 and nn, 380, 395, 398, 404 records of, cited, 373 antwerp book sale at (1864), 482 brussels lace made at, 130 mechlin lace made at, 125 -------lace arrêt concerning (1688), 129 n365 brussels lace compared with, 118 first mention of, 129 and n367 spanish market for, 129-130 -------lace-makers, in london (1618-1688), 129 n366 anzola, m., 474 application lace, 122; flowers, 252 appliqueuse, work of, 122 aprons, laced, 309 and n873, 338, 356 and n1062 aranda, madame d', 98 n280 arbroath, effigy formerly in church of, 418 ardee, braid and cord lace made at, 446 ardfert abbey, lace shroud found at, 436 argentan, 202 and n569 -------lace. _see_ point d'argentan argentella, 78 n244, 193 and n555 argentine of dorset, 310 n877 argyle, duchess of. _see_ hamilton armada pattern lace of queen charlotte, 397 armstrong, mrs. rachel, 438 arnold, e., cited, 466, 469 n1286, 471 n1299 arras early industries of, 239 gold lace of, 240 lace industry of, 238-240 lace of, compared with that of lille, 235, 240; with that of mirecourt, 252 number of lace workers (1851), 257 n688 arundel, countess of, 12 --------, lady, quoted, 395 assizes, maiden, custom of presenting laced gloves at, 337 n991 asti, baroness a. d', 79 athens, white silk lace of, 86 atterbury, bishop, lace smuggled in coffin of, 361 auberville, m. dupont, exhibits by, 58; cited, 78 aubry, felix, quoted, 132 n376, 160 n466, 228 n614, 231, 257 n688; cited, 184, 285, 292 audiganne, a., cited, 228 n614 augsburg, 266, 267 augusta, princess, marriage of, 359 aumale, madame d', 183 aurillac, 154, 246-250 austria albert archduke, 113 n326 anne of. _see_ anne lace of, 268 auto-da-fè, lace worn at, 100 auvergne ancient names preserved in, 246 n658 lace exhibited (1867), 246 maltese guipures made in, 88 mignonette made in (1665), 35 number of lace-makers in (1851), 257 n688 petition of lace-makers in (1767), 64 thread used in, 245 --------, mgr. de la tour d', 183 auvray, quoted, 224 n611 avaux, m. le comte d', 155 avrillion, mlle., 177 n526; cited, 184 n541 axmouth, lace-workers of, 409 n1157 aylesbury, lace industry of, 378, 379 baby lace, 385 babylon, embroidery of, 3 backhouse, james, 300 bacon, lord, 318 baden, princess of, 178 bailey's dictionary, quoted, 303 n830 bailleul, 241 and n647, 257 n688 baillie, james, 432 baker, robert, 437 baldachino in italian lace, 66 "ballad of hardyknute" quoted, 24 bamberg, collection of german point at, 267 bampton, mr., 343 bands falling. _see_ falling bands lawyers', 337 bannatyne, james, 422 baptism ceremony, excess of lace at, 352 n1046 barante, m. de, cited, 111 barbara, princess of portugal (1729), 105 barbes, 168 n496, 180 and n533 -----pleines, 234 and n627, n628 barcelona, lace industry of, 91, 101 and n294, 103 n305 pillows used at, 103 n305 silk of, used in maltese lace-making, 88; used for blondes, 103 bard, william, 403 barleycorn net, 448 barry, madame du. _see_ du barry bars, genoese lace joined by, 74, 75 n236 baseus, n., 470 basing, lace purchased at, by anne of denmark, 320 basset, anne, 290 ------, mary, 291 bassompierre, 142 bath and west of england society, 410 and n1159 bath brussels lace, 405 baucher, canon, 226 bauta, 57 and n193 bavari, 55 bavaria, queen of, 421 bavière, isabeau de, 139 n393 bay, rudolf, 274 bayeux, black lace of, 214, 226 chantilly shawls made at, 215 lace industry, establishment of, 226; lefébure's development of, 228; number of lace-makers engaged in, 228 n614 mignonette made at (1665), 35 n109 point d'alençon of, 200 point de marli of, 225 and n613 point de raccroc of, 120 spanish silk laces contrasted with those of, 103 tapestry, 6 bayman, mrs., 107 bayonne, linen work of (1679), 79 n248 beale, mrs., thefts from, 349 bearing cloths, 309 and n871 beau nash on aprons, 356 beaucaire, fair at, 43 n136 beaufort, duchesse of, edicts ignored by, 142; extracts from inventory of, 143 and n413, n414, n415. beauharnais, eugène, 123 n351 beaumont and fletcher, quoted, 292 n788, 296 and n805, 315 and n896, 324, 363 n1070, 365 beauregard, 248 and n664 becket, thomas à, 202 and n569 beckford, quoted, 90, 98 n280 beckmann, quoted, 92 n267 bedford, number of lace-makers in, 377 --------, lady, 320 --------, duke of, 360 --------, lord, 348 bedfordshire lace, 88, 375-377, 385 beds, lace trimmings for, 27 n84, 98 and n280 beer (devon), lace-workers at, 409 and n1157, 416 n1169, 417 and n1171 beggars' lace, 34 béguinage, 126, 130, 133 "bèle, prerie," 144 belev lace, 283 belgium (see also flanders and brabant) lace industry (_see also_ antwerp, brussels etc.) application exported to france, annual value of, 252 centres of, before 1665, 44 n144 development of, 138 female education in, 112-113 guipures made by, 410 importance of, 112 and n324 numbers employed in (1861), 112 pillow lace. _see_ valenciennes valenciennes industry transferred to, 232 lace schools in, 113-115 linens and flax of, 405-407 pedlar lace-sellers in, 44 and n143 smuggling lace of, into france, 116 thread, fineness of, 119 n339 weaving of lace in fourteenth century in, 109 bell, mrs., old lace of, 384 bellière, m. de la, 130 and n368 bellini, lace in picture by, 47 ben, miss mary, 398 beni hassan, figures at, 1 beresford, lord john george, 443 berkeley, bishop, quoted, 371 n1092 berlin, number of lace fabrics in (_circ._ 1685), 264 bernhardi, n. r., cited, 497 n1359 berry lace industry, 256 berthe (mother of charlemagne), 5 bertin, mlle., 181 bertini, cav., 462 n1270 bess of hardwick, 11 béziers, bishop of, 154, 155 bible printed by quentell, 460 bidney, miss jane, 409 bigazzi, m., 468 n1293, 471 n1300 billament lace, 48 and n159, 299 and n817 binche, royal edict concerning, 135 and n381 -----lace, 118, 135 and n383, 136, 212 bindoni, g. a., 471 bingham, lady, 439 bisette (bizette), 33 and n102, 210, 256 bishops, denouncement of ruffs by, 316-317; ruffs worn by, 318 black lace caen fabric, 225 caen, bayeux and chantilly, similarity of fabrics of, 226 calvados, 223 chantilly fabric, 212-215 and n584, 226 east flanders fabric, 134 england, imported to, from low countries, 117 n330; fashion introduced into, 153 n444; lille fabric popular in, 237 fond d'alençon, ground, 214 france, fashion introduced into, 153-154 le puy fabric, 245 liège fabric, 137 n391 lille fabric, 236, 237 loom-made, 432 n1212 masks of, 177 saxony fabric, 263 turin, at court of, 153 n445 blanche of lancaster, 285 n755 blandford, lace industry of, 344, 396 and nn, 397 n1134 blessington, countess of, lace collection of, 369 blois, mlle. de, 161-162 and n472 blonde de fil, 34 and n108, 237 blonde-workers, wages of, 225 blondes almagro, at, 102 n297 barcelona silk used for, 103 caen, of, 224 catalonian, 102 england, introduction of manufacture into, in george ii.'s time, 356; made at sherborne, 397 french court, at, 182 genoese manufacture of, 75 le puy, of, 245 spanish, 103 n305 vélay, of, 244 white, 214 bobbin lace (_see also_ pillow lace) belgian, 123 bobbins used for, 296 n798 pillow lace a term for, 32 point duchesse, 123 royal inventories, mentioned in, 295 n797 value of, per oz. (queen elizabeth's time), 295 n797 -----net english machine-made, 447-450 france, first made in, 187 bobbins description of, 32, 33, 295 n795, 391 and n1127 honiton, at, 415 n1166 long, used for bobbin lace, 296 n798 materials used for, 32, 74 n235 number of, 33 n101 peniche, at, 106 n314 bock, dr., collection of, 23 and n74, 24 boenen, g., 311 bohemia, modern lace of, 262 boileau, quoted, 159 boislaunay, epoux malbiche de, 206 _boke of curtasye_, quoted, 290 bolbec lace, 218 bolingbroke, lord, 351 bologna, lace-making at, 68, 81 n248 bonald, cardinal de, 183 bone, bobbins made of, 74 n235 ---lace bobbin lace distinguished from, 296 n798 explanation of term, 400 ---pins (_see also_ bobbins), 295 n795 bone-work, why so called, 294 bonzy, monseigneur de, 154-155 books, parchment patterns on covers of, 77 boot tops, 145, 150 bordeaux fair, 43 n136 borlase, sir henry, 378. bosse, abraham, engravings by, 146, 147, 149 bottles used as light reflectors, 390 and n1125 boufflers, governor, 236. bourbon, catherine de, 144, 482, 494 --------, duchesse de, extracts from the inventory of, 120 n344, 125 n354, 128 n364, 162 n475, 168 n496, 169 n497, 174 n519, 195 n560 bourg-argental, 224 bourges, 5, 256 --------, archbishop of, 118 and n336 bourgogne, duc de, 99 n283 bowdon, miss, 417 bowen, emanuel, quoted, 405 bowes, sir robert, 38, 298 bowie, j., 430 n1207 bowll, william, 308. boys as lace-makers, 263, 377, 413, 414 brabant (_see also_ belgium) lace-workers from, settled at tönder, 274 point de sedan, attributed to, 254 brabant lace. _see_ brussels, mechlin, etc. braid, lace a term used for, 26 -----lace (devonshire), 414 n1156 -----and cord lace, 446. braidwork, in imitation of spanish point, 410 and n1159 branscombe, lace-workers of, 409 n1138 brazil, lace of, 108. brazza, contessa di, cited, 71 n222, 75 n237, 78 n244; quoted, 75 n236; lace school under direction of, 81 n248 bremen, refusal of, to receive strangers, 264 brennar, mr., 442 n1232 brereton, miss elinor, 438 bretagne, 229 and n617 bretschneider, a., 496 briattes, jean-ph., 225 n613 bribes of lace, 351 n1045 bridal veils, 78 bride ground. _see_ argentan ground. -----lace, 302 and n829 brides definition of, 31 and n91 milanese lace, in, 75 n237 spanish point, in, 58 thread guipures, in, 39, 40 _vrai réseau_ the successor of, 406 bridgewater baptist church, manifesto of, 403 and n1144 "britannia languens" (1680), cited, 54 and n183, 192 brittany, 229 and n617 brithnoth, exploits of, in embroidery, 6 broderie des indes, 229 -------de malines. _see_ mechlin lace brooks, mr., speech of, quoted, 329. brotherton, mr., invention of lace loom by, 432 n1212 brown, rawdon, cited, 345 n1025 bruce, mr. collingwood, cited, 6 bruges collection of lace at, 138 export trade with france, value of, 241 guipure de flandres of, 123, 133 valenciennes made at, character of, 232 n624 brunet, h., cited, 161 n472, 236 n633, 459, 461, 476; quoted, 466 brunfaut, m. duhayon, 131 and n374 brussels lace alençon, 200 application, rivalry of mirecourt, 252 arrêt concerning (1688), 129 n365 branches of industry, 123 brussels the only place for, 118 colour of, 121 compared with- alençon, 199; binche, 135; lille, 237; point de france, 194; st. trond, 137; saxony needle point, 263 cretan mesh work compared with, 87 designing of, 122 english court fashion for, in george ii.'s time, 354 exported as "english point," 117 flowers of, 121 grounds of, 120; mechlin ground distinguished from, 125 honiton imitations of, 405, 406, 410 made at antwerp, 130; at chimay, 135 manufacture described, 31, 118, 119; titles of workers of various processes in, 122 marie louise, empress, presented with, 124 patterns of, 122; date of earliest patterns, 116 point de bruxelles. _see_ point d'angleterre popular establishment for english buyers, 124 price per pound, 119 n339; causes of high price, 118, 119; comparative cost of ground, 120; price of flounce of, 124 n352 thread used in, 118 and n338; fineness of 119 n339 value of, from one pound of flax, 120; intrinsic value of, 124 n352 veil of, presented to empress josephine, 123 n351; smuggled, 361 venetian wear of, 57 and n192 --------lace-makers, point de raccroc of, 120 -------net, 120 n345 bruyel, nicholas de, 111 buckingham, duchess of, 345 n1024 buckinghamshire lace, 378-383; value of, 402 buffon, ruffles of, 173 bulgarini, francesea, 68 and n213 bullock, consul, quoted, 89 bunt lace, 428 buoy, lace seized in, 360 n1066 burano alençon point made at, 62, 200 argentan made at, 62, 208 english thread used at, 394 n1128 number of lace-workers at, 394 n1128 revival of lace industry at, 58-62 burato, 53 burgoigne, 205 n573, 216 n594 burgundy, lace industry of, 255 and n684, n685; lace-makers from, in london, 373 --------, duke of (charles the bold), 111 --------, dukes of, inventory of, quoted, 82 --------, duchess of, 167 n492 burke, patrick, 323 burnet, bishop, quoted, 13 burnham (buckinghamshire), lace industry of, 379 burning of badly-spun yarn, 432 and n1211 butterfly and acorn design, 308, 408 byas, 299 and n815 byzantine empire, origin of lace traced to, 45 cabanillas, cited, 102 cadenetas, 95 calderwood, mrs., cited, 127, 431; quoted, 118 and n337, 137, 260; dresden ruffles of, 262 caen black lace of, 226 blonde lace of, patterns, 224; quality, 224; rise and fall of industry, 225 chantilly industry outrivalled by, 215; chantilly made at, 224 number of lace-makers employed in (1847), 225; (after 1848), 228 n614 price of lace of, 224 cahanet, 226 calais, machine-made blondes of, 225 calepino, t., 474 callot, engravings of, 146 calthorpe, lady, 37, 297 calvados lace industry, 213, 223, 226, 228 and n614, 257 n688 cambray, archbishop of, 173 and n508 cambrensis, giraldus, cited, 435 cambury, lord, 403 campan, mme. de, 180 n533 campane, 34 and n104, n106, 51 campanner, 343 n1017 campany, cited, 99 campos, father fr. marcos antonio de, quoted, 95 candy, thread lace from, 38 canetille, 36 "canons," 153 and n441 canossa, contessa, 469 cant, miss anne, 430 n1207 cantor lectures on the art of lace-making, cited, 2 n7 cantu, lace-making at, 66, 80 capefigue, quoted, 166 card-sharping aided by ruffles, 171, 351 cardinals, 356 and n1059 cardwell, mr., 384 carew, sir g., 308 n870 carpaccio, lace in pictures of, 47 carpentier, madame, 226 carrêno, lace rare in paintings of, 98 carrickmacross, lace industry at, 440 carrouges, 206 cartisan, 36 cary, john, quoted, 849 n1325 castanaga, m. de, 167 castlebar, lace industry at, 439 catalonia, blonde made at, 101; blonde mantillas of, 88, 226 catgut lace, 343, 430 n1207 catherine de bourbon, 144, 482, 494 ---------of braganza, 43 n137 ---------de médecis, bed of, 22 bizette of, 33 n102 florentine lace probably introduced into france by, 67 lace-making at court of, 140 and n395 needlework of, 11 vinciolo patronised by, 11, 17 cattern's day, 376 cauellat, veuve, 476 cavenne, citoyen, 137 n390 cayette, v. p., cited, 140 n397 cecil, letter from, regarding french tailors, quoted, 307 cecyll, richard, 291 celle, d., 466 cephalonia, ionian lace at, 86 cerceau, a. du, 476 ceylon, pillow-laces of, 88 challus, anne, 184 n540 chambrières, 8 champagne, lace industry of, 253-255 chandos, infant daughter of duke of, 352 n1046 --------, lady, 294 n791, 297 n811, 307 n862, 308 n867 channel islands, lace industry in, 372 n1098 channon, miss mary, 398 "chansons a toile", 8 and n29 chantilly number of lace-workers at alençon and, (1851), 257 n688 point tresse made at, 314 ---------lace black, 226 caen manufacture of, 224 genoese imitation of, 75 industry of, 212-215 saxony lace compared with, 263 spanish silk laces contrasted with, 103 spanish and portuguese imitation of, 106 charles i. (england) carisbrook clothing expenses of, 372 n1097 carpet bag trimmings of, 38, 298 extravagance of, 326, 327 and n950, 328 great wardrobe account, quoted, 253 and n678, n679, 205 n612 marriage accounts, 296 period of, 326-332 picture catalogue of, cited, 296 ------- ii. (england) collobium sindonis of, 335 and n981 flanders lace, importation of, prohibited by, 125 foreign lace imported by, 336 and n985 period of, 335-339 silver parchment lace of, 38, 298 and n841 --------, prince (england), accounts of, cited, 322, 325 n940, n941 -------v. (belgium) cap of, 113 lace-making encouraged by, 113 portrait of, in quentell's pattern book, 459 -------viii. (france), 139 n393 -------ix. (sweden), 279 -------x., 143 n412 -------the bold, 111 charleville lace, 183 n539, 254 and n680 charlotte, queen armada pattern lace of, 397 british lace worn by, 363, 398 favourite lace of, 128 lace industry started by, 374 sponsor to children of aristocracy, 352 n1046 charmouth, lace-workers at, 395 charollais, mlle. de, inventory of, quoted, 125 n353, 129 n364, 162 n475, 175 n520, 135 ruffles of, 233 n626 chat, 181 and n536 château de madrid, lace factory at, 158, 210 and n584 --------renaud lace, 254 --------thierry, lace industry at, 157 n459, 253 châtel-sur-moselle, 251 and n671 châtelain, simon, 100 and n287 ----------, zacharie, 259 chaucer, quoted, 15 and n50 chaumont, 251 n673 chauvin, pierre, 230 cheney, lace industry at, 384 chesterfield, lord, quoted, 358 cheveux de la reine, 181 and n535 chevreuse, madame de, 168 cheyne lace, 438 chiavari _macramé_ of, 79 tape guipure of, 75 chicago exhibition. _see under_ exhibitions chichester, lady hamilton, 87 and n262 chick, mrs., 407 n1153 chigi-giovanelli, princess, 61 children as lace-makers, 103 n305, 107, 155, 209, 377, 438 chili lace, 108 chimay lace, 134-135 china drawn work of, 46 silk lace not in demand in, 89 ------, lace exchanged for, 349 choïsy, abbé de, 167 christening shirts of queen elizabeth's reign, 308 and n872 christian iv. of denmark, 68, 272-274 christina, queen, 73 n230 church of england appointment of parsons of, for reform of lace-making abuses, 331 inventories of, lace mentioned in, 293 ruffs worn by bishops, 318; sermons against ruffs, 316 -----of france, extravagance of prelates (louis xvi.), 182-183 churchill, lord, 403 cibber, colley, cited, 344 n1021 cicognara, count, 467 and n1286 ciglia family, maltese lace made by, 88 cinq mars, boots and collarette of, 145 ciprioto, 82 n252 cistercians, 7 "city match," quoted, 324 clarke, jane, 443 n1233 claver, alice, 288 clayton, sir thomas, accounts of, quoted, 350 clement vii., pope, 62 -------ix., pope, 70 -------x., pope, 172 n505 clément, m., 226 clermont, mlle. de, inventory of, quoted 128 n363, 195 n560, 207 n578 clonard abbey, effigy in, 437 n1222 clones, lace and crochet industry of, 445 cluny, musée de, punto a relievo in, 51 -----lace le puy fabric, 246 n659 mirecourt fabric, 252 coccolia, lace school at, 81 n249 cochon, cited, 256 n686 cock (fontange), 423 ----, hieronymus, 493 n1354 cockscombes, 344 code michaud, 148 coggeshall (essex), lace made at, 441 n1230 coigny, duchesse de, 123 n351 "col rabattu," 145 colbert, chevalier aurillac lace of, 248 chief director of trade, 158 n461 death of, 192 development of lace industry by, 154; extract from letter to m. le comte d'avaux, 155 difficulties in establishing lace factories, 158 and n461, n462 fabrics attempted by, 255, 256 fabrics established by, at arras, 239 and n644 aurillac, 247 château de madrid, 158, 210 n584 le quesnoy, 230 loudun, 256 huguenots protected by, 100 inventory of, quoted, 218 n596, 259 n692 mazarin, correspondence with, concerning lace, referred to, 150-151 ordinance of, 54 point d'alençon established by, 188 points de france, established by, 33, 111 raffy, madame, letter from, quoted, 202 colbertine, 337, 339 and n996, n997, n998 colchester, complaints of, regarding foreign lace-makers, 324 n935 cole, a. s. cited, 91-92 and n268, 446 n1236; quoted, 193 n555, 203 n570 kinsale lace revival due to, 442 and n1232 collaert, engraving by, 109 n319 collars, hunting, 328 collectors of lace, 364 cologne pattern book, 268 colombière, vulson de la, quoted, 73, 149 and n435 colporteurs, lace sold by, 44 and n142, n143 colyton military thieves at, 403 tomb in church of, 403 n1145 commode. _see_ fontange commonwealth, the, needlework in the time of, 13 compas lace, 297 and n809 compton, lord, cited, 296 n800 conclave, the holy, laces of, 70 condé, princesse de, inventory of, quoted, 125 n355, 161 n468, 168 n496, 169 n497, 174 n519, n520, 195 n558 congreve, cited, 344 n1021; quoted, 339 contarini, lucretia, 476, 484 conti, prince de, marriage-toilette of, 161-162 and n472 point d'aurillac cloak of, 248 contrada del pizzo, 59 connet, lace trade at, 270. cooke, quoted, 414 copper lace (st. martin's), 331 n965 coral point, 51 coralline, point de venise copied from, 49-50 cordonnet, 87, 406, 408 corfu, greek lace made at, 85 cork, crochet industry of, 444, 445 "corona" of vecellio. _see_ vecellio cotgrave, quoted, 33 n102, 36 n112 cotton lace, 187 -----weaving, at ghent, 134 couronne (picot), 31 and n92 courtrai, flax grown at, 118 n338 -------lace. _see under_ valenciennes lace cousin, jean, 476 couvin lace, 138 n392 covenanters, sumptuary enactments of, 424 coventry blue, 302 cow-houses, lace worked in lofts over, 224 cowper, quoted, 364, 370, 379 coxcombs, 31 cranfield, sir lyonell, cited, 324 n934 crâponne fabric, 246 cravat, laced introduction of, 337 origin of, 42 n135 stock the successor of, 345 creaden, the queen of, 437 n1223 créquy, m. de, 143 ------, madame de, quoted, 175 ------, marquise de, quoted, 173 n511, 250 and n668 crete, lace manufacture of, 86-87 crochet, irish, 444-445 -------hook used in genoese guipures, etc., 74 -------needle, used in punto di rapallo, 75 n237 cromwell, oliver, dress of, 333, 334 crown lace, 299 and n814 croïy, duc de, 366 n1083 crusaders, art of lace-making, traced to, 45 n148 cuença, 246 cuipure (guipure), 37 culpepper, sir john, quoted, 318-319 cunningham, quoted, 308 n866 curragh point, 443 and n1233 curtius, m., 143 and n412 "custom of the country" quoted, 324 cut-work ecclesiastical use of, 15 elizabeth's use of, 303-305 italian, 325 james i.'s time, 322, 325 lace known as, 2 name explained, 19 pall of, used in dieppe, 25 ricci's "last supper" depicted in, 79 n248 smocks adorned with, 25 toile d'honneur of, use at st. lo, 25 cyprus, needlework of, 82 d'abranthès, duchesse, 105, 128 n343, 185 n542, 186 and n545, 237 n638 d'addo, marquis, 459 n1264, 467 n1287, n1288, 469 n1294, 470, 472, 475, 476 and n1315, 477 daedalian ruffs, 315 and n895 daimeries, mme., quoted, 138 n392 dalecarlian lace, 68, 281, 282, 338 dalrymple, miss jenny, 263 dalton, mother augustine, 444 damer, mr., 364 dammartin lace, 212 dangean, quoted, 167, 178 dantelle (dentelle), first occurrence of word, 490 d'aranda, madame, 98 n280 darned netting, 20, 21 dartmouth, lord, 379 dauphin, ceremony at birth of, 162 n474 davies, barber surgeon, quoted, 70 davies' _epigrams_ quoted, 323 n933 davey, mrs., 409 dawson, mrs., 446 n1235 de la motte, maréchal, 29, 126 and n357 de lonlay, eugène, cited, 208 de staël, madame, 180 deaf and dumb, net lace used by, in sardinia, 81 n248 debts for lace, 353 and n1050. decker, t., quoted, 315 n895 defoe, quoted, 43 n140, 171 n503, 377 and n1111, 378, 379, 380 and n1119, 396, 397, 403; cited, 344 delaney, mrs., quoted, 120 n344, 121, 355; cited, 413 n1161 denbert, bishop of durham, 6 denmark cut-work of, 276, 277 embroidered tulle of, 229 grave-clothes, lace adorned in, 275, 366 and n1082 lace industry. (_see also_ schleswig and tönder) export trade, 274 n736 lace postmen, 274, 277 origin of, 272 protected by christian iv., 274 quality of lace, 275 wulff's revival of, 276 and n739 dennistoun, mrs., 58-59, 487 denny, lady arabella, 437, 438 and n1225, 439 and n1227 dentelière, work of, 122 dentelle, definition of term, 27 and n80 -------à la reine, 259 and n692 -------à la vierge, 220 "dépit amoureux" quoted, 32 derby alice, countess of, effigy of, 321 n927 ------, lady, 342 -----rib, 448 n1239 derbyshire, pillow lace made in, 393 derode, v., quoted, 236 n630, n633 desborough, lace industry of, 379 desmarquets, cited, 219 n603 desmond, countess of, 437 n1222 desnos, joseph odolant, quoted, on establishment of point d'alençon, 155 n455 ------, odolent, quoted, on invention and establishment of point d'alençon, 155-157 despierres, mme., quoted, 157 n457, n458, 159 n464, 195 n557, 204 n571, 307; cited, 192 n552, 203 d'este, madame anne bellorio, 61 family, auctions of, cited, 46 devonshire bone pins used in, 294 lace of. _see_ honiton, trolly villages in, noted for lace-making in 1698, 403 n1143; those now engaged in, 403 n1147 ----------, duke of, coffin of, searched for lace, 360 ----------, duke of, jacobite lace brought to, 426 diamond lace, 299-300 and n818 "diarium vadstenoense" 278 didot, f., 487 dieppe cut-work, pall used in, 25 lace industry of, 218-220, 223 -----lace, 183 n539 dieudonné- quoted, 225 n613, 231; cited 237 n639 dijon, valenciennes made at, 255 dike, ric. 319 n918 dinant muslin-work, 138 n392 dinghen, madame, 311 doddridge, lady, effigy of, 405 doge's horn in italian laces, 66 dogs as lace-smugglers, 116 and n329 dolls dressed in french fashions, 170 and n500, n501 "don quixote," cited, 98 n281 donat, père, 501 donchéry lace, 254 doran, dr., anecdote related by, 186 dorsetshire lace, 396-398; value of, 402 dorstats, madame catherine von, 497 douairière de la ferté, duchesse, 175-176 double ground, 386 douce, mrs., cited, 500 n1366 douglas, bp., letters of, quoted, 265 and n720 dover, refugee lace-makers at, 324 n935 "down," 390 draper, mrs., 13 drawn-work, method of, 25 sicilian, 81 south american, 188 wire, 72 dresden lace, 262, 263, 430 and n1207 drocheleuse, work of, 122 droschel, 119 drouais, 168 dryden, quoted, 425 du barry, madame accounts of, quoted, 34 n106, 120 and n341, n343, n344, 126 n356, 129 n364, 162 n475, 168 n496, 175 n520, 178 n529, 181 n534, 195, 207 and n577, 231 and n621, n622, 233 n625, n626 indian muslin bought by, 179 inventories of, quoted, 213 n592, 250 n666, n667 du haillan, 142 n408 dublin society, the, 429, 437-439 dubois, c., cited, 137 n389, 138 n392 ------, 468 duchesse lace, 123 dulaure, cited, 173 and n513 dumont, manufactory of, 211 ------, mlle., 105 n312 dunbar, mrs., 443 dunkirk, james ii.'s cap in museum at, 340 and n1004 duponchel (du ponchel), 205, 207 n576 dupont, m., cited, 204 duras, duc de, 207 n577 ------, duchesse de, 213 and n591 duref henri, cited, 247 durham, st. cuthbert's cope and maniple at, 7; his grave-clothes, 14, 15, 366 durie, lord, engraving of, 423 dussen, b. v. d., cited, 133 and n378 duthie, mlle., 181 duval, m., 224 dysart, countess of, 344 n991 "each," 391 _eagle_ (french vessel), seizure of, 101 earnings and wages of lace-workers alençon, 192 arras (1788), 239; (1851), 240 bedfordshire, 377 blonde-workers, 225 denmark (1848), 277 n741 devonshire, 414, 416 n1168; honiton, 407 and n1153 dorsetshire, 398 flemish thread-spinners', 119 france, average (1851), 257 n688; their savings, 159 n464 genoa, 77, 78 mechlin, 127 mirecourt, 252 n675, 253 normandy, 223, 228 n614 northamptonshire (spratton), 390 scotland, 434 spain, 102 switzerland, 270 val, 233, 234 n627 vélay, 244 ypres valenciennes, 131 n373 eaton, john, 336 ------, prestwick, letters from, cited, 98 n282 ecclesiastical lace athenian--for jewish church, 86 burano school allowed to copy, 62 decline of, since the reformation, 331 greek, 83 ionian, 86 italian, 47 and n154 katherine of aragon's work of, 376 and n1108 maltese, 88 scotch, 418, 419 spanish, 90, 92 washing of, 373 n1101 ecouen lace, 210 n589 eden, mrs., 443 edgithe, queen, 6 edict of nantes, revocation of effect on lace industry (france and other countries), 192, 212, 254, 258 settlement of fugitives in germany, 264-265 edinburgh society for encouraging the arts and manufactures of scotland, 262, 263, 429, 430 and nn edward the elder, daughters of, 6 edward iii. pins for his daughter's trousseau, 294 n794 thread veils of time of, 285. edward iv. irish smock of, 436 wardrobe accounts of, quoted, 288 edward vi., funeral lace of, 293 effingham, dowager lady, 349 ----------, earl of, 364 egenolffs, c., 470 egyptians (ancient), embroidery of, 1 ekenmark, cited, 280 n748 elberfeld, 265 eleanor of austria, 262 n701 elgin marbles, designs in, 3 elizabeth, princess (wife of elector palatine), 71, 325 ---------of austria (elisabetta borbona d'austria), 495 ---------of bohemia, 294 n794 ---------of denmark, 272 ----------, queen anecdote referring to, 38, 297 cost of lace for revels at court of, 308 n871 cut-work of, 303-305 false hair of, 314 and n894, n895 foreign tastes of, 305, 307, 310 irish at court of, 435 laces of, 299-300; lace made from human hair, 313; genoa and spanish lace, 307; parchment lace, 298; cost of lace furnished to, 308 new year's gifts to, 294 n791, 295, 303 n833, 304 n834, n835, n836, n837, 307 and n862, 308 n867, n870, 310 n875, n876 old clothes of, presented to anne of denmark, 320 presents to, from mary stuart, 420 and n1184; from the baroness aletti, 421 n1187 ruffs of, 310-313; 316 n901 skill of, in needlework, 500 smock made by, 10 and n32; smocks of, 308, 408 stocking-frame inventor discouraged by, 448 n1240 wardrobe accounts of, cited, 72; quoted, 92, 98 n282, 297 and n811, 299 and n814, n815, n816, n817, 300-301 and n820, n821, n824, n826, 302 and n827, 304 n834, n838, 307 and n861, n865, 309 n873, 311 n880, 312 n882, 314 n895, 372 n1098 ----------, reign of christening shirts and bearing cloths of, 308-309 habits of people in, 310 n877 importation of pins (annual) in, 294 n794 lace, use of, in, 300 laced handkerchiefs of, 310 and n874 measures against luxury of the people, 301 sumptuary laws, 306 and n855 value of lace and thread imported (1559 and 1568), 306 and n859 venice lace of, 48 and n154 ---------of york, queen, 9 n30, 48, 289 elliott, julian, 328 embroider, italian and spanish term for, 45 and n147 embroidery anglo-saxon, 5-7 babylonian, sidonian and phrygian, 3 and n13 drawn-thread work, 25 ecclesiastical, 4-7. egyptian, 1 greek, 2, 3 and n8 jewish, 2 spanish, 103 embroidered lace, genoese, 77 engageantes, 168 enghien lace, 134 "engines" for lace-making, 324 n935 england (_for_ counties, towns, etc., _see their titles_) french fashions, method of obtaining, 170 frugality of nation, in queen elizabeth's reign, 310 n877 lace in account of (_see also_ names of sovereigns), 285 _et seq._ date of establishment of industry, 286-288; origin of, 111; centres of, before 1665, 44 n144; impossibility of competing with belgium, 138 earliest mention of, 285 flanders, trade with (1768), 115; flemish lace. _see_ that title foreign, prohibited, 125, 289-290, 341, 347; imported, 245, 251, 288, 291 smuggling of. _see that title_ protestant refugees in, trades of, 297-298 reformation, decline of ecclesiastical lace since, 331 sumptuary laws. _see that title_ vinciolo published in, 482 engrêlure, 31, 168 n496 entoilage, 30, 250 épinal, 251 equipage de bain, 168 eric xiv. (sweden), 307 ericksholm, 280 ---------castle, 279 erikson, gustaf, 280 erzgebirge lace, 263 essex, earl of, 401 este, madame anne belloris, d', 61 ---family, archives of, cited, 46 etrepagny lace, 213 n589 eu lace, 183 n539, 218, 221-222 eugénie, empress, 198 evans, mrs., 308 n869 evelyn, quoted, 13, 43, 168 n496, 338, 339; cited, 57 exeter, bishop of, 316 ------, elizabeth, duchess of, 285 n755 exhibitions chicago world's fair honiton lace at, 416 n1169 italian lace at, 46 n150 colonial and indian exhibition (1886), cyprian lace at, 82 industry, 1808, point d'argentan at, 208 (1851), alençon flounce at, 197-198; lace industry developed since, 392 (1855) (paris) alençon point dress at, 198 equipage of king of rome at, 196 needle-point dress at, 245 (1859) (french). report--cost of brussels lace, 119 n339 (1862) (international) spanish exhibits at, 103-104 threads, comparative fineness of, 119 n339 wadstena lace at, 280 1867 (paris) alençon point dress at, 200 burano laces at, 58 honiton lace at, 410 macramé shown at, 79 mechlin lace at, 125 oyah at, 87 point gaze at, 123 valenciennes lace at, 131 and n373 1874 (international) austrian lace at, 268 brussels lappet at, 411 russian towels at, 283 valenciennes lace at, 131 1889, point d' alençon at, 201 1900 (paris), 268 eyesight, effect of lace-making on, 112 n324 fairfax, sir thomas, 333 fairs, 43 and n136, n137, n140, 326 n945 falbala, 167 and n492 falcon, t., 246 fallals, 350 and n1043 falling bands, 321 n928, 322, 326, 327, 334, 336 fambri, signor, 61 "fameuse poupée," 170 fanciulle, 462 fanshaw, lady, quoted, 333 farbeck, john, 300 favier-duboulay, correspondence of, with colbert, re lace industry at alençon, 155 and n454, 189 feather-stitch, 8 fécamp lace, 218 félibien, d. m., quoted, 141 n402 félice, g. de, quoted, 150 n437 félin narciso, quoted, 91, 99 felkin, mr., cited, 447 ferdinand and isabella of spain, 92, 93, 96 feret quoted, 219 and n604 ferguson, mr., cited, 250 and n665 fernandez, don manuel, 102 ferrara archives of, quoted, 46 and n150 venetian lace-worker at, 78 n243 fielding quoted, 354 n1053 filet brodé à reprises, 20 fillesae, marie, 157 n458 fillings, 31 filo di freta (_see also_ aloe thread), 79 n245 firenzuola cited, 46 n152, 47, 57 n172; quoted, 66 and n207 fisher, bishop, 292 fitz-geoffrey (geffery), henry, quoted, 317 n908, 332 flanders emigration of lace-makers from, preventive legislation, 111-112; emigrants in london, 373; in bedfordshire and buckinghamshire, 375 and n1105; in devonshire, 399 and nn, 400 n1140; expelled from england (1572), 306 lace. _see_ flemish lace. lace school in, description of, 114-115 spanish imports of dentelles d'angleterre from, 98 thread imported from, complaint regarding, 324 n935 water-glass reflectors used in, 390 n1125 --------, east, lace of, 133-134 --------, west lace workers of, 133 and n378 valenciennes lace of. _see_ valenciennes flax age of, 259 n697 cotton substituted for, 187 spinning of, in damp cellars, 405 fleming, lady, 10 flemish lace. (_see also_ belgium _and_ brabant) arrêt concerning (1688), 129 n365 barcelona lace imitated from, 91, 99 black lace exported, 117 n330 cargo of smuggling vessel (1678), 117 coffin containing, 61 danish imitation of, 275 england bribes for jacobites in, 351 n1045 exportation to, prohibited, 125, 341 fashionable in, 318, 325, 327, 340 imitations in, 384, 404; honiton reproductions, 411, 416 trade with (1768), 115 france, popularity in (louis xiv.), 150; trade (seventeenth century), annual value of, in passemens, 209 n583; prohibited, 142 importance of industry of, 111 liège, 136-137 "malines," a term for, 125 origin of, 109 types of, 115-116 white work, 294 and n791 flemish names in colyton (devon), 403 n1145 fleurens, 270 fleury, cardinal, quoted, 176 florence gold lace from, spanish exclusion of, 92 greek lace made at, 85 industrial schools in, lace work of, 81 n248 lace industry of, account of, 66-68; "fine dantelle de," 27 le puy, imports from, 245 n657 florentine merchants, allowed to trade in england (circ. 1546), 291 florini, m., 488 _flying postman_ advertisement in, 129 "flys," 416 n1170 foillet, j., 489, 490 fonneuse, work of, 122 fontange (commode) "cock" the scotch term for, 423 description of, 168 n486, 342, 350 n1043 extinction of mode, 166, 348 and n1035 story of, 164 fontana, lavinia, lace in picture by, 47 n153 fontenay, lace, 212 n589 fontenelle le liqueur, 229 and n615 fonthill, sale of lace at, 162 n475 foote, quoted, 171 n503 footing, 31, 168 n496 forbes, miss betsey, 432 n1209 forçade, m. de la, cited, 340 n1004 force, p. de la, cited, 254 and n682 foresto, i., 471 fortunato, p. a., 500 foskewe, sir john, 22 _four p's, the_, cited, 43 n139 fournier, quoted, 209 n583 "fourpenny spot," 372 n1095 fowke, mr., cited, 6 and n23 fowler, mrs., lace school of, 416 and n1169 fozzi, p. p., 491 france. _for_ districts, towns, etc., _see their titles_ bobbin net introduced into, 187 customs of french ladies, 168-170 états généraux (1789), action of, regarding lace, 183 extravagant cost of lace ornaments (louis xiv.), 153 fairs in, 43 n136 fashions fashion dolls, 170 and n500, n501 italian influence on, 139 and n393 louis xiv., under, 167 first appearance of lace in, 139 n393 first empire brussels lace at court of, 123 lace industry under, 184 morning costume under, 185 point d'alençon patterns under, 199 and n566 florentine lace used in (1545), 67 imports of lace from, to england, forbidden by queen anne, 347 italian guipures exported to, 75 italy, relations with (16th century), 476 lace industry in. _see_ french lace industry lace-makers from, brought to teach scotch girls, 428 ladies, addiction of, to needlework, 9, 24; as lace-makers, 163 men as embroiderers in, 13 point d'espagne consumed in, 90; made in, 100 points de venise from, 54 quintain named from brittany town, 19 lace industry improved by, 383 refugees from, to channel islands, 372 n1098; to england, 324 n935 revolution in, effect of, on lace trade, 183 and n539, 223, 249, 368, 408 second empire, point d'alençon patterns under, 199 spanish imports of lace from, 101 sumptuary laws in, 138 and n354, n355, 147 and n429, 149, 154 and n451 tariff (1664), liège lace mentioned in, 137 war with, effect of, on english lace industry, 386, 387 yellow starch, attitude towards, 318 and n909 france and navarre, queen of, pattern book dedicated to, 493 franceschi, francesco di, 475, 484 francis i. aurillac lace of, 247 pattern book dedicated to, 461 frankfort-on-the-maine fair at, 43 n136, 326 n945 pattern book published at, 267 frano, g., 477 frederick, prince of wales, 354 ---------iv., 274 ---------william of brandenburg, 264 french lace industry centres of, before 1665, 44 n144 cheap lace, 187 and n546 colbert's development establishment and history of the company (1668-1675), 157-158 establishment of point d'alençon, 155-157 immigration of venetian workers, 159 n465 principal centres, 159 n464 pupils sent to venice, 154-155 and n454 first empire, under, 184 foreign trade bruges, annual value of, with, 241; with flanders, 209 n583; valenciennes trade with belgium, 132 n376 germany, with, 265 prohibition of, with flanders, 142 rivalry of holland in, 258 smuggling from belgium, 116; from switzerland, 270 statistics regarding (18th century), 160 n466 number of lace-makers in (present day), 188; table of (1851), 257 n688 paris lace-workers, confirmation of statutes of, 150 n437 pattern books, 144 and n420, n421, n422, n423 patterns imitated in denmark, 275 pillow lace manufacture, extension of (17th century), 159 point d'espagne, 100 protestants prohibited from selling lace, 150 n437 varieties of lace made in (1665), 33-35 width of lace restricted, 152-153 freyburg, 268 freytag, g., quoted, 265 n718 friesland hens, ladies likened to, 342 frondeurs, extravagance of, 150 froschover, christopher, pattern book of, 271 fugio lace, 74 fuller, quoted, 378, 401 furnesse, sir henry, 344, 347 fuseaux, dentelle à, 32 n98 gabrielle de bourbon, 8 n28 ----------, madame, 49, 142, 143 and n413, n414, n415 gaguef lace, 281 _gan, le_, quoted, 24 gantes, mlles., 250 garden, lord, quoted, 119 garnica, john de, 113 n325 garnier, joseph, cited, 255 n685 garnitures de lit, 174 and n519, n520 garters queen elizabeth's cost per pair, 301 trimmed with point, 145 gaston, duke of orleans, 8 n27 gaudronnées collerettes, 17 geneva, rivalry of, with mirecourt, 252 genoa albergo de' poveri, macramé made at, 79 collars of, 74 earnings of lace-workers, 77, 78 embroidered lace of, 77; embroidered tulle, 229 gold work of, 47, 72 guipures of, 74 lace of cardinal mazarin's purchase of, 150, 151 honiton reproduction of, 411 point de gênes, 41, 42, 72, 73 and n230, 74 queen elizabeth's, 307 and n865 lace trade in, chiefly pillow, 47, 74; decline of, 74 silk work of, 72 sumptuary laws in, 73 tessada, signore, old lace of, 72 n225 genoa, duchess of, 78 n244 gentili family, bridal veil made for, 78 geometrical patterns cuffs of (queen mary's), 113 cretan, 86 greek lace, 20, 85 ruffs of, 316 swedish, 25 vecellio's, 111 vinciolo's, 18 george i. mechlin cravat of, 126 and n361 period of, 351-353 wardrobe account of, 240 and n645 -----ii., period of, 354-357 -----iii. english manufactures protected by, 359, 363 and n1068, 381 period of, 363-370 sponsor to children of aristocracy, 352 n1046 -----iv., wardrobe of, 364 n1073 geharts, c., 501 germany fairs in, 43 n136, n140 guipures imported into, 36 lace imported into, 245, 251, 254 lace industry centres of, before 1665, 44 n144 export trade with france, 265 north and south edict of nantes revocation--emigration of fugitives into, 264-265 religion of lace-workers, 264 sixteenth and seventeenth centuries, 264 nuremberg (_see that title_) origin of, 111 pattern-books, 266-268 saxony (_see that title_) luxury, outbreak of, 265-266 geslin, simon, 193 _gespeldewerkte kant_, 32 n98 ghent lace brussels lace compared with, 118 manufacture of, 133-134 trade replaced by cotton-weaving, 134 valenciennes made at ghent, character of, 231 n624 ghisolieri, la signora silveria rossi, 484 gibbons, grinling, lace carvings of, 367 and n1088 gibson, sir alexander, engraving of, 423 ------, miss mary, 438 gigliucci, countess, fragment of drawn work possessed by, 69 gilbert, madame, 155 and n455, 156, 157 and n458 gimp brussels lace, in, 406 method of making, 33 silk, at ragusa, 84 gioiello, 486 giraldini, catherina, 500 gisors lace industry, 209, 213 n589, 215 glairo, mlle. u., 235 glandore, lord, 436 glen, jean de, 136, 482, 488 and n1338 ----, miss, 431 n1209 gloucester, duchess of, lace collection of, 369 gloves, laced, 337 and n991 goats' hair lace, 245 godard, jean, quoted, 24, 146 n425 goderonné, term explained, 17 n57 godric, 6 gohory, anne, 183 n540 golbertain (colbertine), 339 n996 golconda, king of, 322 n928, 329 and n958 gold lace (_see also_ aurillac lace) arras, of, 240 england, imported to fifteenth-sixteenth centuries, 288, 289, 307 monopoly in, under james i., 318 prohibited, by queen anne, 349; by george ii., 355 n1057; confiscation and burning of, 359 france, popularity in, 139, 141, 146, 154; of paris, 211-212 genoa, wearing prohibited in, 73 hamburg, of, 264 holland, introduction into, 259 india, imported into, 322 n928, 329 and n958 ireland, importation to, prohibited, 439 jewish manufacture of, 92 lyons, of, 256 ragusa, at, 84 russia, of, 283 scotland, wearing in, prohibited, 422 sicily, of, 80 spain, of, 92, 100-102, 248 sweden, of, 280 zurich, of, 271 ---guipure work, swedish, 277-278 ---purles, 330 ---thread duties on, leased to dame villiers, 328 italian (fourteenth century), 72 ---wire, protest by handspinners of, 335 golden horn, 273 goldoni, cited, 57 n192 goldsmith, quoted, 70 n218 gomberdière, marquis de la, quoted, 209 and n582 gonzales, don manuel, cited, 380 and n1120, 403 n1146 gooding, james, 413, 414 gorget (whisk), 334 gormont, 464 goudronné, term explained, 17 n57 gozo, maltese lace made at, 88 grafton, duchess of, 344 n1021, 349 n1037 gramite, 46 n150 grammont lace, 134 granada, lace alb in cathedral of, 92, 93 granson, battle of, 111 grave-clothes duke of alva's, 366 n1085 ionian lace sold from, 86 lace decorations of, 365-367 st. cuthbert's, 14, 15, 366 gravelle, attempt to establish fabric by, 207 great marlow bone lace trade of, 319 lace school at, 378 great wardrobe accounts, where kept, 299 n816 greek lace. (_see also_ cyprus _and_ ragusa) devonshire imitation of, 414 n1165 italian cut-work so called, 20 milan point, 65 reticella so called, 50, 85 greeks (ancient), embroidery of, 2, 3 and n8 green, quoted, 296 -----silk lace, 291 n783 greene, mrs., quoted, 321 n926 gremial, 70 n217 grey, lady jane, anecdote of, 38, 297 grillé, 30 n89 gripsholm, portrait of queen elizabeth at, 307 gropari (punto a gropo), 52 gros point de venise. _see_ point de venise, rose point ---rené, 32 groslay lace, 210, 213 n589 ground absent in certain laces, 31 kinds of, 30 round, 39 gruner, mr., cited, 476 n1316, 487 n1335, 489 gruuthus mansion, collection at, 138 gueuse, 33, 34, 41, 42 guibray fair, 43 n136 guipure flemish, 123, 133 genoese, 74 honiton (modern), 409, 410 maltese, 88 method of making, materials, uses, 35-40 modern, 39, 40 parchment lace probably english term for, 37-38 point de venise, 49 tape, 39, 75 turkish, 87 gunning, miss (duchess of hamilton), 425 n1199, 428, 429 gurbert, cited, 219 n602 gustavus adolphus, 282 gustaf vasa, 279, 280 guyard, sieur mathieu, 204-205 guyenne, annual consumption of le puy lace in, 245 n657 haag, cited, 265 n714, 269 n725 haarlem thread, 216 n595, 223 n608, 245, 259 and n695, n697 hailstone, mrs., 23 hainault, laces, 134 _et seq._; lace flowers, 121 hair false, of queen elizabeth's time, 314 and nn fashion of wearing, 341 lace made from, 313; horse-hair used in alençon, 194; goats'-hair and rabbits'-hair lace, 245 wigs, 336, 349 hal, flax grown at, 118 haliwell, quoted, 297 n809 halle lace, 265 hamburg point, 264 hamilton, anne, duchess of (miss gunning), 425 n1199, 428, 429 --------, lady jane, 123 n351 hamilton lace, 430 -------net-work (modern), 434 n1216 hamlet on the french stage, 186 hammond, machine-net invented by, 447 hand, mrs., 445 handkerchiefs, laced, 310 and n874, 337 hangkow, lace made in, 89 hanmer, sir thomas, 349 n1037 hanover fabrics, 265 hanslope lace industry, 380 n1119 harefield church, sculptured lace on effigy in, 321 n927 harent, ignace, 230 harrison, major, rich dress of, 333 hartruide, madame, 279 hartshorne, albert, cited, 321 n927 hatfield, old needlework at, 11 hathaway family, embroidered bed linen of, 325 n941 hauslaub, general von, 263 havre lace, 183 n539, 217 n595, 218; number of lace-makers (1692), 216, 218 hay, lord, 64 hayman, mrs., 410 head, r. e., quoted, 391 n1127 headdresses (_see also_ fontange) louis xiv. styles, 164-166 mignonette lace used for, 35 prices of "heads," 348 roman, 165 n486 "heller," 391 helmin, fr. margaretha, 502 henderson, anne, 430 heneage, george, 346 henrietta maria inventory of, cited, 29 and n87, 146 n426 present from, to anne of austria, 330 and n961 henry ii. (england), 37, 202 and n569 -------(france), introduces lace ruff, 139, 140 and n393, 262 n701 henry iii. (england), 37, 43; portrait in pattern book, 480 ---------(france), 140 and n396, 141 henry iv. (france) fashion dolls sent by, to marie de médicis, 170 n501 isle of paris industry, probable connection with, 210 measures of, against luxury of dress, 141-142 and n405 shirt worn by, when assassinated, 142-143 and n412 -----vi., laces in fashion in time of, 286 and n761 -----vii., lace of time of, 288, 289 and n772 -----viii. act for the true making of pins, 294 n794 foreign lace allowed in england by, 67, 291 inventory of, cited, 372 n1098; quoted, 104 lace of, 64, 289, 291-292 and n772 sumptuary laws of, 436 and n1220 wardrobe account of, quoted, 289 and n768, n769 ------, prince (1607), 296 n798 herault, chancellor, 143 and n416 herbert, miss, 416 herbouville, cited, 131 n371 herculaneum, drawn wire lace found at, 72 hergosse, m. de, 177 n525 hesse, landgrave, french fugitives received by, 265 and n711 hieronimo, fra., 469 high wycombe, lace industry of, 380 hippisley, sir john cox, quoted, 329; veil bequeathed to, 421 hispano-moresque point de gênes frisé, 74 hoche, general, 13 hoffmann, hans, 469 holcroft, mr., 169 n499 hölesom, 280 holidays in roman catholic countries, 102 n302 holland dutch extravagance in lace, 260 haarlem thread, advantage of, to, 259 and n695, n697 lace imported into, 251, 254 lace industry in, 258-260 and n689 rivalry with french lace trade, 258 hollie work, 325 and n939 hollow lace, 299 and n816 holme, randle, cited, 31, 344; quoted, 251, 296 n799, 339 holstein, daughter of duke john of, 275 holyrood palace, lace trimmed basket in, 420 honfleur lace, 183 n539, 218 honiton, lace school at, 414 -------lace account of, 399-411 bobbins and pillows used in, 415 n1166 bruges lace a rival to, 133 guipure, 40 indian contrasted with, 89 japanese imitations of, 417 point duchesse compared with, 123 -------lace-makers, skill of, 417 n1171 hope, sir thomas, portrait of, 423 horsehair used in making alençon, 194 hôtel rambouillet, dressed dolls of, 170 hove, callys de, 306 howel's letters, quoted, 317 n906 hubert, soeur, cited, 220 n606 hugo, victor, quoted, 135, 164; cited, 136 n384 humphrey, thomas, 401 hungarian lace, 268 hungerford, sir edward, 395 hunt, susanna, 438 hurdle, mary, 395 hutchins, quoted, 396 n1133 hutchinson, colonel, 333 ----------, mrs., memoirs of, cited, 12 hutton, sir timothy, 71 iberian lace, 104 ile de france. _see_ isle de france india lace exported to, 241, 251, 253, 322 n928, 329 and n958 pillow-laces of, 88 and n263, 89 india museum, pillow laces in, 89 indian muslin, 179-180 -----work of denmark, 275 innishmacsaint, 446 innocent iv., pope, 7 inquisition, lace-trimmed banner of, 100 insertion, 388 ionian isles lace manufacture of, 85 lace from tombs of, 365 ipsden, vicar of, ms. in possession of, 286 n761 ireland bath and shirley school, 440 club against "foreign fopperies," 438 dublin society, the, 429, 437, 439 lace industry in, 436-446; maltese guipures made in, 88; irish point, 443 and n1233 prize offered by, for dresden point, 262 sumptuary laws in, 435, 436 and n1220 yellow dye of, 307, 435, 436 iron mask, 166 n490 isabella, infanta, 113 --------, princess (sweden), 279 n746 "isabelle" tint, 121 ischia lace, 71, 263 and n705 isle de france lace industry in centres of (17th century), 209 and n582, 210 chantilly, 212-215 cheap laces, 210 dumont's fabric, 211 huguenots engaged in, 209 spanish imports of lace from, 99 israel, j., 469 italians, dishonesty of, in lace trade (henry vii.'s time), 48, 67, 288 italy (_for_ towns, etc., _see their titles_) france, relations with, 16th century, 476 invention of lace claimed by, 109; of point lace, 45 lace imported by, 245, 251 n670 lace of (_see also_ point _and_ punto) centres of manufacture before 1665, 44 n144 england, fashionable in, 318; imitated in, 416 n1169, 417 greek lace manufacture, centres of, 85 points in relief of, counterfeits of, 105 spanish point attributed to, 93, 97 lace schools of, 81 n249 revolutions in, lace seized during, 51 and n175 silk gimp specimens from, 85 swiss lace from, origin of, 269 white thread made in, 49 n165 jabot, 172 jacobites, 425, 426 james i. gold purle manufacture prohibited by, 319 and n921 great wardrobe account, 311 n878, 317 and n903, 318 nl7 honiton lace industry in time of, 401 lace of, 64 monopolies granted by, 318-319, 378 period of, 315-326 ruffs under, 315-318 -----ii. edinburgh visited by, 425 period of, 340 -----v. (of scotland), 372 n1098, 418 and n1172 -----vi. (of scotland), 422 and n1195 ------, jacques, 205 jane seymour, 292 japan, honiton lace imitated in, 417 jean lace. _see_ genoa lace jerphanion, sieur, 244 jersey, isle of, lace industry of, 372 and n1097 jesuit lace, 445 and n1234 jesuits, inventory of, cited, 331 jesurum, cav. michelangelo, 62 jew stick, 491 and n1349 jewellery of 18th century, 346 jews athenian lace used by, 86 embroidery of (ancient), 2 gold and silver lace made by, 92 and n270 jingles of bobbins, 391 n1127 johan adolf, prince, 282 johnson, dr., quoted, 367 jointeuse, work of, 122 jolly, margareta, 348 jonson, ben, quoted, 43 n139, 302, 313 n890, 316 and n922, 318 n910, n912, 327 josephine, empress, 123 n351, 177 n526 jours, 31 judith of bavaria, 5 junius, hadrianus, 114 n327 junot, madame. _see_ abrantès, duchesse d' jurdaine, mary, 306 jutland lace industry, 274 katherine of aragon, queen bedfordshire lace-industry attributed to, 375 and n1106, n1107, 376 needlework of, 9, 10 and n32 portrait of, 129 n367 spanish fashions introduced by 10 n32, 310 ----------, queen (wife of charles ii.), 43 ---------parr, queen, 10 n34 keck, 423 keller, dr. ferd, 270 n728 kenmare, lace industry of, 443, 444 kennedy, tristram, 440 kettering, lace industry of, 384 killigrew, quoted, 318 n908 kilravock, mistress margaret, daughter of the baron of, 425 n1198 kinsale, lace industry at, 422 n1187 knight, cited, 396 ------, miss, quoted, 264 knole, old needlework at, 11 knotted fringe, 13 and n47 -------lace, 52, 68 knox, miss jane, 438 koehler, statuette by, 262 königsmarck, aurora, lace in tomb of, 366 la boord, madame, 43 la chaise-dieu, lace industry at, 249 "la fontange," story of, 164 la mancha, lace factory at, 102 la motte, maréchal, 29, 126 and n357 la perrière, 155 n454, 157 n458 "la providence" nuns, 226 la vallière, 154, 464 n1280 laborde, cited, 151 n438 lace (_see also_ old lace) biblical meaning of term, 2 definition of term, 26 foreign equivalent of term, 26 n77 manufactures of, before 1665, 44 n144 parts of, 30 point and pillow, 32 ---association, aims of, 393 laced handkerchiefs, 310 and n874 lace-makers, ill-health of, 415 lacis aurillac, 248 book of (1587), 18 definition of, 20 and n61, 21 _don quixote_, mentioned in, 98 n281 german, 264 punto a maglia quadra, 52 sicilian, 81 tuscan, 68 ladies as lace-makers, 163, 337, 355, 373, 374 and n1103 ladomie, m., cited, 170 n501 laffemas, quoted, 209 n583 laid work, 301 laimoxen, balthasar, 489 lalande, cited, 64 lalma, 246 lamb represented in lace, 21 lamballe, princesse de, 213 lappets. _see_ barbe larkin, thomas, 312 laroche, lace made at, 137 larruga, cited, 101 lassels, cited, 70; quoted, 73 latomus, sigismund, 267, 491, 492 lauber, miss jacobina, 282 laulne, e. de, 476 launceston, lace-making at, 371 n1094 laval, geneviève, 183 n540 laybach, 268 le prince, 465 le puy lace industry of cheap laces, 246 descriptions of lace of, 245 export trade, 245; value of annual export, 245 and n657 haarlem thread used in, 245 import duties decreased, 244 and n653 numbers employed in, 242; (1851), 257 n688; in making valenciennes, 245 sumptuary laws (seventeenth century), effect of, on, 243 lace schools of, 246 and n659 museum at, 246 valenciennes lace at, 230 and n619 le quesnoy lace, 157 n459, 230 lead, bobbins made of, 74 n235 leber, m., cited, 487 n1336 lee, rev. william, 448 n1240 lefébure, a. blondes mates exported by, 226 point d'argentan revived by, 208 quoted, 75 n237, 155 n453, 158 n463, 159 n464, 194, 200; cited, 228, 250, 269 n724 teaching improved by, 227 leicester, countess of, 330 leipsic, fair, 196 and n563; fabrics (1685), 265 lennox, countess of, 314 ------, duke of, 419 and n1176 léonard, 181 lepage, m., 134 l'estoille, p. de, quoted, 141 n399 l'estrange, sir thomas, 290 _letters of a lady's travels in spain_, quoted, 97-98 leu, sieur de la, manufactory of, 205-206 liedts, baroness, 138 liège lace account of industry, 136-137 point de sedan, connected with, 254 price of (1701), 136 n386 lierre mechlin lace made at, 125 pictures in st. gomar, 109 n317 light reflectors, bottles used as, 390 and n1125 liguria, guipures of, 74 lille lace compared with spanish lace, 103; with arras, 235, 240; with valenciennes, brussels and mechlin, 237 cost of thread, 237 and n637 england, popularity in, 237 and n640; bedfordshire lace called "english lille," 385 ground, 236-237 modern, 238 lace-industry antiquity of, 235 decline of, 238 dress of lace-makers, 235 and n630 french duty on lace (1761), 237 n635 mignonette made (1665), 35 numbers employed in (1723), 237 n640; (1788), 238, 257 n688 rivalry with mirecourt, 252 value of (1788), 238 lace-workers, daily amount produced by, 233 thread, fineness of, 119 n339; price of, 192 n553, 237 and n637; export of, to scotland, 432 limerick lace, 440, 441 and n1230, 442 n1231, n1232; lace school, 442 limousin, 250 lincoln, maiden assize at, 338 n991 linen embroidery of, 14 macramé, 79 and n248 lisbon, lace factories at, 105 lisle, lady, 290 and n780 loch, david, quoted, 433 and n1214; cited, 434 locke, quoted, 430 loisel, franç., phelyplaux, 125 n354, 174 n520 lombard peasants, lace worn by, 64 london foreigners in (1571-1688), 129 n366, 299 n817, 306 and n853; complaint of women against introduction of foreign merchants, 286; complaints against foreign lace-makers, 324 n935 lace-making in, 373 ------, bishop of, sermon by, against ruffs, quoted, 316 and n899 -----_chronicle_, cited, 4 -----_gazette_, quoted, 11 n39, 126 long island, lace-making by protestant settlers in, 372 n1099 lonlay, eugène de, cited, 208 lonrai (lonray), lace factory at, 155 n455, 156 and n457; sale of stock, 196 ------, marquise de, 157 n457 _lord thomas_ (ballad), quoted, 15 l'orme, marion de, quoted, 125 lorraine, lace industry (_see also_ mirecourt), 251 and n672, n673; mignonette made (1665), 35; numbers employed (1851), 257 n688 --------, queen louise de, 144 lost property, advertisements for, 337 and n990, 338 and n992, 342 n1010 loucelles, abbé suhard de, 226 loudun, 256 louis xi., 139 n393 -----xiii. collar made at venice for, 194 death of, 149 flemish conquests of, 230 and n618 luxury and fashions of time of, 144-147 -----xiv. census of (1684), 131 cravats presented to ambassadors by, 163 death of, effect on alençon industry, 192 fashions of reign of, 161 _et seq._ fête at marly, 163 flemish conquests of, 230 and n618 gold and silver lace of period of, 154 paris lace commerce under, 211 sumptuary laws of, 152 -----xv. court of, 172 and n505 fashions under black lace masks, 177 jabots, 172-173 mourning, 178 relevailles of parisian ladies, 174 ruffles, 171-173 point d'alençon patterns under, 198-199 and n566 trousseau of eldest daughter of, 176 -----xvi. fashions under, 179-181 phraseology of time of, 181 point d'alençon patterns under, 199 and n566 ruffles of, 172 n508 louisa, queen (sweden), 279 louise de vaudemont, queen, 18, 478, 480 louvain, pictures and altar piece at, 109, 110 and n317 --------, widow, attempt of, to establish manufacture at mortagne, 206 louvres, lace-making at, 209 -------en-parisis lace, 212 n589 lovat, lady, 426 n1202 low countries. _see names of countries_ lowndes, cited, 497 n1360, 500 --------, richard, 380 lubec, 264 lucca, gold lace, 92 lude, duchesse de, 167 and n495 luxada, cited, 75 luxembourg, m. de, 167 ----------, maréchale de, 180 luynes, duc de, memoirs of, quoted, 174 and n518, 176 n522 luzarches lace, 212 lydgate, quoted, 305 lygum kloster, 274 n736, 276 n738 lyme regis, lace industry of, 396-398 lyons lace, 256 lysons, cited, 384, 396; quoted, 405, 408 mabbie, 423 macaulay, john, 439 n1227 mcculloch, cited, 384 ----------, e., cited, 224 n610 mccullow, miss martha, 438 mache, 22 n70 machine net, introduction of, 408 machinery--"engines" of foreigners for lace-making, 324 n935 maclean, rev. william, 442, 443 mcpherson, quoted, 112 n324 macramé, 52, 79 and n247 madden, sir fred., quoted, 297 n812 madeira, laces of, 106, 107 and n316 madras, maltese-like lace made in, 88 n263 madrid, lace factory at, 102 magnus, prince (sweden), 280 maidstone, complaints of, regarding imported flemish thread, 324 n935 mailly, madame, 250 maine, madame de, 167 maintenon, madame de, 168, 183; letter to, quoted, 99; lace factory of, 163; letter from, quoted, 172 and n506 _malcontent_, quoted, 322 malines exhibition, voile de bénédiction at, 195 n561, 251 n674 -------lace. _see_ mechlin lace malta, grave-clothes lace-trimmed at, 365 maltese lace account of industry, 87 and n262, 88 danish manufacture of, 275 english manufacture of, 392, 393, 414 n1165 greek lace similar to, 86 guipure, 40 madeira manufacture of, 107 n316 saxon manufacture of, 263 man, isle of, lace industry of, 372 and n1096 manchester thread, 119 n339 manchettes. _see_ ruffles manegetti di ponto fiamengo, 111 manilla grass thread-work, 89 n265 mantegna, andrea, 467 mantillas, 226 manzoni, count, cited, 488 n1340 mar, countess of, 419 and n1176 marcello, countess andriana, 61 marche lace, 68, 138 n392 marcq, catherine de, 157 n458, 158 n460, 190 mare, de la, cited, 148 n431, 152 n440 margaret of austria, 23 n74 margherita, queen of italy, 61, 62 margot, reine, 11, 22, 49, 141, 142 marguerite de france, 11 n36, 22, 27, 33 n102 maria d'aragon, portrait of, in pattern book, 497 -----elizabeth, electress palatine, 491 marie antoinette autograph letter, referred to, 213 fans and laces distributed by, 180 fashion at court of, 179-180 gazette of (1782), 181 n537 point de marli worn by, 225 sale of lace of, 183 -----louise, brussels lace presented to, 124; lace trousseau of, 184, 196 -----theresa, 259 and n699 marnef, hierosme de, 496 marillac, maréchal de, 147 n428, 265 n715 marini, cited, 58 marlborough, lace industry at, 395 marli, 180 and n532 marly, fête at, 163 marriott, william, 380 marryat, captain, cited, 413; lace industry assisted by, 410 --------, mrs., 500 n1365 --------, miss cecilia, 410 marsan, comte de, 210 and n585 ------, mlle. de, 211 mary, princess, daughter of george ii., 348 ---i. accounts of, quoted, 297 gift of spanish work to, 10 n32; flanders work to, 294 interment of, 180 present to lady calthorpe, 297 ruffs of, 310 sumptuary laws, 293 ---of burgundy, 135 ----, queen of hungary, 113 ---de médicis collarette of, 143-144 death of, 149 fashion dolls sent to, 170 n501 pattern book dedicated to, 22, 494 point de gennes of, 72 sumptuary law published by, 144 and n419; evaded by, 149 and n434 mary of modena, queen, 341, 425 ---ii. fontange of, 342 knotted fringe worked by, 13 and n47 lace bills of, quoted, 168 n496 mechlin ruffles of, 126 and n364 ---stuart dentelle of, 27 finery of, overhauled by elizabeth, 307 and n860 guipures of, 37 and n120, 38 inventories of, cited, 21, 33 n102, 302 n828, 314, 325 n939, 372 n1098 needlework done by, 10, 11, 420, 421 ruff on effigy of, 316 n901 wardrobe of, 419 and n1177, 420 and n1182, 421 will of, 22 masch (mawsch) 22 and n70, 419 massillon, encouragement of lace industry by, 243 massimo, prince, reference to library of, 466, 468 n1290, 495 n1357 massinger, quoted, 265 n717, 296 and n804 matignon, mlle, de, 176 matilda, empress, bayeux tapestry ascribed to, 6 n22 --------, queen, bayeux tapestry ascribed to, 6 and n23 matsys, quentin, 109, 110 matthew of paris, anecdote by, 7 maximilian, king of the romans, 289 maynard, mrs. lydia, 404 mayne, jasper, quoted, 317 and n905, 324 and n936 mazarin, cardinal, 143 n412, 150, 151 and n439, 248 mazzarine, 343 and n1017 mechlin lace arrêt concerning (1688), 129 n365 "broderie de malines" a term for, 125 characteristic of, 31, 125 compared with bayeux lace, 228; with brussels, 118; with cretan mesh work, 87; with lille, 237; with point de dieppe, 218; with st. trond, 137; with valenciennes, 233 decline of manufacture, 125 description of, 124-125 earliest references to, 125-126 english fashion for, 126 grounds in, 125 imperial layette (1856), in, 198 lille, pattern adopted at, 238 points de france rivalled by, 177-178 pope's apron bordered with, 70 turnhout manufacture of, 125, 131 uses of, 127-128 varieties included by term (1665), 35 ---net, 448 medici collars, 56 médicis family (_see also_ katherine _and_ mary), influence on fashions, 139 melville, sir robert, 37 _memoirs of madame palatine_, cited, 354 men as lace workers chili, 108 england, 392; south, 371 n1092; northamptonshire, 385; devonshire, 413, 414 france, 155 madeira, 107 n316 normandy (soldiers), 225 saxony, 263 work of, compared with that of women, 263 menin lace, 232 n624 menzikoff, prince, funeral of daughter of, 366 n1083 meran blonde, 256 mercier, baron, lace school of, 196 ----, s., quoted, 121 and n348, 170 n500, 171 and n502 méric lace, 212 merli, cav. antonio, cited, 46 and n150, 47, 50, 462, 466, 468 n1291, n1292, 487 merli à piombini, 32 n98 mermaid's lace, 49 meshes, cretan skill in, 86 messina, lace work at, 81 metal laces, sicilian, 86 mexico, mantillas exported to, 226 meyer, daniel, 496 mézières lace, 183 n539, 253, 254 mezzo punto, 58 michel, francisque, cited, 104; quoted, 251 n669 ----, pfarrer, 266 michele, la sig. gabriella zeno, 484 middleton, quoted, 312 n884 mignerak, milour, pattern book of, 21, 22, 29, 493 mignonette, 34 and n107, 35 and nn, 210, 237, 251 milan albissola lace bought for napoleon i.'s coronation at, 78 cantu the centre of lace of, 66 cathedral, lace camicie in underground chapel of, 66 early record of italian lace belonging to, 63 genoese lace contrasted with lace of, 75 n236 greek lace made at, 85 old milan point, 65 punto di napoli contrasted with point of, 71 réseau of points of, 66 wire lace industry at, 72 milward & co., 380 minas geraes, lace of, 108 minifie, mrs., 400 and n1140, 401 and n1142 mirecourt lace, 212, 238, 251-253, 257 n688 misson, f. m., cited, 54 n186; quoted, 267 mitchell, mr. and mrs., advertisement of school of, 431 n1209 modano, tuscan, 52, 68 modène, duchess of inventory of, quoted, 120 n344, 121 n347, 128 n363, 135 and n383, 175 n520, 213 and n590 ruffles of, 233 modes, 31 molière, quoted, 152, 153 n442, 173 n515 mompesson, sir giles, 318 and n914 monaghan, crochet industry of, 444, 445 moncrieffe, sir thomas, 425 monks, needlework done by, 12 and n40 mons lace, 134-135 "monsieur de paris," 173 montagu, lady mary wortley, 57, 59, 73; quoted, 128, 356 and n1061 montague, mrs. elizabeth, quoted, 352 ---r., account entry by, 335 n982 montargis, 256 montbéliard, pattern-book published at, 28 montchrestien, cited, 209 n583 monteagle, lord, 10 n32 monteleon, princess of, 98 monthulay, family, 204 ---sieur de, 205, 206 montmorency, lace-making at, 209, 213 n589 montrose, pearlin of, 423 moorish lace, 104 moors, spanish lace-making attributed to, 45 morant, captain, 440 more, mrs. hannah, quoted, 368 moreau, general, 13 moretti, nicolo, 484 morgan, cited, 435 ---sydney, lady, 369 morges lace, 212 n589 morin, m.a., cited, 220 n606 mortagne, 206 moryson, agnes, quoted, 55, 70, 73, 87, 258, 265, 268, 274 moscow, lace school at, 284 motteville, mme., quoted, 154 n447 mountague, alice, 308 mourning, lace discarded in, in james i.'s time, 324 murat, caroline, 183 ---laces, 248, 249 mzeresk lace, 283 nanduti, 108 nani, signora viena vendramina, 485 nankin silk thread, 223 n608 naples greek lace made at, 85 lace from a palace at, 51 n175 lace of, 70-71; lace work of industrial school at, 83 n352 napoleon bed made for, 196 favourite laces of, 128, 184 lace industry encouraged by, 123-124, 183-185, 196; attempt to revive valenciennes, 231. nardendal, custom of natives of, 283 national gallery portraits, illustrations of ruffs in, 316 n901 navarre, queen of, accounts of, quoted, 67, 141 n406, 142 n409, n411 needle lace (_see also_ point à l'aiguille) alençon known as "needle-point," 195 irish, 443 method of making, 32 queen elizabeth's, 305 nelson, lord, anecdote of, 264 nemours, duchesse de, 235 nesmond, marquis de, 117 and n331 netherlands. _see_ flanders, belgium, holland _and_ brabant netting, 20, 21, 52; machine net, 408 neufchâtel lace industry, 270 and n726 neville, mary, marriage clothes of, 291 n779 new ross convent, lace made at, 444 newport pagnel lace, 375 n1105, 378, 382, 384 newton, rev. john, letter from cowper to, 379 nicholas, edward, 329 n957 -------susanne, 329 n957 nichols, quoted, 294 n791, 303 n833 nicolas, etienne, 160 n466 night caps, 323 noailles, madame de, anecdote of, 180 n533 normanby, lady, 441 normandy lace industry of. (_see also_ calvados _and_ dieppe) centres of, 216, 218 french revolution, effect of, 223 mignonette made (1665), 35 numbers employed in different localities, 228 n614; (1851), 257 n688 value of, 228 n614 peasant women, valenciennes bought by, 235 norris, sir henry, 307 northamptonshire lace, 384-393 nosegays, lace trimmings for, 55 nottingham lace, 441; isle of wight lace compared with, 372 n1097; machine-made blondes, 225; imitation mantillas, 227 novgorod, fabric at, 283 nuns, lace washed by, 373 and n1101 ---as lace-makers flanders, 354 italy, 47 and n154; burano, 58; florence, 67, 68; cantu, 80 portugal, 105, 107 spain, 93 nuremberg, 266, 267 oberkirch, baroness de, extract from memoires of, 182 o'brien, mrs. r. v., 442 o'hagan, mother abbess, 443 o'halloran, mr., 436 old lace indifference to, 368 and n1090 mania for, 369 restoration of, 411, 412 oldfield, mrs., 367 olney, lace industry of, 378, 380 n1119 opus tract, 302 orfreys, 3 n13 orléans, duchesse d', quoted, 166 n489 -------dukes of, inventories of, quoted, 120 n342, n344, 221 and n607 orléanois lace industry, 256 orsa lace, 281 ostans, giovanni, 484 -----jean, 475 oudenarde lace, 134 our lady of la solidad, costly robes of, 90 -----of loreto, laces of, not described, 69 overbury murder, 317 oxford, opinion of, on falling bands, 326 -----countess of, 9 n31 oyah (turkish crochet), 45, 87 pagan, mathio, 468, 471 paganino, alessandro, 468 paganinus, p. a., 472 paget, lady, 295 pagodes, 168 n496 paintings, earliest in which lace occurs, 47; lace in paintings of 18th century, 222, 364 palatine, count, 326 -------madame, 168; memoires of, quoted, 178 pale of rose point, 51 and n174 palermo grave clothes at, 366 and n1081 sculptured lace in villa near, 71 palestine, lace-making at, 59 and n195 pandore, la grande, 170 parasole, elisabetta catanea, 495 -------isabella catanea, 491, 496 parchment lace, 37 and n122, 38 and n126, n129, n131, 297, 298 paris churches, lace of, 120 n342, 161 n467, n469 english laces in demand at (1788), 368, 379 exhibitions. _see under_ exhibitions lace industry binche and mirecourt flowers applied at, 212 bisette made (1665), 33 and n102 commerce of lace under louis xiv, 211 and n587 dumont's fabric, 211 factories round, 209 guipures made (1665), 36 and n114 mignonette made (1655), 35 numbers employed (1851), 257 n688 passementiers privileged in, 44 pattern books in, 12 and n43 parisini, agostino, 477 partlet, 297 n810 pasax, marquis de, 190 pasini, tomaso, 483 pasment in scotland, 418 pasolini, countess, 81 n248 passament (passement) definition of term, 26 and n79, 27 guipure a kind of, 36 references to, 27-29 "passement bond, the," 419 passerotti, aurelio, 472 pattern-books belgium antwerp (n. d.), 130, 463 liège (1597), 136, 488 cut-works, of (1591), 20 n62 earliest dated, 18; earliest known, 376 n1108 england london (1591), 482; (1624), 497; (1632), 499; (1640), 500 northampton, 384 france lyon (n. d.), 92 n269, 465, 466; (1549) 92 n269, 144, 464; (1581), 475 mignerak's, 21, 22, 29, 144, 493 montbéliard (1598), 28, 489, 490 paris, in bibliothèque impériale, 12 n43; in st. geneviève's library, 12; (n. d.), 468; (1530) 144, 461; (1546), 464; (1564), 475; (1584), 476; (1587), 17, 18, 477; (1587, 1588, 1595, 1606), 479-481; (1601), 20 n62, 490; (1605), 493; (1613), 494; (1623), 498; (1722), 501 germany augsburg (1534), 267, 462 cologne (1527), 268, 459 frankfort (n.d.), 470; (1537), 470 frankfort-on-the-maine (1568, 1569, 1571), 470; (1605), 267, 491; (1607), 492; (1618), 496 leipsic (1619), 496 lindau am bodensee (n.d.), 488 nuremberg (n.d.) 502; (1597), 489; (1601, 1604), 266, 490; (1666), 501; (1676), 501 nuremberg and leipzig, (1784), 501 strasburg (1556), 469 gold and silver lace, of, 92 italy bologna (n.d.), 477; (1591), 483 florence (1596), 488 padua (1555), 469; (1604), 491 pistoja (1642), 53 n181, 85, 92 n269, 500 rome (1616), 495; (1625), 496 siena (1603), 488 turin (1589), 481 venice (n.d.), 466, 471, 498; (1529), 461; (1530), 53 n179, 460; (1532), 462; (1537), 462; (1542), 463; (1543, 1544), 464; (1548), 53 n179, 468; (1551), 468; (1556), 469; (1557), 472; (1558), 471; (1559), 92 n269, 471, 472; (1560), 473; (1563), 474; (1564), 53 n179, 54 n182, 474, 475; (1567), 475; (1584), 476; (1591), 53 n179, 54 n182, 484; (1592) (corona of vecellio), 50 n167, 54 n182, 484; (1594), 486; (1600), 68, 491, 496; (1620 and 1625), 54 n182, 497 samplars a substitute for, 22-23 switzerland basle (1599), 271, 490 st. gall (1593), 271, 487 zurich, 271, 469 unknown points in, 54 n182 vienna museum, in, 263 pauline, princess, 184, 185 pays de caux, 216 peacham, quoted, 325, 329 pearl (picot), 31 -----ties, 31 pearlin, 422, 423 pedlars, lace trade carried on by, 43 and n139, 44 and n142, n143 pelegrin, francisque, pattern book of, 144, 461 pelican represented in lace, 21 pellestrina, revival of pillow lace at, 62 pembroke, countess of, 322, 500 peniche bobbins used at, 106 n314 lace industry of, 107 and n315 pennant, quoted, 382; cited, 431 n1208 penne, mrs., 294 penshurst, old needlework at, 11 penthièvre, duc de eu lace patronised by, 221 inventory of, quoted, 117 n333, 195 n549 wardrobe account of, quoted, 172 and n510, n511, 211 n588 peplos, embroidery of, 3 n8 _pepys' diary_, quoted, 153 n444, 337, 338 persia, drawn-work of, 45 peru and mexico, lace imported to, from le puy, 245 perugia, torchon made at, 81 n248 peter the great, 283 petersen, anders, 280 petre, madame, of gefle, information supplied by, 282 n750 peuchet, cited, 132, 224, 256, 265, 377, 395; quoted, 216 n595, 218 n600, 220 n605, 225, 237 n640, 239, 244, 245 and n657, 268, 396, 432 "pharsalia" quoted, 25 philip ii. (spain), 67, 310 -----iii. (spain), 97 philippa, queen, 278, 285 and n754 philippine islands, manilla grass threadwork of, 89 n265 phrygians, embroidery of, 3 and n13 pianesani, francesco, 462 picard, m., 490 n1346 picchetti, marie, 79 pichon, baron j., 482, 493 n1355, 495 n1356 pickleman, jungfrau, 266 pickpockets, 346 picot (pearl), 31 and n92 pigott, miss, quoted, 421 pillows barcelona, 103 n305 description of, 391 foreign names for, 32 n99 honiton, 415 n1156 pillow guipure, 116 -----lace (bobbin lace) austrian, 268 bobbin lace, so called 32 ceylon, of, 88 foreign names for, 32 n98 france, extension of industry in (seventeenth century), 159; trade crisis (1818), 187; fabric at château de madrid, 210 n584; gold lace of paris, 212; first mentioned in french pattern-books, 494 genoese, 74 germany, introduction into, 260 madeira, at, 107 mechlin. _see that title_ method of making, 32-33 origin of, 29, 109 peniche, at, 107 russian, 283 and n751 spanish, 103 n305 valenciennes. _see that title_ -----net, 150 ------beres, 16 and n56 pin net machine, 448 pinheiro, dona maria bordallo, letter from, quoted, 107 n315 pins for lace-making, 391 and n1126; state papers concerning, 294 n794 pinwork lace, 294 n794 piper countess elizabeth, 280 pisa, lace work of industrial school at, 81 n248 pitt, french fashions excluded by, 170 pizzo, 74 plaited laces, 392 platteuse, work of, 122 plissés à la vieille, 127 pluymers, jean, 158 n460 point (stitch), kinds of, 32 -----lace invention of, claimed by italy, 45 misuse of term, 32 varieties of, 33-35 -----à l'aiguille, 121; gazée, 123. _see also_ needle point -----d'alençon argentella, 193 and n555 bayeux manufacture of, 228 burano manufacture of, 62 compared, with point d'argentan, 203, 204 and n571; with brussels, 194, 199; with colbertine, 339; with point gaze, 123; with sedan lace, 254 dress of, purchased by emperor napoleon, 198 earliest use of name, 195 and n557, n558, n560 grounds in, 193 imperial layette of, 198 industry argentan, connection with, 204 centres of, 200 decline of, causes for, 192 early account of, 188-189 edict of nantes, effect of revocation of, 258 establishment of, 155-157 and n455 export trade, 192 method of manufacture, 192-194 napoleon's patronage of, 196 number of lace-workers (1698), 191; (1786), 195; (1788), 192 n552; (1830), 196 origin of, 111 n323 quality of lace-work, 159 n464, 187, 194 revival of, 155 and n454, 196-197 value of (1786 and 1801), 195; (1830), 196 invention and establishment of, 155-157 and n455 lappet of, from genoa, 78 and n244 "nun's work," 11 n39 patterns, 190-191; dates of, 198-200; venice patterns copied, 191 season for, 178 shaded tints introduced in, 201 and n567 specimens of, exhibited, 200, 201 time required in making, 198, 201 venetian réseau, relation to, 58-59 "vilain," 191 n551 -----d'angleterre angleterre à bride, 408 aurillac manufacture of, 247 burano manufacture of, 62 butterfly and acorn pattern in, 408 france, fashionable in, 118 and n336 history of, 117 and n332, and n333 point de france rivalled by, 178 -----d'argentan "argentella" possibly a name for, 78 n244 armada pattern lace worked in, 397 burano manufacture of, 62 characteristic of, 207 compared, with point d'alençon, 203, 204 and n571; with point gaze, 123; with venetian lace, 203, 204 n571 description of, 203 ground in, 203 and n570, 204 n571, 207-208 industry alençon, connection with, 204 embroidery, replaced by, 208 n580 guyard's revival of, 204-205 number of lace workers (c. 1744), 205; (1786), 195 rival houses, 205 value, annual (1786 and 1801), 195; (1788), 207 reference to (1738), 195 and n559 season for, 178 -----d'aurillac. 154, 246-249 -----de bourgogne, 255 -----de brabant, 138 n392 -----de bruxelles. _see_ point d'angleterre -----à carreaux, 32 -----à chaînette, 32 -----des champs (point de paris), 35 -----colbert, 188 n548, 228 -----coupé (couppé), 17-18, 49, 140 _et seq._ -----de dieppe. _see_ dieppe -----double (point de paris), 35 -----duchesse, 123 -----d'espagne. (_see also_ gold lace) brides in, 58 definition of, 90 england, importation to, prohibited, 358; honiton imitation of, 410 irish imitation of, 443 n1233 point d'aurillac compared with, 248 portuguese laces compared with, 98, 106 queen elizabeth's, 307 references to, 98-99 n283, n285, 100, 103 n306, 354 -----d'esprit, 32 and n94, 229 -----de flandre (_see also_ flemish lace), 111, 144-145 -----de france. (_see also_ point d'alençon) description of, made at alençon, 190 designs in, 158 n463 équipage, de bain of, 168 falbalas of, 167 and n492 industry centres of, 157 n459, 159 n459, 210-211 and n584 dumont, mlle., foundress of, 105 n312 establishment and history of company, 157-158 and n459 flanders, effect on, 111 method of working pattern in, 31 n91 ordinance of 1665, 157 and n459 rivals to, 177-178 popularity in france and england, 161-162 references to, 157 n459, 159 n464, 195 and n557, n558, n559, n560 -----de galle, thread lace from, 88 -----gaze, characteristics of, 123 -----de gênes (genoa) collerette, 141 france, prohibited in, 148 n431, 154 and n451 history of, 72-73 and n230, 74 "révolte des passemens," mentioned in, 41,42 -----de hongrie, 265 -----of italy, first appearance in france, 144-145 -----de marli. _see under_ bayeux, lace industry. -----de milan, irish imitation of, 443 -----de moscow, 284 -----de neige (punto neve), 32 and n97, 51 -----de paris, 32 and n93, 35, 210, 212 -----plat, 105 n313, 118, 121 and n347, 122 and n350; appliqué, 123 -----de raccroc, 120, 184, 226 -----de raguse, 41, 83 and n254, 84 -----à la reine, 32 -----de sedan. _see_ sedan -----tresse, 314 -----de venise alençon imitations of, 191 characteristics, 123 england, importation to, prohibited, 358 france, prohibited in, 154 and n451 guipure, 40 irish imitation of, 442 mary ii., image of, shown wearing, 345 mazarin's purchase of, 150, 151 moscow imitations of, 284 origin of, 49-50 point à l'aiguille gazée so called, 123 point de raguse so called, 83 resemblance of, to point d'argentan, 203, 204 n591; to le puy lace, 245; to point de sedan, 254 "révolte des passemens," mentioned in, 41 rose point (raised), 51 and n175, 62; price of, 57; honiton reproduction of, 411, 416; irish reproduction of, 443 n1233, 444 spanish conventual lace compared with, 93 theft of, 105 and n313 -----de venise à réseau, 57, 58 pointeuse, work of, 122 points, lace known as, 2 poitou, 256 poking-sticks, 312 poland alençon, trade with, 192 and n553 point de sedan imported to, 254 pole, lady, effigy of, 403 n1145, 405 polignac, madame de, 180 polychrome lace, 62-63 pomfret, countess of, 99 n285 pommereu, m. de, quoted, 191 and n550 pomp office, 319 pompadour, madame de, 184 n540 _pompe di minerva, le_, cited, 53 n181, 85, 92 n269 ponchel, du. _see_ duponchel pont-l'evêque lace, 183 n539 ponthièvre, duke de, 100 and n288 ponto fiamengho, 111 pontoppidan, quoted, 274 n736 pontus de gardia, 280 pope, quoted, 367 ----, the, apron worn by, for feet-washing ceremony, 70 and n217 popplewell brothers, quoted, 345 porlin, quoted, 306 n854 porter, mrs. grey, 440 portland, duchess of, 353 portugal american imports of lace from, 106 bone pins used in, 295 guipures exported to, 36 lace-making in, 105-107 and nn le puy, lace imported from, 245 sumptuary laws in, 105 postlethwait, quoted, 354; cited, 396 pot lace, 130 and n369 potter, amy, 366 n1086 poussin lace, 219 poyntz, adrian, 482 prague, altar-cloth at, 9 pridmore, mr., 389 princess royal, bridal dress of, 409 prior, quoted, 342 prison-made lace, 81 and n248 protection to english-made laces, etc., by english sovereigns charles i., 330 charles ii., 335 george iii., 359, 363 and n1068 william iii., 341 puisieux lace, 212 n589 puissieux, madame de, 49 and n162, 73 pultenarian collars, 253. punto in aria (burano point), 46, 51 and n171, 58, 62 punto di cartella (cordella), 50 -----a gropo, 52 -----a maglia quadra (lacis), 52 -----de mosquito e de transillas, 99 -----di napoli, 71 -----neve (point de neige), 32 and n97, 51 -----pugliese, 71 n222 -----di rapallo, 75 n237 -----reale, 50 -----a relievo (rose point--_see under_ point de venise) -----a reticella, 50 and n168 -----ricamento a maglia quadra, 21 -----tagliato (cut-work), 51 -----tagliato a fogliami, 51 and n172, 62 -----tirato (drawn work), 53 and n181 -----a vermicelli, 75 n237 purle lace, 310 and n875, n876, n877 purling, 409 purls, lace known as, 2 puritans, lace industry under, in england, 332-334; in america, 372 n1099 puteau, madame, 433 and n1214 queensberry, duchess of, 356 quentell, p., 459 quicherat, 139 quilles, 127, 168 n496 quintain, 19 and n60, 20 quinty, m., 268 ------, p., 459 rabat, 141 and n403 rabbits' hair, lace of 245. radcliffe, lady, 310 n875 radford, miss, lace school of, 416 and n1169 raffy, madame, 157 n458, 202 ragusa, cut-works and laces of, 82-83 rapallo, number of lace-workers at (1862), 76 vermicelli lace from, 74, 75 and nn ratcliff, lady, 294 n791 rättwik lace, 281 ravenna, lace school near, 81 n248 rawert, cited, 274 n732, 277 n741 ray, cited, 67 réaux, tallemant des, quoted 49; cited, 83 rebecq-rognon, flax grown at, 118 récamier, madame, 185 regency point, 388 regnard, quoted, 126 and n358, 167 n494 regnier, quoted, 141 reid, miss, 440 reiffenberg, baron, cited, 109 and n318 relevailles of parisian ladies, 174 religious subjects in lace, etc, 324 renaissance, cut-work of, 17 rené, maître, 140 n395 renfrew, lace industry at, 433 réseau (réseuil, rézel, rézeuil) don quixote, mentioned in, 98 n281 methods of making, 120-121 needle-made by hand, 406 n1151 nosacé, 78 specimens of rézeuil d'or, 23 n74 uses of, 21 venetian, relation of, to alençon, 58-59 restoring of old lace, 411, 412 reticella (italian) designs in, 68 irish imitation of, 446 retz, cardinal de, 62 revel, grave-clothes in church at, 366 n1083 "révolte des passemens, la," quoted, 40 and n134, 43, 104; cited, 83, 188 rheims lace, 253 rhodes, silk guipure of, 87 riano, j. f., quoted, 93 riazan lace, 283 riband roses, 329 and n959 ricci, sebastian, cut work shown in "last supper" of, 79 n248 rich, b., quoted, 317 n908 richard ii., statutes of, 216 n597 -------iii., 48, 294 n794 richelieu, duke, 144, 149 ----------, maréchal de, 171 ripon, lace-making at, 371 and n1095 riviera (_see also_ albissola, rapallo, santa margherita), lace manufacture of, 75, 79 and n245 _rob roy_ cited, 423 roberts, mrs., 445; account of lace school supplied by, 388-390 robinson crusoe, flanders lace bought by, 134 n379 rodge, james, 401 roger, widow, 207 rohan, catherine de, 212 -----family, 182 roland, cited, 36 n113 -----de la platière, quoted, 154 n451, 223 n608; cited, 245 n656 romagna, lace-making in, 68 romana, lucretia, 498 ------, lugretia, 497 romans, embroidery used by, 3 and n13, 4 n14 rome, greek lace made at, 85 ----, king of, 196 rondonneau, m., 152 n440 rose point of venice. _see under_ point de venise rosenborg palace museum, 273 rosina helena, princess, 501 ross, mr., 482 rossi, giovanni, 483 roumanian embroidery, 71 n222 rousseau, jean jacques, 270 rowlands, quoted, 289 n773 rudd, margaret caroline, 352 rue, abbé, cited, 6 ruel, sieur, 155 ruelle, veuve, 468 ruff cut-work, of, 312-313 england, introduction into, 310 falling band the successor to, 326 france, in, 139-141 and n399 james i., under, 315-318 medicean, 322 nuremberg, 267 sermons against the, 316 starching and fluting of, 311-312 ruffles fashion of, in george i.'s time, 351 ladies wearers of, 365 and n1077 long, in george iii.'s time, 363 and n1070 making of, 194 origin of weeping, 171 valenciennes industry affected by disappearance of, 231 run lace, 441 russell, lady rachel, 348 russia embroidery of, 71 n222 lace imported to, from alençon, 192, 199; from saxony, 263 lace industry in, 283-284 ruvigne, m., 331 rymer, cited, 291 n785 sabbio, fratelli de, 461 sabenqua, 97 sabière, m. de, 172 n505 saffron walden fair, 43 n137 sainte-aignau, m. de, 216 saint-albin, mgr. c. de, 173 and n508 st. aligre, 247-248 and n663 saint-brice lace, 213 n589 st. bridget, lace introduced into sweden by, 278 and n743 st. cuthbert cope and maniple of, 7 grave-clothes of, 14-15, 366 st. denis lace, 210 st. dunstan, embroideries designed by, 5 st. eustadiole, 5 saint françois régis, 243 st. gervais, 207 n577 st. giselle, 5 n18 st. lawrence, lady, 310 n876 st. lo, cut-work toile d'honneur used at, 25 st. louis, hospital at argentan, 207 st. margaret's, westminster, lady ancress of, 293 st. martin's lace, 331 n965 st. mary at hill, 293, 302 n828 saint maximien, lace of, 212 st. nicholas, flax grown at, 118 n338 saint-pierre-les-champs, lace of, 213 n589 st. simon, quoted, 73, 166 st. trond, lace industry of, 137 and n390, n391 salcombe, male lace-maker at, 413 saltonstall, mistress susan, 483 salviati, joseph, 476 samcloths, 23 and n73 samplars, 9 n30, 23 and n73 sandford, cited, 285 n754 sandwich, lady, 166 sta. lucie, pierre de, 464, 465 santa margherita number of lace-workers at (1862), 76 vermicelli lace from, 74, 75 and nn saracens, italian lace-making attributed to, 45 sarcelles lace, 213 n589 sardinia deaf and dumb lace-workers in, 81 n248 le puy, annual value of lace brought from, 245 n657 saule, marchesa barbaretta, 78 n244 savary, quoted, 36 and n111, 54, 64, 126, 133, 255, 257 n687, 404; cited, 74, 118 n338, 125, 129, 135, 192, 210, 244, 246 n661, 247, 253 n677, 254 n681, n683, 262, 377 savinière, quoted, 153 and n443 savoie, don philippe, 143 savona, 77 n240, 79 n246 savonarola, quoted, 67 saxony lace industry barbara uttman's work, 260-262 cheap lace of, 246 degeneration of, 263 dresden lace, 262-263 modern, 263 numbers employed (sixteenth century), 261 patterns imitated in denmark, 275 revenue from (sixteenth century), 261 treillis d'allemagne, mention, of, in french inventories, 262 and n701 scandinavian museum, copenhagen, 275 scandinavians, lace work of, 4 scarpariola, cencia, 59, 61 scarron, quoted, 177 --------, veuve, 163 schartzemberger, johan, 462 schleswig lace industry, quality of lace, 275; number of fabrics (1840), 277 ----------, north, lace of, 272, 273; districts of lace industry, 276 n738 "schole house for the needle, a," 499 schomberg, col., quoted, 326 and n946 schools, lace devonshire, 414, 415 and n1167, 416 italian, 81 n248 spratton, 388, 390 schoulthem, mr. hey, quoted, 133-134 and n380 schwartzenburg, john, 267 scotch servant on old lace, 368 n1090 scotland lace manufacture of, 422, 425 n1199, 428-434 sumptuary laws in, 422 and n1195, 424 scott, sir walter, quoted, 418 n1175, 427 and n1202 _scottish advertiser_ (1769), quoted, 35 sculptured lace coloured marbles, in, 71 harefield church, in, 321 n927 seaming lace, 107, 325 n941, 332 sedan lace, 183 n539, 253, 254 sedgewicke, elizabeth, 310 sedley, sir charles, 13 and n47 séez black laces, 196 and n562 séguin, quoted, 113 n325, 139 n393; cited, 254 select society of edinburgh, the, 429, 430 and nn _sempere historia del lujo_, quoted, 102 senior, hannah, 12 sera, dominique de, cited, 92; pattern book of, 476 sevenges, madame de, 290 sévigné, madame de bequest to, 183 n540 quoted, 154 n448, 162 n477, 366 n1084 seville lace, 101 sewell, quoted, 294 n794 seymour, lady jane, 294 sforza family, documents of, cited, 46, 50 n168, 63, 74 n235 shadwell, quoted, 343, 345 shakespeare, laces mentioned by, 295, 303 and n831; quoted, 309 n871 _shakespeare memorial, a_, quoted, 325 n941 shandowes, lady. _see_ chandos shawe, quoted, 404 sherborne, lace industry of, 396, 397 sheridan, quoted, 346 shirts adornments of, 15-16 irish, 307, 435 queen elizabeth's present of, to her brother, 10 spanish omission of, 97 n279 shoes, lace rosette-trimmed, 329 shrewsbury, countess of, 11 siam, king of (1614), 12 sibmacher, 266, 490 sicily, lace manufacture of, 80-81 sicotière, leon de la, 208 n579 sidbury, lace school at, 414; lace lessons at, 416 n1170 sidford, lace lessons at, 4l6 n34 sidmouth, lace school at, 416 and n1169 sidney, sir philip, 304 sidonian embroidery, 3 siena lace, 68 silk guipure. _see_ guipure ---lace almagro, at, 102 n297 chinese, 89 cretan, 86 ragusa, at (gimp), 84 watling, 422 silver lace (_see also_ aurillac lace) england, importation to, prohibited by, queen anne, 349; george ii., 335 n993; confiscation and burning of foreign, 359 hamburg, 264 holland, introduction into, 259 india, exported to, 322 n928, 329 and n958 ireland, exportation to, prohibited, 439 large purchase of, by lady arabella stuart, 325 lyons, at, 256 ragusa, at, 84 scotland, wearing prohibited in, 422 spanish, 100-102, 154, 211, 212 zurich, 271 -----net-work, collar of, 82 -----purles, prohibition of english made, 330 330 -----thread, duties on, leased to dame villiers, 328 silvestre, cited, 463 n1274, 464 simiane, madame de english point belonging to, 118 and n335 inventory of, quoted, 153 n444, 218 and n599 sinclair, sir john, quoted, 133-134 and n380, 428 --------, miss katherine, 419 n1176 _sir courtly nice_, cited, 353 and n1052 skelton, quoted, 251 n669 skippin, quoted, 49 n165, cited, 72 slammerkins, 356 and n1059 slavonian peasants' work, 268 sleeves, 341, 365 sloper, catherine, epitaph on, 13 smith, mother mary anne, 443 smocks adornments of, 15 labourers' cut-work insertion on, 25 smuggling of lace, account of, 357-362; of point de bruxelles, 117; in 1621, 331; in charles ii's time, 336; isle of man a centre for, 372; to scotland, 427 ---------of thread, 407 smyrna, silk guipure of, 87 smythe, thomas, 425 society of anti-gallicans. _see_ anti-gallican -------of polite arts, 262 n702 sol, josé, 484 soldiers lace made by, 225 rich laces of english, 345, 346 sonderburg, vault of schleswig-holstein family at, 366 n1082 sonnettes, 34 n104 sophie de france, 168 ------, grand duchess, 268 soragana, marchesa di, 486 sorbière, mons. de, 70 souche, lady, 309 n870 south kensington museum, cretan laces in, 86 southey, quoted, 303 n830 spacing lace, 325 n941 spain america, lace exported to, 102 bone pins used in, 295 conventual lace work of, 93 earnings of lace-makers in, 102 embroidery of, 8 n28, 10 and n32 french fashions influenced by, 147 gold and silver lace, use and manufactures of, 100-102; imported to, 212 grave clothes of grandees in, 366 and n1085 guipures imported to, 36 holidays in, 102 n302 lace imported to, from- albissola, 77 chantilly, 214 dieppe, 219 ghent, 133 isle de france, 209 le puy, 245 and n657 lorraine, 251 marseilles, 101 paris, 36, 212 maestranza, the, uniforms of, 100 mantilla, kinds of, 102-103 and n305; mantillas exported to, 226 manufacture of lace in, centres of, before 1665, 44 n144 moresse, dentelles de, 104 numbers of lace-makers in, 99, 101, 102 n294, n297, 104 point of. _see_ point d'espagne shirts frequently unworn in (1686), 97 n279 sumptuary laws of, 90, 97, 101 two kinds of lace made in, 103 n305 spangles, 335; of bobbins, 391 n1127 spanish-american colonies, chantilly lace exported to, 214 -------indies, brabant lace exported to, 129 guipures exported to, 36 le puy lace, annual consumption of, 245 n657 spelle werk, 32 n98 spenser, quoted, 303 n830 spider net, 448 ------work, 20 spiral design, 7 spratton, lace school at, 388-390 staël, madame de, 180 stafford, bishop, monument of, 405 and n1150 stair, lord, 99 n285 starch, yellow, 307, 317 and n906, 435 starching, introduction of, into england, 311; tools used for fluting and, 311-312 steadman, anne, 440 steenbeck, 274 steinkirk lace, 167 and n491, 344 and n1021, 345, 364 stephens, quoted, 302 n828 stepney, lady, 369 sterne, cited, 172 stisted, mrs., cited, 474 and n1308, 487 stock, lace cravat succeeded by, 345 stockholm museums, lace in, 282 stone, quoted, 140 stoney stratford, lace industry of, 375 n1105, 379 and n1117 stothard, mrs., quoted, 216 n594 stowe, cited, 294 n793; quoted, 310, 311 and n879, 312 strafford, statuette of earl of, 367 strasburg, archbishops of. _see_ rohan family. stratford-upon-avon, embroidered bed linen at, 325 n941 strauben, george, 271, 487 strickland, miss, quoted, 420 n1184 striqueuse, work of, 122 strutt, jedediah, 448 n1239 strype, quoted, 38, 297 and n813 stuart, arabella, 325 ------, mary, _see_ mary stuart stubbes, quoted, 16, 313 and n892 stuora, 53 and n179 sturbridge fair, 43 and n140 stures family, 282 suffolk, duchess, 292 --------, earl of, 319 and n917, n918 --------, lace industry of, 394 sully, 142, 210 sumptuary laws denmark, 274 and n733, n735 england, 285, 286, 288, 289, 290 and n776, 291, 293, 306 and n855, 319 france, 64, 141 and n404, n405, 144, 147 and n429, 148 and n431, 152, 154 and n450, 158 and n460, 212, 243 genoa, 73 ireland (192 a.d.), 435, 436 and n1220 portugal, 105 "révolte des passemens, la," 40-43 scotland, 422 and n1195, 424 spain, 90, 97, 101 turkey, 87 venice, 48, 57, 79 n245 zurich, 270 sweden cut-work in, 25, 280 grave-clothes, lace adorned, 366 lace industry, bobbin lace of, 280 established at wadstena, 278 growth of, 279 peasant lace work for home use, 281-282 spanish point and guipure in museums, 282 sheets, laced, 280 swift, quoted, 124, 339, 349 n1037, 352, 436 swinburne, thos. (1572), 301 n822 ---------(1775), quoted, 101 ---------(1786), quoted, 176 switzerland, lace industry in, french refugees, settlement of, 269 mignonette made (1665), 35 neufchâtel. _see that title_ origin of, 269 pattern books, 271 statistics of, 270 and n727 zurich sumptuary laws, 270-271 sylvius, balthazar, 469 syon monastery cope, 7 syracuse, count of, quoted, 369 tabin, b., 476 taglienti, pattern-book of, 50 n168, 51 n171, 52 n176, n178, 53 n181, 71 n222, 82 n252, 460 talavera de la regna, lace made at, 101 talbot, gilbert, 304 tallies, 78 and n154 talma lace, 186 talon, 158 n460 tambour work, hamilton, 434 n1216 irish, 440, 441 and n1230, 442 n1231 oriental, 440, 441 tape lace, 116, 414 n1165 tapestry, greek lace a substitute for, 85-86 tarnete (trina), 46 _tatler_, quoted, 296 n806 tatting, manilla grass, 89 n265 tax-books, genoese, cited, 72 n224 taylor, john, quoted, 323 and n933, 329; cited 500 temple, earl, 380 tessada, signore, old lace of, 72 n225, 73 n232; cited, 76 n238 têtes de more (de mort, de moire), 36 and n113 thelusson, symphorien, 269 theodoret, j., 469 thierzac, lacis at, 248 thomond, earl of, 12 thomsen, prof., quoted, 272 thomysi, eleazaro, 481 thread, importance of using fine (_see also under_ lille), 393 and n1104, 446 -----lace cyprian, 82 hand spinners of, protest by, 335 importation of, prohibited by george iii., 355 n1047 thynne, quoted, 298 n816 tickell, quoted, 169 n497 tighe, mr., cited, 440 n1228 tiverton, first machine net factory at, 408 toilé, 30 and n89 toile d'arraignée, paraguayan, 108 toledo, donna teresa de, 103 tombs. _see_ grave-clothes tönder lace industry, 274, 275, 277 and n740, n742 toquet, 340 torchon milanese, 66 prison-made at perugia, 81 n248 saxony fabric, 263 sicilian, 81 spanish, 102 n297 torello, 469 torteroli, sig. don tommaso, 79 n246 tory, g., 476 tottenham, mrs. george, 446 toul, "tulle" probably derived from, 250-251 and n669 tournantes, 168 n496 tournay, flax grown at, 118 n338 tours, cope presented to church of st. martin at, 5 towcester, lace industry at, 382 travancore, pillow-laces of, 88 treadwin, mrs. cited, 401 n1140, 407, 413 honiton lace industry, efforts for, 410, 411, 416 trevelyan, miss audrey, 417 trezola, 474 n1311 trina, 46 and n150, n152 trolle bonde, count, 282 -----kant, 115-116 trollopies, 356 and n1059 trolly ground, 386 -----lace, 371 n1095, 412-414 trotman, acting consul, cited, 89 trousse, mlle. de la, cited, 40 n134 troyaux, mons., 124 tucker, mrs. marwood, 407 n1154 tulle (town), manufactures of, 250 tulle embroidered, 229 german manufacture of, 250 lace discarded in favour of, 187 marie antoinette, at court of, 180 origin of name, 250 predecessor of, 225 turkey oyah made in, 45, 87 silk gimp specimens from, 85 sumptuary laws in, 87 tambour work in, 441 turn, 401 n1140 turner, mrs., yellow starch invented by, 307, 317 and n906, 435 turnhout, mechlin lace made at, 125; number of fabrics (1803), 131 turin, fashion at court of, 153 n445 tuscan lacis, 52-53, 68 tussaud, madame, 143 n412 twopenny, mr. w., 286 n761 tynan lace industry, 442, 443 tyrol (austrian) lace industry, 268 udine, lace school at, 81 n248 unbleached thread, pattern worked in, 338 underclothing lace-trimmed, in scotland, 426 united states. _see_ america urbino, lace making in, 68 urbino, duchess, 471 ursins, madame des, 99, 172 ustariz, quoted, 102 uttman, barbara, 260-262, 447 val de travers, rivalry with mirecourt, 252, 270 valcameos, 246 valencia gold and silver lace made at, 101 saints' images decked in lace at, 100 valenciennes lace compared with binche, 135; with dutch, 260; with eu lace, 221; with isle of man lace, 372 n1096; with lille, 237; with mechlin, 233; with point de dieppe, 220; with welsh lace, 371 n1094 cost of (1788), 234 and n627 fault of, 235 n629 honiton reproduction of, 416 industry centres of, 132; after french revolution, 231 n624; expense and labour in making, 233; cost of thread, 234 n627 decline of, 231 establishment of, date, 230 french revolution, effect of, 183 n539 method of working pattern in, 31 numbers employed (18th century), 230; (1790 and 1851), 231; at ypres (1684 and 1850), 131 period of highest merit, 234-235 time required in producing, 233-234 value of belgium monopoly, 132 and n376 wages and conditions of work, 233 point a misnomer for, 32 réseau of, 66 varieties of alost (ground stitch), 133 bailleul, 241 bohemia, 268 bruges, 132-133 courtrai, width of, 131 n373; compared with ypres, 132; ground stitch, 133 n377; character of, 232 n624 dijon, 255 fausses valenciennes, manufactories of, 241, 387 ghent (ground stitch), 133 n377 le puy, 230 and n619, 245 vrai valenciennes, 231 and n624 ypres, description of, 131, 231 n624; value of, 131 n373; ground and pattern, 131-133 valentine de milan, 139 n393 valets, extravagance of, 173 and n514 valguarnera, prince, 71 valladolid, lace-trimmed banner at, 100 valois line, influence of, on french fashions, 139 _valuables of glenurquhy_, quoted, 325 and n938 valvassore's heirs, pattern book of, 476 van even, edward, cited, 110 n320 van eyck, jacob, quoted, 111 and n322 van londonzeel, assuerus, 111 vandyke edges, origin of term, 448 n1241 vatican, laces of, 70 vavassore, giovanni andrea, 466, 467, 472 vecellio cited, 71 and n221 corona of, 8 n28, 29, 50 n167, 111, 484, 486 veils, bridal, 78; english, fourteenth century, 285 vélay lace industry (_see also_ le puy), fifteenth century, 242; 18th century, 244; thread used, 245 venezuela, lace of, 108 venice billament lace of, 48 and n159 blonde, formerly made in, 59 n195 brussels lace worn at, 57 and n192 colbert, ordinance of, trade affected by, 54 collar made for louis xiii. at, 194 emigration of workers restricted, 159 n465 english imports from, 43, 288, 307 n863, n864; prohibited, 358 fashion dolls at st. mark's fair, 170 n501 frauds of lace-makers in, 48, 67, 288 gold work of, 288, 307 n863, n864 greek lace made at, 85 medici collars made at, 56 numbers employed on lace-making in, 63 point of. _see_ point de venise polychrome lace, introduction of, 62-63 sumptuary laws in, 48, 57, 79 n245 swiss lace from, origin of, 269 travellers' allusions to products of, 55, 57 varieties of lace supplied by, 50-53, 57-58 verbruggen, 129 n367 verceilles, 249 verghetti, 56 vermicelli lace, 74 verney papers, quoted, 319 n916 verona, st. john, life of, executed in needlework at, 8 n26 veronese, paul, _macramé_ in picture, by, 79 n248 verulam, lord, 101 and n289 viarmes lace, 212 victoria, queen honiton lace flounces ordered by, 410 isle of wight lace patronised by, 372 n1097 state liveries of, 174 n516 trousseau of, 392, 409 victoria and albert museum alençon in, 193 n555 bock exhibits in, 23 n74 cyprian lace in, 82 danish embroideries in, 275 genoese lappet in, 78 and n244 german specimens in, 264; nuremberg ruffs, 267 hungarian peasant lace in, 268 irish imitation venetian point in, 443 n1233 lacis borders in, 20-21 norwegian cut-work in, 280 n747 pale of rose point in, 51 paraguayan drawn-work at, 108 pattern-books in, 467 n1287, 468, 470, 477, 488 n1337, 490 n1344, 497 n1361, 501 n1370, 502 n1371 slavonian peasants' work in, 268 suffolk laces in, 394 syon monastery cope in, 7 tape lace in, 116 villemarqué, cited, 229 n616 villiers, dame barbara, 328 --------, sir edward, 319 n918 --------, sir george, 318 villiers-le-bel, lace-making at, 209, 213 n589 vimoutier, 204 vinciolo, frederick katharine de médicis the patroness of, 11,17 pattern book of, 49, 136, 144, 477-482, 487, 494 virginière, blaise de, quoted, 140, 141 and n401 vittoria, sister felice, 93 volant, origin of name, 168 n496 vologda lace, 283 voltaire, quoted, 166 n490 vorsterman, william, 180, 463 vos, martin de, engravings after, 106 and n268 vrai réseau, bride succeeded by, 406 vrillière, mgr. de la, 162 n475 waborne lace, 300 and n819 wace, robert, cited, 202 wadstena lace industry, 278-280 wages of lace-workers. _see_ earnings wakefield, quoted, 440 n1228 waldgrave, sir edward, 293 wales, lace-making in, 371 and n1094 ------, princess of, 409 walker, charles, 441 and n1230, 442 walpole, cited, 297 n808, 356 and n1060 walsingham, 307 n860, 420 n1182 ----------, lady audrye, 64, 320 n925 wareham, lace found in scandinavian barrow near, 4 warwick, lord, 333 warton, j., quoted, 121 and n349 washing of ecclesiastical lace, 373 n1101 waterloo, hospital for english wounded at, 124 waterman, mrs. elizabeth, 395 watling silk lace, 422 watt, cited, 482 n1329 weaving book, 280 webb, mr., 51 weber, cited, 280 n758 weigel, christoph, 501 ------, joh. christoph, 502 weisse, c., cited, 259 n693, 264 n707 west indies, spanish lace sold in, 102 n294 westcote, quoted, 400; cited, 401 westminster procession of lace-makers to, 360 st. margaret's, lace washing from, 373 n1101 ------------, dean of, forbids yellow starch, 317 -----------abbey epitaph in cloisters of, 13 lace on images in, 316 n901, 345 westphalia jutland industry improved by workers from, 274 thread, fineness of, 119 n339 whisks, 334 whitcomb, john, widow of, 17 white, edward, 482 -----knight's sale, 497 wieselgren, h., cited, 493 n1354 wight, isle of, lace industry of, 372 and n1097 wigs, cost of, 349 falling bands put out of fashion by, 336 wilhelmina of bayreuth, 99 n283 willemin, cited, 475 n1313 william iii., period of, 341-346 -------of malmesbury, quoted, 6 -------of normandy, 6-7 -------of poictiers, quoted, 7 -------the silent, 260 willingham, geo., letter to, cited, 98 n282 wilton, lady, cited, 497 wiltshire and dorsetshire lace, 395-398 winchester, lace purchased at, by anne of denmark, 320 ----------, lady marquis of, 309 n870 wire, gold and silver lace made from, 72 ---ground, 386 wiseman, cardinal, lace alb used by, 92-93 wolfe, i., 482 wolsey, cardinal, lace of, 292 women, lace work of, compared with that of men, 263 woodbury maltese lace imitation made at, 414 n1165 men lace-makers at, 413 woollen manufacture in england lace manufacture next to, in 1698, 402 loss to, from edict against flanders lace 341, 342, 349 worcester, countess of, 313 wotton, sir henry, 136 n385 wraxall, cited, 105, 142; quoted, 263 wulff, jens, 276 and n739 wyatt, sir thomas, 294 wyriot, madame, 205 yarranton, andrew, quoted, 114-115 and n327; cited 259 n696 yemenis, m., cited, 488 n1339 yokohama, lace school at, 417 yorck lace, 138 n392 york, cardinal, 421 youghal convent, lace-making at, 443, 444 young, a., cited, 192 n552, 207, 223, 224, 244; quoted, 234 n627, 239 ypres valenciennes. _see under_ valenciennes yriarte, charles, cited, 159 n465 zante, greek lace made at, 85 zedler, cited, 57 zoppino, nicolo, 461, 462 zouch, lord, cited, 136 n385 zurich, sumptuary laws of, 270 and n728 london: printed by william clowes and sons, limited, duke street, stamford street, s.e., and 28, great windmill street. w. notes [1] wilkinson's _ancient egyptians_, vol. iii., p. 134. (see illustration.) [2] herodotus, ii. 182; iii. 47. [3] ezekiel, who takes up the cry of lamentation for "tyrus, situate at the entry of the sea," a merchant of the people for many isles, exclaims, "the merchants of sheba, asshur, and chilmad were thy merchants. these were thy merchants in all sorts of things, in blue cloths and broidered works, and in chests of rich apparel." another part of the same chapter mentions galley sails of fine linen "with broidered work from egypt."--ezekiel xxvii. [4] exodus xxvi.; xxvii.; xxxiv. 2; isaiah iii. 18; 1 kings vii. 17. [5] exodus xxxviii. 23. [6] again, in the song of deborah, the mother of sisera says, "have they not divided the prey?... to sisera a prey of divers colours of needlework, of divers colours of needlework on both sides."--judges v. 30. [7] cantor lectures on the art of lace-making. a. s. cole (london, 1881). [8] at athens the maidens who took part in the procession of the panathenaea embroidered the veil or _peplos_ upon which the deeds of the goddess were embroidered. the sacred _peplos_ borne on the mast of a ship rolled on wheels in the panathenaic festival "was destined for the sacred wooden idol, athene polias, which stood on the erechtheus. this _peplos_ was a woven mantle renewed every five years. on the ground, which is described as dark violet, and also as saffron-coloured, was inwoven the battle of the gods and the giants." (see page 47, _british museum catalogue to the sculptures of the parthenon_.) [9] pliny, _hist. nat._, viii. 74. "colores diversos picturae intexere babylon maxime celebravit et nomen imposuit." [10] maspero, _the dawn of civilisation in egypt and chaldaea_ (ed. prof. sayce). [11] lefébure, _embroidery and lace_ (trans. a. s. cole). [12] lucan, _pharsalia_, book x. [13] the romans denominated such embroideries _phrygionae_, and the embroiderer _phrygio_. golden embroideries were specified as _auriphrygium_. this word is the root of the french _orfroi_ (orfreys). [14] mrs. palliser quotes an extract from the author of _letters from italy_, who, speaking of the cabinet at portici, mentions an elegant marble statue of diana "dressed after the purple gowns worn by the roman ladies; the garment is edged with a lace exactly resembling point; it is an inch and a half broad, and has been painted purple." by an englishwoman (mrs. millar) in the years 1770 and 1771 (london, 1777). [15] strutt. [16] lefébure, _embroidery and lace_. [17] mrs. bury palliser, "embroidery," _encyclopædia britannica_. [18] st. giselle, berthe's sister, founded many convents in aquitaine and provence, and taught the nuns all manner of needlework (lefébure, _embroidery and lace_). [19] _chronique rimée_, by philippe mouskés. [20] lefébure, _embroidery and lace_. [21] mrs. palliser, "embroidery," _encyclopædia britannica_. [22] it has been suggested that the embroidery was done by william's granddaughter, the empress matilda, widow in 1125 of henry v., emperor of germany, and wife, by her second marriage, of geoffrey, count of anjou (lefébure). [23] mr. fowke states that the tradition which would make the tapestry the handiwork of queen matilda cannot be traced further back than 1803, when the tapestry was sent to paris for exhibition. [24] matt. par., _hist. angl._, p. 473, edit. paris, 1644. [25] mrs. palliser, "embroidery," _encyclopædia britannica_. [26] at verona an artist took twenty-six years to execute in needlework the life of st. john, after the designs of pollajuolo. [27] "gaston, duke of orleans, established hot-houses and botanical gardens, which he filled with rare exotics to supply the needle with new forms and richer tints" (lefébure). [28] we read, for instance, that gabrielle de bourbon, wife of louis de la trémouille, "jamais n'estoit oyseuse, mais s'employoit une partie de la journée en broderies et autres menus ouvrages appartenant à telles dames, et y occupoit ses demoyselles dont avoit bonne quantité, et de grosses, riches, et illustres maisons."--_panegyric de loys de la trèmoille par jean bouchet._ again vecellio dedicates his "corona" to signora nanni, not only on account of the pleasure she takes in works of the needle, but for "il diletto che prende in farne essercitar le donne de casa sua, ricetto delle più virtuose giovani che hoggidi vivono in questa città." "it is usual here," writes a lady from madrid in 1679, "for good families to put their daughters to ladies, by whom they are employed to embroider in gold and silver, or various colours, or in silk, about the shift, neck, and hands." "i jor fist es chambre son pere, une estole et i amict pere, de soie et d'or molt soutilment, si i fait ententivement mainte croisette et mainte estoile, et dist ceste chancon à toile." --_roman de la violette._ "one day, seated in her father's room, she was skilfully working a stole and amict in silk and gold, and she was making in it, with great care, many a little cross and many a little star, singing all the while this _chanson à toile_." [30] in one of edward i. we find a charge of eight shillings for silk bought for the embroidery work of margaret, the king's daughter, and another for four ounces of silk, two hundred ounces of gold thread, a spindle, etc.--_liber de garderoba, 23 edw. i._, public record office. in one of edward iii. the sum of £2 7s. 2d. is expended in the purchase of gold thread, silk, etc., for his second daughter joanna.--_liber garderobae, 12-16 edw. iii._, public record office. elizabeth of york worked much at her needle. in the account of her household, preserved in the public record office, every page of which is signed by queen elizabeth herself, we find- "to evan petreson joiner, for the stuff and making of 4 working stools for the queen; price of the stool 16 pence--5s. 4d. "to thomas fissch, for an elne of linen cloth for a samplar for the queen, 8d." in the inventory 4 edward vi., 1552 (harl. mss. no. 1419), are entries of- "item, xii. samplars" (p. 419). "item, one samplar of normandie canvas, wrought with green and black silk" (p. 524). "a book of parchment containing diverses patternes" (p. 474), probably purchases for his sisters. [31] see, for instance, the interesting account of the countess of oxford, given by miss strickland in her _life of queen elizabeth of york_. [32] these are alluded to in the dialogue between industria and ignavia, as given in sibmacher's "modelbuch," 1601 (french translation): "la vieille dame raconte l'histoire des concours de travail à l'aiguille chez les anciens espagnols; comme isabelle, femme de ferdinand, a hautement estimé les travaux de l'aiguille." the "spanish stitch," so often mentioned, was brought in by katharine, on her marriage with prince arthur, in 1501. we have constantly in her wardrobe accounts sheets and pillow-beres, "wrought with spanish work of black silk at the edge." in the inventory of lord monteagle, 1523 (public record office,) are "eight partlets, three garnished with gold, the rest with spanish work." in 1556, among the new year's gifts presented to queen mary tudor, most of the smocks are "wrought with black silk, spanish fashion." in the great wardrobe accounts of queen elizabeth, 3 & 4, public record office, we have "sixteen yards of spanish work for ruffs." "twelve tooth cloths, with the spanish stitch, edged with gold and silver bone lace."--_ibid._ eliz. 5 & 6. the spanish stitch appears in france with henry ii., 1557. "pour la façon d'ung gaban avec ung grant collet chamarrez à l'espaignolle de passement blanc," etc.--_comptes de l'argentier du roy._ archives nat. k. k. 106. [33] taylor, the water poet, _katharine of aragon_. [34] the industry of henry's last queen was as great as that of his first. specimens still exist at sizergh castle, westmoreland, of katharine parr's needlework--a counterpane and a toilet cover. an astrologer, who cast her nativity, foretold she would be a queen; so when a child, on her mother requiring her to work, she would exclaim, "my hands are ordained to touch crowns and sceptres, not needles and spindles." [35] _dames illustres._ [36] the "reine des marguerites," the learned sister of francis i., was not less accomplished with her needle, and entries for working materials appear in her accounts up to the year of her death, 1549. "trois marcs d'or et d'argent fournis par jehan danes, pour servir aux ouvraiges de la dicte dame."--_livre de dépenses de marguerite d'angoulême_, par le comte de la ferrière-percy. paris, 1862. "elle addonoit son courage a faire maint bel ouvrage dessus la toile, et encor a joindre la soye et l'or. vous d'un pareil exercise mariez par artifice dessus la toile en maint trait l'or et la soie en pourtrait." --_ode à la royne de navarre_, liv. ii., od. vii. [38] 1380. "oeuvre de nonnain."--_inventaire de charles v._ [39] "my grandmother, who had other lace, called this" (some needlepoint) "nun's work."--_extract from a letter from the isle of man_, 1862. "a butcher's wife showed miss o---a piece of alençon point, which she called 'nun's work.'"--_extract from a letter from scotland_, 1863. 1698, may. in the _london gazette_, in the advertisement of a sale by auction, among other "rich goods," we find "nun's work," but the term here probably applies to netting, for in the _protestant post boy_ of march 15th, 1692, is advertised as lost "a nun's work purse wrought with gold thread." 1763. in the _edinburgh advertiser_ appears, "imported from the grand canaries, into scotland, nun's work." [40] as, for instance, "the imbrothering" of the monks of the monastery of wolstrope, in lincolnshire. [41] _livre de lingerie._ dom. de sera, 1581. "donne, donzelle, con gli huomini."--taglienti, 1530. patterns which "les seigneurs, dames, et damoiselles ont eu pour agréables."--vinciolo, 1587. [42] jehan mayol, carme de lyon; fra hieronimo, dell' ordine dei servi; père dominique, religieux carme, and others. [43] one in the bibliothèque impériale is from the "monasterio st. germani à pratis." [44] he died in 1595. _lives of the earl and countess of arundel_, from the original ms. by the duke of norfolk. london, 1857. [45] p. r. o. calendar of state papers. domestic. charles i. vol. clxix. 12. [46] p. r. o. calendar of state papers. colonial. no. 789. [47] see his epigram, "the royal knotter," about the queen, "who, when she rides in coach abroad is always knotting threads." [48] translated from the _libellus de admirandis beati cuthberti miraculis_ of reginald, monk of durham, by rev. j. rain. durham, 1855. [49] _chronicle of john hardyng_, circ. 1470. [50] temp. rich. ii. in their garments "so much pouncing of chesell to make holes, so much dragging (zigzagging) of sheers," etc.--_good parson_, chaucer. [51] percy, _reliques of ancient poetry_, vol. iii. [52] _anatomie of abuses_, by philip stubbes, 1583. [53] _the shyp of folys of the worlde_, translated out of latin by alex. barclay, 1508. [54] the inventories of all nations abound in mention of these costly articles. the "smocks" of katharine of aragon "for to lay in," were wrought about the collar with gold and silk. lord monteagle, 1523, had "two fine smocks of cambric wrought with gold." (inv. p. r. o.) among the new year's gifts offered to queen mary tudor by the duchess of somerset (1556), we find a smock wrought over with silk, and collar and ruffles of damask, gold purl, and silver. again, in the household expenses of marguerite de france, 1545, we find a charge of "4 livres 12 sols, pour une garniture de chemise ouvré de soye cramoisie pour madicte dame."--(bib. imp. mss. fonds françois, 10,394.) about the same date (g. w. a. eliz. 1 & 2, 1558-59) appear charges for lengthening one smocke of drawne work, 20s. six white smockes edged with white needlework lace, 10s. to overcasting and edging 4 smockes of drawn work with ruffs, wristbands, and collars, three of them with black work, and three of them with red, etc. at the funeral of henry ii. of france, 1559, the effigy was described as attired in "une chemise de toile de hollande, bordée au col et aux manches d'ouvraige fort excellent."--godefroy, _le cérémonial de france_, 1610. [55] see france. [56] the pillow-bere has always been an object of luxury, a custom not yet extinct in france, where the "taies d'oreiller, brodées aux armes," and trimmed with a rich point, form an important feature in a modern trousseau. in the inventory of margaret of austria, the gentle governess of the low countries, are noted- "quatre toyes d'oraillers ouvrées d'or et de soye cramoysie et de verde. "autres quatres toyes d'oraillers faites et ouvrées d'or et de soye bleu à losanges qui ont estées données à madame par dom diego de cabrera."--_corr. de l'empereur maximilien i. et de marguerite d'autriche_, par m. leglay. paris, 1839. edward vi. has (harl. mss. 1419) "18 pillow-beres of hollande with brode seams of silk of sundry coloured needlework." and again, "one pillow-bere of fine hollande wrought with a brode seam of venice gold and silver, and silk nedlework." and lady zouche presents queen elizabeth, as a new year's gift, with "one pair of pillow-beares of holland work, wrought with black silk drawne work."--nichol's _royal progresses_. [57] _goderonné_--_goudronné_, incorrectly derived from pitch (_goudron_), has no relation to stiffness or starch, but is used to designate the fluted pattern so much in vogue in the sixteenth century--the "gadrooned" edge of silversmiths. 1588. il avait une fraise empesée et godronnée à gros godrons, au bout de laquelle il y avoit de belle et grande dentelle, les manchettes estoient goudronnées de mesme. [58] they are introduced into the title page of this work. [59] see appendix. [60] "quintain, quintin, french lawne." randle cotgrave. _dictionarie of the french and english tongues._ 1611. "26 virges de kanting pro sudariis pro ille 47/8."--_g. w. a. charles ii._, 1683-4. [61] lacis, espèce d'ouvrage de fil ou de soie fait en forme de filet ou de réseuil dont les brins étaient entre-lacez les uns dans les autres.--_dict. d'ant. furetière_, 1684. [62] béle prerie contenant differentes sortes de lettres, etc., pour appliquer sur le réseuil ou lassis. paris, 1601. see appendix. [63] so, in the epistle to the reader, in a pattern-book for cut-works (london, j. wolfe & edward white, 1591), the author writes of his designs:- "all which devises are soe framed in due proportion as taking them in order the one is formed or made by the other, and soe proceedeth forward; whereby with more ease they may be sewed and wrought in cloth, and keeping true accompt of the threads, maintaine the bewtey of the worke. and more, who desyreth to bring the work into a lesser forme, let them make the squares lesse. and if greater, then inlarge them, and so may you worke in divers sortes, either by stitch, pouncing or pouldering upon the same as you please. alsoe it is to be understood that these squares serve not only for cut-workes, but alsoe for all other manner of seweing or stitching."--(see appendix, no. 72). [64] _pratique de l'aiguille industrieuse du très excellent milour matthias mignerak_, etc. paris, 1605. see appendix. [65] the inventories of charles de bourbon, ob. 1613, with that of his wife, the countess of soissons, made after her death, 1644 (bib. nat. mss. f. fr. 11,426), alone prove how much this _réseuil_ was in vogue for furniture during the seventeenth century. "item un pavilion de thoille de lin à bende de reseuil blang et noir faict par carel prisé, vi. l. t. (livres tournois). "item quatre pentes de ciel de cotton blanc à carreaux. "item trois pentes de ciel de thoille de lin à carreaux et raiseuil recouvert avec le dossier pareil estoffe, et petit carreau à point couppé garny de leur frange, le fonds du ciel de thoille de lin, trois custodes et une bonne grace et un drap pareille thoille de lin à bandes de reseuil recouvert ... prisé xviii. l. t."--_inv. de charles de bourbon._ "item une autre tapisserie de rezeuil de thoile blanche en huit pièces contenant ensemble vingt aulnes on environ sur deux aulnes trois quarts de haute. "item une autre tenture de tapisserie de rézeau tout de leine (lin) appliquée sur de la toille blanche en sept pièces contenant dix-huit aulnes de cours sur trois aulnes de haute. "item trois pantes, fonds de dossier, les deux fourreaux de piliers, la converture de parade, le tout en point couppé et toillé. "item, une garniture de lict blanc, faict par carré d'ouvrage de poinct couppé, le tout garny avec la couverte de parade, prisé la somme de soixante livres tournois."--_inv. de la comtesse de soissons._ [66] dated 20 feb., 1587. now in the record office, edinburgh. [67] 1781. "dix-huit pales de differentes grandeurs, tous de toile garnis tant de petite dentelle que de filet brodé."--_inv. de l'eglise de s. gervais._ arch. nat. l.l. 654. [68] _point and pillow lace_, by a. m. s. (london, 1899). [69] in the record office, edinburgh. [70] "mache, the masches (meshes) or holes of a net between the thread and thread" (cotgrave). [71] _comptes de la reine de navarre_, 1577. arch. nat. k.k. 162. [72] _inventory of catherine de médicis_, bonaffé. [73] randle holme, in _the school mistris terms of art for all her ways of sewing_, has "a samcloth, vulgarly, a samplar." [74] in the bock collection, part of which has since been bought for the victoria and albert museum, are specimens of "rézeuil d'or," or network with patterns worked in with gold thread and coloured silks. such were the richly-wrought "serviettes sur filez d'or" of margaret of austria. "autre servyette de cabes (cadiz) ouvrée d'or, d'argent sur fillez et bordée d'or et de gris. "autre serviette à cabes de soye grise et verde à ouvrage de fillez bordée d'une tresse de verd et gris."--inventory already quoted. [75] "le gan," de jean godard, parisien, 1588. [76] descriptive catalogue of the collections of tapestry and embroidery in the south kensington museum (p. 5). [77] lace. french, _dentelle_; german, _spitzen_; italian, _merletto_, _trina_; genoa, _pizzo_; spanish, _encaje_; dutch, _kanten_. [78] statute 3 edw. iv. c. iii. [79] "passement, a lace or lacing."--_cotgrave_. [80] not in those of rob. estienne, 1549; frère de l'aval, 1549; or nicot, 1606. cotgrave has, "dentelle, small edging (and indented), bone-lace, or needlework." in dict. de l'académie, 1694, we find, "dentelle, sorte de passement à jour et à mailles tres fines ainsi nommé parceque les premières qu'on fit etoient dentelées." [81] _comptes de l'argentier du roi_, 1557.--arch. nat. k. k. 106. "passement de fine soie noire dentelle d'un costé." "passement blanc," "grise," also occur. [82] _argenterie de la reine_, 1556.--arch. nat. k. k. 118. [83] _dépenses de la maison de madame marguerite de france, soeur du roi._--bib. nat. mss. f. fr. 10,394, fol. 62. [84] "plus de delivré une pacque de petite dentelle qui est estez cousu ensemble pour mettre sur les coutures des rideaux des ditz litz contenant 80 aunes."--rec. off., edin. this custom of trimming the seams of bed-curtains with a lace indented on both sides was common throughout europe. in the chartley inv. of mary stuart, 1586, one of the vasquines (jackets) is described, "autre de satin noir descouppée a descouppemie dentelés." [85] 1577. "pour deux aulnes de passement d'argent a hautte dantelle pour mettre à ung renvers, au pris de soixante solz l'aulne. "pour une aulne de dentelle pour faire deux cornettes pour servir à la dicte dame, quatre livres."--_cptes. de la reine de navarre._ arch. nat. k. k. 162. [86] see appendix. [87] "petits et grands passements; id. à l'esguille; id. faict au mestier; id. de flandres à poinctes; id. orangé à jour; id. de flandres satiné;" with "reseuil, dantelles, grandes et petites, or, argent," etc.--_inv. de madame, soeur du roi._ arch. nat. k. k. 234. so late as 1645, in the inventory of the church of st. médard at paris (arch de l'emp. l. l. 858), the word is used. we find, "quatre tours de chaire de thoille baptiste, ung beau surplis pour le predicateur, six autres, cinq corporaulx," all "à grand passement." also, "deux petits corporaulx à petit passement," and "trois tours de chaire garnyz de grand passement à dentelle." [88] _inv. apres le decès de mgr. le maréchal de la motte._--bib. nat. mss. f. fr. 11,426. [89] the french terms are more comprehensive:- champ, fond travaillé à jour. toilé, fleurs entièrement remplies, formant un tissu sans jour. grillé, grillage, plein. also flowers--but distinguished from toilé by having little square spaces between the thread (_grillé_, grating), the work not being so compact. "on appelle couleuvre, une blond dont le toilé continue serpente entre deux rangs de grillage."--_roland de la platière_ (the girondin). art. dentelle, _encyclopédie méthodique_. paris, 1780. [90] _storehouse of armory and blason._ 1688. [91] "brides--petits tissus de fil qui servent à joindre les fleurs les unes avec les autres dans l'espèce de dentelle qu'on appelle point de france, de venise, de malines."--_dict de l'académie._ [92] "une robe et tablier, garnis d'une dentelle d'angleterre à picot."--_inv. de decès de la duchesse de bourbon._ arch. nat. x. 10,064. [93] "une chemisette de toile d'hollande garnye de point de paris."--_inv. d'anne d'escoubleau, baronne de sourdis, veuve de françois de simiane._ 1681. arch. nat. m. m. 802. [94] "cette dernière sorte de point se fait aux fuseaux."--_dict. du p. richelet._ lyon. 1759. [95] _dict. d'ant. furetière._ augmenté par m. basnage. la haye, 1727. [96] 1656. [97] 1651. "huit aulnes de toile commune garnies de neige."--_inv. des emubles de la sacristie de l'oratoire de jésus, à paris._ bib. nat. mss. f. fr. 8621. "neuf autres petites nappes; les deux premières de toile unie; la troisième à dentelle quallifié de neige."--_ibid._ [98] french, _dentelle à fuseaux_; italian, _merli a piombini_; dutch, _gespeldewerkte kant_; old flemish, _spelle werk_. [99] french, _carreau_, _cousin_, _oreiller_; italian, _tombolo_; venice, _ballon_; spanish, _mundillo_. [100] see chapter xxiv. [101] the number of bobbins is generally equal to 50 to each square inch. if the lace be one inch wide, it will have 625 meshes in each square inch, or 22,500 in a yard. the work, therefore, goes on very slowly, though generally performed with the greatest dexterity. [102] at gisors, saint-denis, montmorency, and villiers-le-bel.--savary, _grand dict. du commerce_, 1720. cotgrave gives, "bisette, a plate (of gold, silver, or copper) wherewith some kinds of stuffes are stripped." oudin, "feuille ou paillette d'or ou d'argent." in these significations it frequently occurs. we find with numerous others: "1545. 55 sols pour une once bizette d'argent pour mectre à des colletz." "six aulnes bizette de soie noire pour mettre sur une robbe, lv. s.," in the accounts of madame marguerite de france. (bib. nat.) "1557. bizette de soye incarnatte et jaulne pour chamarrer ung pourpoint de satin rouge" of henry ii.--_cptes. de l'argentier du roi._ arch. nat. k. k. 106. "1579. petite bizette d'or fin dentellez des deux costez pour servir à desmanches de satin cramoisy" of catherine de médicis.--_trésorerie de la royne mère du roy._ arch. nat. k. k. 115. in the chartley inv. 1586, of mary stuart, is mentioned, "un plotton de bisette noire." [103] _dict. de l'académie._ [104] campane, from sonnette, clochette, même grêlot. "les sonnettes dont on charge les habits pour ornement. les festons qu'on met aux étoffes et aux dentelles."--_oudin._ [105] public record office. [106] in the last century it was much the fashion to trim the scalloped edges of a broader lace with a narrower, which was called to "campaner." 1720. "une garniture de teste à trois pièces de dentelle d'angleterre à raiseau, garni autour d'une campane à dents."--_inv. de la duchesse de bourbon._ 1741. "une paire de manches à trois rangs de malines à raizeau campanée."--_inv. de decès de mademoiselle marie anne de bourbon de clermont._ arch. nat. x. 11,071. (daughter of mademoiselle de nantes and louis duke de bourbon.) "une coëffure de malines à raizeau à deux pièces campanée."--_ibid._ in the lace bills of madame du barry, preserved in the bib. nat., are various entries of angleterre et point à l'aiguille, "campanée des deux côtés" for ruffles, camisoles, etc. [107] 1759. "huit palatines tant points que mignonettes."--_inv. de decès de louise henriette de bourbon-conty, princesse du sang, duchesse de orléans._ arch. nat. x. 10,077. "trente-vingt paires de manchettes, quatre coëffures, le tout tant de differents points qu'angleterre, mignonettes que tulles."--_ibid._ [108] 1758. "une paire de manchettes à trois rangs de blonde de fil sur entoilage."--_inv. de mademoiselle louise anne de bourbon condé de charollais_ (sister of mademoiselle de clermont). arch. nat. x. 10,076. 1761. "fichus garnis à trois rangs de blonde de fil sur entoilage."--_inv. de charlotte aglaë d'orléans, princesse du sang, duchesse de modène_ (daughter of the regent). 1789. ruffles of blonde de fil appear also in the _inv. de decès de monseigneur le duc de duras_. bib. nat. mss. f. fr. 11,440. [109] mostly at bayeux. [110] "on employe aussi pour les coëffures de la mignonette, et on a tellement perfectionné cette dentelle, que estant peu de chose dans son commencement est devenue de consequence et même très chère, j'entends, la plus fine qu'on fait sur de beaux patrons."--_le mercure galant_, 1699. [111] "guiper. tordre les fils pendans d'une frange par le moyen de l'instrument qu'on nomme guipoir, fer crochu d'un côté, et chargé de l'autre d'un petit morceau de plomb pour lui donner du poids."--savary. [112] "guipure. a grosse black thread covered or whipped about with silk."--cotgrave. "guipure. manière de dentelle de soie où il y a des figures de rose ou d'autres fleurs, et qui sert à parer les jupes des dames.... sa jupe est pleine de guipure."--_dict. du p. richelet._ 1759. [113] roland. we cannot help thinking this a mistake. in the statutes of the passementiers, we find mention of buttons "à têtes de mort," or would it rather be "tête de moire," from the black moire hoods (têtes) worn by the italian women, which were often edged with a narrow guipure? [114] les lieux en france où il se fait le plus de guipures, sont saint-denis-en-france, villiers-le-bel, ecouën, arcelles, saint-brice, groslait, montmorency, tremblay, villepinte, etc. [115] the sale of guipures belonged to the master mercers, the workmanship to the passementiers boutonniers. we find in the _livre commode ou les adresses de la ville de paris_ for 1692, that "guipures et galons de soye se vendent sur le petit pont et rue aux febvres, où l'on vend aussi des galons de livrées." [116] godefroy. _le cérémonial de france_, 1610. _sacre du roy henry ii._, 1547. [117] in 1549. _ibid._ [118] _traité des marques nationales_, dar m. beneton de morange de peyrins. paris, 1739. [119] in the record office, edinburgh. [120] une robe de velours vert couverte de broderies, gimpeures, et cordons d'or et d'argent, et bordée d'un passement de même. une robe veluat cramoisi bandée de broderie de guimpeure d'argent. une robe de satin blanc chamarrée de broderie faite de guimpeure d'or. id. de satin jaune toute couverte de broderye gumpeure, etc. robe de weloux noyr semée geynpeurs d'or. [121] _dictionnaire de l'académie._ [122] 1536-44. sir fred. madden. 2 payr of sleeves whereof one of gold w^h p'chemene lace, etc. 2 prs. of sleves w^h pchmyn lase, 8/6. [123] _ecclesiastical memoirs_, iii. 2, 167. [124] state papers, vol. 82, p. r. o. [125] surtees' society, durham, "wills and inventories." [126] 1572. thynne, in his _debate between pride and lowliness_, describes a coat "layd upon with parchment lace withoute." [127] b. m. add. mss. no. 5751. [128] roll. 1607. p. r. o. [129] _ibid._ 1626. 11 nightcaps of coloured satin, laid on thick, with gold and silver parchment lace, 41. 9. 9. [130] roll. 1630. [131] "eidem pro novemdecem vir[=g] et di[=m] aureæ et argenteæ pergame[=n] laciniæ pondent sexdecim un[=c] 2/[dram] 1/[scruple] venet. ... pro consua[=t] ad ornan[=d] duas sedes utroque latere thronæ in domo parliament."--_gt. ward. acc._ car. ii. xxx. and xxxi. = 1678-9. in 1672-73 is an entry for "2 virgis teniæ pergame[=n]." [132] surtees' "inventories." [133] bib. nat. mss. f. fr. 8621. [134] _in the recueil de pièces les plus agréables de ce temps, composées par divers autheurs._ paris, chez charles sercy, mdclxi. the poem is dedicated to mademoiselle de la trousse, cousin of madame de sévigné, and was probably written by one of her coterie. [135] the cravates or croates soldiers had a band of stuff round their throats to support an amulet they wore as a charm to protect them from sabre-cuts. what began in superstition ended in fashion. [136] these were, in france, guibray, beaucaire, and bordeaux; in germany, frankfort; in italy, novi. [137] all articles of luxury were to be met with at the provincial fairs. when, in 1671, catherine of braganza, the duchess of richmond, and the duke of buckingham, visited saffron walden fair, the queen asked for a pair of yellow stockings, and sir bernard gascoyne, for a pair of gloves stitched with blue. [138] 10 hen. iii., devon's _issues of the exchequer_. [139] "no lace-woman," says ben jonson, "that brings french masks and cut-works." that lace was sold by pedlars in the time of henry viii., we find from a play, "the four p's," written in 1544, by john heywood. among the contents of a pedlar's box are given "lasses knotted," "laces round and flat for women's heads," "sleeve laces," etc. on opening the box of the murdered pedlar (_fool of quality_, 1766), "they found therein silk, linen, laces," etc. [140] defoe describes sturbridge fair as the greatest of all europe. "nor," says he, "are the fairs of leipsig in saxony, the mart at frankfort-on-the-maine, or the fair of nuremburg or augsburg, any way comparable to this fair of sturbridge." in 1423, the citizens of london and the suburbs being accused of sending works of "embroidery of gold, or silver, of cipre, or of gold of luk, togedre with spanish laton of insuffisant stuff to the fayres of sturesbrugg, ely, oxenford, and salisbury"--in fact, of palming off inferior goods for country use--"all such are forfeited."--_rot. parl._, 2 hen. vi., nu. 49. [141] "lingua, or the combat of the tongue." a comedy. 1607. [142] this system of colporteurs dates from the early greeks. they are termed both in greek and hebrew, "des voyageurs." [143] "she came to the house under the pretence of offering some lace, holland, and fine tea, remarkably cheap."--_female spectator._ 1757. [144] the centres of the lace manufacture before 1665 were:- belgium brussels, mechlin, antwerp, liége, louvain, binche, bruges, ghent, ypres, courtray, etc. france (spread over more than ten provinces)- artois arras (pas-de-calais). french flanders lille, valenciennes, bailleul (nord). normandy dieppe, le hâvre (seine-inférieure). ile de france paris and its environs. auvergne aurillac (cantal). velay le puy (haute-loire). lorraine mirecourt (vosges). burgundy dijon (côte-d'or). champagne charleville, sedan (ardennes). lyonnais lyon (rhône). poitou loudun (vienne). languedoc muret (haute-garonne). italy genoa, venice, milan, ragusa, etc. spain la mancha, and in catalonia especially. germany saxony, bohemia, hungary, denmark, and principality of gotha. england counties of bedford, bucks, dorset, and devon. [145] _industrial arts of the nineteenth century_, digby wyatt. [146] francesco nardi. _sull' origine dell' arte del ricamo._ padova, 1839. [147] _ricamare. recamar._ [148] the traditions of the low countries also point to an eastern origin, assigning the introduction of lace-making to the crusaders, on their return from the holy land. [149] _origine ed uso delle trine a filo di refe_ (thread), 1864. privately printed. [150] 1469.--io, battista de nicollo d'andrea da ferrara, debio avere per mia manifatura et reve per cuxere et candelle per inzirare.... it. per desgramitare e refilare e inzirare e ripezare e reapicare le gramite a camixi quatordece per li signori calonexi, et per li, mansonarij le qual gramite staxea malissimamente, p. che alcune persone le a guaste, lire 1 10. it. per reve et p. candelle, l. 0 5. 1469.--i, baptist de nicollo of andrea da ferrara, having owing to me for my making, and thread to sew, and candles to wax.... item, for untrimming and re-weaving and waxing and refixing and rejoining the trimmings of fourteen albs for the canons and attendants of the church, the which trimmings were in a very bad state, because some persons had spoiled them, l. 1 10. it. for thread and wax, l. 0 5. these trimmings (gramite), cav. merli thinks, were probably "trine." "at chicago was exhibited the first kind of net used in italy as lace on garments. it is made of a very fine linen or silk mesh, stiffened with wax and embroidered in silk thread. it was in use during the fourteenth century, and part of the fifteenth" (_guide to new and old lace in italy_, c. di brazza, 1893). this is probably the gramite, or trimmings of the albs, mentioned in the account book formerly belonging to the cathedral of ferrara, and now preserved in the municipal archives of that city. [151] see milan. [152] _trina_, like our word lace, is used in a general sense for braid or passement. florio, in his dictionary (_a worlde of words_, john florio, london, 1598), gives _trine_--cuts, snips, pincke worke on garments; and _trinci_--gardings, fringings, lacings, etc., or other ornaments of garments. _merlo_, _merletto_, are the more modern terms for lace. we find the first as early as the poet firenzuola (see florence). it does not occur in any pattern book of an older date than the "fiori da ricami" of pasini, and the two works of francesco de' franceschi, all printed in 1591. [153] the laces, both white and gold, depicted in the celebrated picture of the visit of the queen of sheba to solomon, by lavinia fontana, now in the lambeccari gallery, executed in the sixteenth century, prove that white lace was in general use in the italian courts at that epoch. [154] at present, if you show an italian a piece of old lace, he will exclaim, "opera di monache; roba di chiesa." [155] statute 2, henry vi., 1423. the first great treaty between the venetians and henry vii. was in 1507. [156] _privy purse expenses of elizabeth of york_, 1502. p. r. o. also published by sir h. nicolas. [157] inv. henry viii. [158] gremio, when suing for bianca, enumerates among his wealth in ivory coffers stuffed, "turkey cushions bossed with pearl; valance of venice gold in needlework."--_taming of the shrew._ [159] "one jerkyn of cloth of silver with long cuts down righte, bound with a billament lace of venice silver and black silk."--_robes of the late king_ (edward vi.). [160] "a smock of cambrik wrought about the collar and sleeves with black silke; the ruffe wrought with venice gold and edged with a small bone lace of venice gold."--_christmas presents to the queen_, by sir g. carew. "7 ounces of venice 'laquei bone' of gold and black silk; lace ruff edged with venice gold lace," etc. _g. w. a. eliz., passim_, p. r. o. [161] 1587. [162] madame de puissieux died in 1677, at the age of eighty. [163] venice points are not mentioned by name till the ordinance of 1654. see greek islands. [164] _hudibras._ [165] italy we believe to have furnished her own thread. "fine white or nun's thread is made by the augustine nuns of crema, twisted after the same manner as the silk of bolonia," writes skippin, 1651. [166] _halimedia opuntia_, linn. [167] that most frequently met with is the corona of vecellio. see appendix. [168] first mentioned in the sforza inventory, 1493 (see milan); not in the pattern-books till vecellio, 1592; but taglienti (1530) gives "su la rete," and "il specchio di pensieri" (1548), "purito in rede." [169] plate v. [170] first given in the _honesto esempio_. 1550 and _passim_. [171] mentioned by taglienti (1530), and afterwards in the _trionfo_ (1555), and _passim_. [172] given in _il monte_, circ. 1550, but described by firenzuola earlier. see florence. [173] see chap. iii., notes 104 and 106. [174] "toile de la pale."--a pasteboard about eight inches square, enclosed in cambric or lace, used to cover the paten when laid over the cup. [175] the whole furniture of a room taken from a palace at naples, comprising curtains, and vallance of a bed, window curtains, toilet, etc., of straw-coloured laces, reticella, embroidered netting, etc.; the price asked was 18,000 francs = £720. there was also much of the rose point, and a handkerchief bordered with beautiful flat venetian point of the same colour, forming part of a trousseau. 700 francs = £28. [176] taglienti (1530) has _groppi_, _moreschi_, and _arabeschi_; and _il specchio_ (1548), _ponti gropposi_. see also the sforza inventory, 1493. [177] see genoa. [178] taglienti (1530) gives _a magliata_, parasole (1600) _lavori di maglia_. [179] _punti a stuora_ occur in _il specchio_ (1548), _i frutti_ (1564), and in the _vera perfettione_ (1591) the word _stuora_ (modern, _stuoja_) means also a mat of plaited rushes, which some of these interlaced patterns may be intended to imitate. [180] _burato._ see appendix. [181] there are many patterns for this work in _le pompe di minerva_, 1642. taglienti (1530) has _desfilato_ among his _punti_. [182] many other points are enumerated in the pattern-books, of which we know nothing, such as _gasii_ (_i frutti_, 1564), _trezola_ (_ibid_), _rimessi_ (_vera perfettione_, 1591), _opere a mazzette_ (vecellio, 1591, and lucretia bomana, n.d.). [183] _tracts on trade of the seventeenth century_, published by macculloch, at the expense of lord monteagle. 1856. [184] venice point forms a considerable item in the expenses of charles ii. and his brother james. [185] venice noted "for needlework laces, called points."--_travels thro' italy and france_, by j. ray. 1738. [186] misson, f. m., _nouveau voyage d'italie_, 4me édition. la haye, 1702. [187] _origine delle feste veneziane_, da giustina r. michiel. milano, 1829. [188] _an itinerary, containing his ten yeeres travel through germany, bohmerland, switzerland, netherland, denmark, poland, italy, turkey, france, england, scotland, and ireland._ lond., 1617. [189] 1591. [190] see, in appendix, designs for _bavari_ by lucrezia. [191] the entry of the venetian ambassador, mocenigo, is described in the _mercure galant_, 1709:- "il avoit un rabat de point de venise.... sa robe de damas noir avec des grandes manches qui pendoient par derrière. cette robe etoit garnie de dentelle noir." [192] _letters from italy._ so, in a play of goldoni, who wrote in the middle of the last century, the lady has a brussels (angleterre) head-dress. don flaminio: "mi par bellisima cotesto pizzo barbara: e un punto d'inghilterra che ha qualche merito."--_gli amori di zelinda e lindoro._ in goldoni's plays all the ladies make lace on the pillow (_ballon_), so the art of making the needle venice point was probably at an end. [193] "la plus belle dentelle noire fait l'espèce de camail qui, sous un chapeau noir emplumé, couvre leurs épaules et leur tête."--madame du boccage, 1735. _lettres sur l'italie._ "quella specie de lungo capuocio di finissimo merlo pur nero, chiamato bauta."--michiel. [194] "l'île de burano où l'on fabrique les dentelles."--quadri, _huit jours à venise_. [195] _technical history of venetian laces_, urbani de gheltof. translated by lady layard. venice, 1882. _origines de la dentelle de venise et l'école de burano._ venice, 1897. traditions of lace-making were kept alive in venice, cantu and liguria during the first half of the nineteenth century by the manufacture of an inferior quality of _blonde_, once extensively made at venice, which has since died out, owing to the revival in the production of thread-lace and guipures at palestrina. [196] "velleto (veil) uno d'oro filato. "payro uno fodrete (pillow-case) di cambria lavorate a gugia (à l'aiguille). "lenzuolo (sheet) uno di revo di tele (linen thread), cinque lavorato a punto. "peza una de tarnete (trina) d'argento facte a stelle. "lenzolo uno de tele, quatro lavorato a _radexelo_ (reticello). "peze quatro de _radexela_ per mettere ad uno moscheto (zanzariere, mosquito curtain). "tarneta una d'oro et seda negra facta da ossi (bones). "pecto uno d'oro facto _a grupi_. "lavoro uno de rechamo facto _a grupi_ dove era suso le pere de madona biancha. "binda una lavorata a poncto de doii fuxi (two bobbins) per uno lenzolo."--_instrumento di divizione tre le sorelle angela ed ippolita sforza visconti_, di milano, 1493, giorno di giovedì, 12 settembre. [197] "la mità de uno fagotto quale aveva dentro certi dissegni da lavorare le donne." [198] harl. ms. no. 1419. [199] roll. p. r. o. [200] p. r. o. [201] de la mare, _traité de la police_. [202] "statuts, ordonnances et reglemens de la communauté des maistres passementiers, etc., de paris, confirmez sur les anciens statuts du 23 mars 1558." paris, 1719. [203] _grand dictionnaire universel du commerce._ 1723. [204] _voyage en italie._ 1765. [205] peuchet, j., _dictionnaire universel de la géographie commerçante._ paris, an vii. = 1799. [206] _letters from italy_, by a lady. 1770. "questo collar scolpì la donna mia de basso rilevar, ch' aracne mai, e chi la vinse nol faria più bello. mira quel bel fogliame, ch' un acanto sembra, che sopra un mur vada carponi. mira quei fior, ch' un candido ne cade vicino al seme, apr' or la bocia l'altro. quei cordiglin, che'l legan d'ognitorno, come rilevan ben! mostrando ch' ella e' la vera maestra di quest' arte, com ben compartiti son quei punti! ve' come son ugual quei bottoncelli, come s' alzano in guisa d'un bel colle l'un come l' altro!... questi merli da man, questi trafori fece pur ella, et questo punto a spina, che mette in mezzo questo cordoncello, ella il fe pure, ella lo fece." --_elegia sopra un collaretto_, firenzuola (circ. 1520). [208] rymer's _foedera_ (38 hen. viii. = 1546). [209] 4 hen. vii. = 1488-89. [210] _compte des dépenses de la maison de madame marguerite de france, soeur du roi._--bib. nat. mss. f. fr. 10,394. [211] _comptes de la reine de navarre._--arch. nat., k. k. 170. [212] in 1535. [213] she died in 1862. [214] see venice, 1. [215] _inventaire du trésor de n. d. de lorette._--bib. nat. mss. [216] _letters from italy._ [217] the _gremial_, or apron, placed on the lap of the roman catholic bishops when performing sacred functions in a sitting posture.--pugin's _glossary of ecclesiastical ornament_. [218] this reminds one of the lines of goldsmith, in his poem, "the haunch of venison," the giving of venison to hungry poets who were in want of mutton; he says: "such dainties to send them their health it would hurt; it's like sending them ruffles when wanting a shirt." [219] _a true relation of the travailes, and most miserable captivitie of w. davies._ lond., 1614. [220] _an italian voyage, or a complete journey through italy_, by rich. lassels, gent. 2nd edit., lond., 1698. a reprint, with additions by another hand, of the original edition. paris, 1670. lowndes' _bibliographer's manual_. bohn's new edit. [221] "portano alcune vesti di tela di lino sottile, lunghe fino in terra, con maniche larghe assai, attorno alle quali sono attaccati alcuni merletti lavorati di refe sottilissimo."--habiti di donna dell' isola d' ischia. _degli habiti antichi e moderni di diverse parti del mondo di cesare vecellio._ venezia, 1590. [222] we have among the points given by taglienti (1530), "pugliese." lace is still made in puglia and the other southern provinces of naples and in sicily. the contessa di brazza says that punto pugliese resembled russian and roumanian embroidery. [223] brydone, _tour through sicily_. 1773. [224] from the tax-books preserved in the archives of s. george, it appears that a tax upon gold thread of four danari upon every lira in value of the worked material was levied, which between 1411 and 1420 amounted to l. 73,387. from which period this industry rapidly declined, and the workers emigrated.--merli. [225] signore tessada, the great lace fabricant of genoa, carries back the manufacture of italian lace as early as the year 1400, and forwarded to the author specimens which he declares to be of that date. [226] "laqueo serico jeano de coloribus, ad 5s. per doz." _g. w. a. eliz._--16 & 17 and 19 & 20. p. r. o. [227] dated 1639. [228] _garderobe de feue madame._ 1646. bib. nat. mss. f. fr. 11,426. [229] le vray théatre d'honneur et de chevalerie. paris, 1648. [230] queen christina is described by the grande mademoiselle, on the occasion of her visit, as wearing "au cou, un mouchoir de point de gênes, noué avec un ruban couleur de feu."--_mém. de mademoiselle de montpensier._ "item, ung peignoir, tablier et cornette de toile baptiste garnie de point de gênes."--1644. _inv. de la comtesse de soissons._ "un petit manteau brodé et son collet de point de gênes."--_the chevalier d'albret._ "linge, bijoux et points de gênes."--loret, _muse historique_. 1650. "item, ung autre mouchoir de point de gênes."--_inv. du maréchal de la motte._ 1657. [231] _mém._, t. xiv., p. 286. [232] signore tessada has in his possession a pair of gold lappets of very beautiful design, made at genoa about the year 1700. [233] _letters from italy._ 1770. [234] cavasco. _statistique de gênes._ 1840. [235] the bobbins appear to have been made in italy of various materials. we have _merletti a fusi_, in which case they are of wood. the sforza inventory gives _a doii fuxi_, "two bobbins," then _a ossi_, "of bone," and, lastly, _a piombini_; and it is very certain that lead was used for bobbins in italy. see parasole (1600). [236] _memorie storiche di santa margherita._ genoese pillow-laces are not made with the réseau, but joined by bars. of milan lace it is said, "it resembles genoese pillow-lace in having the same scrolls and flowers formed by a ribbon in close stitch, with a _mesh_ or _tulle_ ground, whereas the genoese lace is held together by bars."--c. di brazza, _old and new lace in italy_ (1893). [237] lefébure writes, "a version of these milanese laces has been produced by using tape for the scroll forms and flowers, and filling in the open portions between the tapes by needlework stitches." the c. di brazza calls similar lace _punto di rapallo_ or _liguria_, a lace formed by a ribbon or braid of close lace following the outline of the design with fancy gauze stitches made by knotting with a crochet needle. the special characteristic of this lace is that the braid is constantly thrown over what has gone before. the design is connected by brides. a modification, where the braid is very fine and narrow, and the turnings extremely complicated, and enriched by no fancy stitches between, is _punto a vermicelli_.--_old and new lace in italy._ [238] communicated by sig. gio. tessada, junr., of genoa. [239] gandolfi, _considerazioni agrario_. [240] a small borgo, about an hour's drive from savona, on the road leading to genoa. [241] cav. merli. [242] in the albert museum of exeter are several of these tallies marked with the names of their owners--bianca, maria crocera, and others. [243] "many skilful lace-makers in italy have for some time imitated the old laces and sold them as such to travellers. a venetian lace-worker, now residing at ferrara, can copy any old lace known" (mrs. palliser, 1864). [244] this lappet, 357-68, in the victoria and albert museum collection, was described by mrs. palliser as "argentella," and supposed to be of genoese workmanship. "formerly much of it was to be met with in the curiosity shops of that city, but now it is of rare occurrence. the duchess of genoa possesses a splendid flounce of the same lace, with the doria eagle introduced into the pattern. it formerly belonged to the marchesa barbaretta saule" (mrs. palliser, _history of lace_, 1864). contessa di brazza suggests that argentella was the italian for argentan. [245] called by the people of the riviera, _filo del baccalà di castellaro_. aloe fibre was formerly used for thread (letter of sig. c. g. schiappapietra). it is also styled _filo di freta_ in the venetian sumptuary ordinances. [246] the author has to express her grateful thanks to signore don tommaso torteroli, librarian to the city of savona, and the author of an interesting pamphlet (_storia dei merletti di genova lavorati in albissola_, sinigaglia, 1863), for specimens of the ancient laces of albissola, and many other valuable communications. [247] a word of arabic derivation, used for denoting a fringe for trimming, whether cotton, thread, or silk. [248] this custom of ornamenting the ends of the threads of linen was from the earliest times common, and is still occasionally met with both in the north and south of europe. "at bayonne they make the finest of linen, some of which is made open like network, and the thread is finer than hair" (_ingenious and diverting letters of a lady's travels in spain_, london, 1679). there is a painting of the "last supper" at hampton court palace, by sebastian ricci, in which the tablecloth is edged with cut-work; and in the great picture in the louvre, by paul veronese, of the supper at the house of simon the canaanite, the ends of the tablecloth are likewise fringed and braided like the _macramé_. [249] lace schools in italy.--at coccolia, near ravenna, countess pasolini founded a school on her property to teach and employ the peasant women and copy antique designs. another more recently established school near udine, in the province of friuli, is under the direction of the contessa di brazza. among charitable institutions which interest themselves in the lace industry are the industrial school of ss. ecce homo at naples, and san ramiri at pisa, which was originally founded by the grand dukes of tuscany in the middle of the eighteenth century to teach weaving. this industry, and that of straw-plaiting, met with no success, and the school gradually developed into an industrial school in the modern sense. there are many schools on the same system in florence, and one (san pelegrino) at bologna. at sassari, in sardinia, the deaf and dumb children in the great institution of the "figlie di maria" are taught to make net lace. torchon and brussels pillow lace is worked under the direction of the sisters of providence in the women's prison at perugia. [250] laborde, _glossaire_. paris, 1853. [251] statute 2 hen. vi., c. x., 1423. [252] taglienti (1530) among his _punti_ gives _ciprioto_ (an embroidery stitch). [253] _description de raguse_ (bib. nat. mss., f.fr. 10,772). [254] points de raguse--first mentioned in an edict of january, 1654, by which the king raises for his own profit one quarter of the value of the "passems, dentelles, points coupez de flandres, pointinars, points de venise, de raguse, de gênes," etc. (_recueil des lois françaises_). again, the ordinance of august, 1665, establishes the points de france, "en la manière des points qui se font à venise, gênes, raguse, et autres pays étrangers," recited in the _arrêt_ of oct. 12th, 1666.--de lamare, _traité de la police_. [255] see venice. [256] in 1661. [257] see head of chapter. [258] in 1667. [259] see appendix. [260] _a descriptive catalogue of the collections of lace in the victoria and albert museum_, by the late mrs. bury palliser. third edition, revised and enlarged by a. s. cole. [261] _edinburgh advertiser_, 1764. [262] there is no corroboration of mrs. palliser's statement above that lace was ever made in malta; if so, it would have been of the genoese geometrical kind, of which lady hamilton chichester adapted the designs and evolved what is now known as maltese lace by the aid of workers imported from genoa. the maltese cross has been introduced into the designs as a distinguishing mark. [263] "a lace of similar character (maltese) has also been made successfully in the missionary schools at madras" (mrs. palliser). [264] lefébure, _embroidery and lace_. [265] in the philippine islands the natives work manilla grass into a sort of drawn thread-work or tatting. [266] 1756. _point d'espagne hats._--connoisseur. [267] beckmann, in his _history of inventions_, says that "it was a fashion to give the name of spanish to all kinds of novelties, such as spanish flies, spanish wax, spanish green, spanish grass, spanish seed, and others." [268] a. s. cole. "cantor lectures on the art of lace-making." [269] _livre nouveau de patrons_ and _fleurs des patrons_ give various stitches to be executed "en fil d'or, d'argent, de soie, et d'autres." both printed at lyons. the first has no date; the second, 1549. _le pompe_, venezia, 1559, has "diversi sorti di mostre per poter far, d'oro, di sete, di filo," etc. [270] "not many years since, a family at cadiz, of jewish extraction, still enjoyed the monopoly of manufacturing gold and silver lace."--_letter from spain_, 1863. _merletto polichrome_, or parti-coloured lace, was also invented and perfected by the jews, and was made in silk of various colours, representing fruit and flowers. this industry has been revived in venice, and carried to great perfection. [271] senor j. f. riano. _the industrial arts in spain._--"lace." [272] "spain has 8,932 convents, containing 94,000 nuns and monks."--townsend, j., _journey through spain in the years 1786 and 1787_. [273] the aloe thread is now used in florence for sewing the straw-plait. [274] barcelona, 1892, page 225, quoted by signor j. f. riano. date of book 1592. [275] a. s. cole, _ancient needle-point and pillow-lace_. [276] this ordinance even extended to foreign courts. we read in the mercure _galant_, 1679, of the spanish ambassadress, "elle etoit vestue de drap noir avec de la dentelle de soye; elle n'avait ni dentelle ni linge autour de sa gorge." [277] _mercure françois._ [278] they have also provided- "14 ruffs & 14 pairs of cuffs laced, at 20s. £14 for lacing 8 hats for the footmen with silver parchment lace, at 3s. £1 4s." _extraordinary expenses of his highness to spain_, 1623. p. r. o. [279] doctor monçada, in 1660, and osorio, in 1686, reckoned more than three millions of spaniards who, though well dressed, wore no shirts.--_townsend's spain._ [280] speaking of the apartment of madame d'aranda, beckford writes: "her bed was of the richest blue velvet, trimmed with point lace." [281] our english translation of _don quixote_ has led some authors into adducing a passage as an evidence that the art of making bone lace was already known in cervantes' day. "sanchica," writes theresa pança to her husband, the newly-appointed governor of baratava, "makes bone lace, and gets eight maravedis a day, which she drops into a tin box to help towards household stuff. but now that she is a governor's daughter, you will give her a fortune, and she will not have to work for it." in referring to the original spanish we find the words rendered bone lace are "puntas de randas," signifying works of lacis or réseuil--"ouvrage de lacis ou réseuil."--oudin. _trésor des deux langues fr. et esp._ (1660). [282] as early as the great wardrobe account of queen elizabeth, 1587, p. r. o., we have a charge for bobbin lace of spanish silk, "cum uñ tag," for the mantle, 10s. 8d. in a letter from prestwick eaton to geo. willingham, 1631, the writer sends 1000 reals (£25), and in return desires him to send, together with a mastiff dog, some black satin lace for a spanish suit.--_state papers, domestic_, car. i., p. r. o. [283] 1697. marriage of mademoiselle and the king of spain. the queen, says the _mercure_, wore "une mante de point d'espagne d'or, neuf aunes de long." 1698. fête at versailles on the marriage of the duc de bourgogne. "la duchesse de bourgogne pourtoit un petit tablier de point d'espagne de mille pistoles."--_galérie de l'ancienne cour; ou mém. des règnes de louis xiv. et louis xv._, 1788. 1722. ball at the tuileries. "tous les seigneurs etaient en habits de drap d'or ou d'argent garnis de points d'espagne, avec des noeuds d'épaule, et tout l'ajustement à proportion. les moindres etaient de velours, avec des points d'espagne d'or et d'argent."--_journal de barbier_, 1718-62. 1722. "j'ai vu en même temps le carosse que le roi fait faire pour entrer dans reims, il sera aussi d'une grande magnificence. le dedans est tout garni d'un velours à ramage de points d'espagne d'or."--_ibid._ 1731. speaking of her wedding-dress, wilhelmina of bayreuth, the witty sister of frederick the great, writes: "ma robe étoit d'une étoffe d'or fort riche, avec un point d'espagne d'or, et ma queue étoit de douze aunes de long."--_mémoires._ 1751. fête at versailles on the birth of the duc de bourgogne. the coats of the "gens de cour, en étoffes d'or de grand prix ou en velours de tout couleurs, brodés d'or, ou garnis de point d'espagne d'or."--_journal de barbier._ [284] _fenix de cataluña, compendio desus antiguas grandezas y medio para renovarlas_, barcelona, 1683, p. 75. [285] in the reign of william and mary, we find, in a lace-man's bill of the queen, a charge for forty-seven yards of rich, broad, scalloped, embossed point de spain; and her shoes are trimmed with gold and silver lace.--b. m., add. mss.; no. 5751. at the entry of lord stair into paris, 1719, his servants' hats are described as laced with spanish point, their sleeves laced with picked silver lace, and dented at the edge with lace.--_edinburgh courant._ in 1740, the countess of pomfret, speaking of the princess mary's wedding clothes, writes: "that for the wedding night is silver tissue, faced at the bottom before with pink-coloured satin, trimmed with silver point d'espagne."--_letters of the countess of hartford to the countess of pomfret_, 1740. [286] marquis de la gombardière, 1634, _nouveau réglement général des finances_, etc. [287] "eighty children and grandchildren attended his funeral in defiance of the edict of 19th sept., 1664, and were heavily fined."--_la france protestante_, par m. m. haag. paris, 1846-59. [288] garderobe de s. a. s. mgr. le duc de penthièvre. arch. nat. k. k. 390-1. [289] lord verulam on the treaty of commerce with the emperor maximilian. [290] _gentleman's magazine_, 1745. [291] peyron, 1789. [292] madrid, 1775. [293] _itinéraire de l'espagne_, comte alph. de laborde, t. v. [294] peuchet (_dictionnaire universel de la géographie commerçante_, an. vii. = 1799), speaking of barcelona, says their laces are "façon de france," but inferior in beauty and quality. the fabrication is considerable, employing 2,000 women in the towns and villages east of barcelona. they are sold in castile, andalusia, and principally in the indies. [295] madrid, 1788. vol. ii, p. 149. [296] _ibid._ vol. xvii., p. 294. [297] "the manufacture of silk lace or blonde in almagro occupies from 12,000 to 13,000 people" (mrs. palliser, 1869). modern torchon laces are still made at almagro to a very large extent (1901). [298] madrid, 1788. [299] madrid, 1797. [300] senor juan f. riano, _the industrial arts in spain_, "lace" (london, 1879). [301] _theory of commerce_, from the spanish of don. ger. de ustariz (lond., 1751). [302] when the holidays of the roman catholic church are deducted, the work-days of the people amount only to 260 in the course of the year--fifty less than in a protestant country. [303] ford, _handbook of spain_. [304] 1869. [305] "now there are only two kinds of lace made in spain; 'encaje de blonda,' mantillas, scarves, lace-ties, etc., in white and black; these are manufactured in barcelona, on long pillows stuffed with long straw quite hard, covered with yellow or light blue linen. the lace is worked on a cardboard pattern, and with 'fuseaux' like the french torchon lace, the only difference being that the pillow is long and narrow and without the revolving cylinder in the centre, so that when making a long piece, or lace by the yard, the pins have to be taken out when you get to the bottom of the pillow, and the work removed to the top and continued. the mantillas, etc., are worked by pieces; that is to say, the border, flowers, and large designs, and are afterwards joined by the veil stitch. "the second is 'encaje de almagro'--little children of six and seven years old are taught to make it."--_letter from spain_, 1901. [306] "on met de la dentelle brodée de couleur de points d'espagne aux jupes"--_mercure galant._ [307] _recherches sur le commerce, la fabrication et l'usage des etoffes de soie, etc., pendant le moyen age._ paris, 1839. [308] taglienti, venice, 1530. [309] paris, 1546. [310] pelegrin de florence, paris, 1530. [311] _magazin de londres_, 1749. [312] mademoiselle dumont, foundress of the point de france fabric, in the rue st. denis, quitted paris after some years and retired to portugal: whether she there introduced her art is more than the author can affirm. [313] it was probably a variety of point de venise. a few years ago a specimen of point plat was exhibited in london with a portuguese inscription and designs of figures in costumes of _circ._ 1600. see plate ix. [314] the bobbins from peniche, one of the few places in portugal where pillow-lace is still made, are remarkably pretty. they are of ivory, agreeably mellowed by time and constant handling, and their slender tapering shafts and bulbous ends are decorated simply but tastefully with soft-tinted staining. in size they are small, measuring from three and a quarter to three and a half inches long, and these proportions are extremely good. another variety of peniche bobbin is made of dark brown, boldly-grained wood. the lace-makers work on a long cylindrical cushion--the _almofada_--fastened to a high, basket-work stand, light enough to be easily moved from place to place.--r. e. head, "some notes on lace-bobbins," _the reliquary_, july, 1900. [315] _the queen_, august, 1872. "the places in portugal where the lace industry is chiefly exercised are peniche, vianna do castello, setubal, a village in algarve called faro, and at the present time lisbon, where, under the help and patronage of h. m. the queen, a lace dépot has been instituted, in which i have worked for ten years, seeking to raise the portuguese lace industry to an art. the designs being entirely my own original ones, i am trying to give them a character in unison with the general idea of the architecture throughout the country. i obtained gold medals for my work at the exhibitions of 1894 at antwerp and 1900 at paris, besides others at lisbon."--letter from dona maria bordallo pinheiro, head of the lace industry department at lisbon, 1901. [316] "there are now seven families employed in the fabrication of maltese lace, which is made almost entirely by men; the women occupy themselves in the open-work embroidery of muslin" (1869). [317] those in the collegiate church of st. peter's, at louvain, and in the church of st. gomar, at lierre (antwerp prov.).--aubry. [318] baron reiffenberg, in _mémoires de l'académie de bruxelles_. 1820. [319] engraved by collaert. bib. nat. grav. [320] _louvain dans le passé et dans le présent, formation de la ville, événements memorables, territoire, topographie, institutions, monuments, oeuvres d'art_, page 330, by edward van even, published 1895. [321] m. de barante. [322] it goes on: "for the maiden, seated at her work, plies her fingers rapidly, and flashes the smooth balls and thousand threads into the circle. often she fastens with her hand the innumerable needles, to bring out the various figures of the pattern; often, again, she unfastens them; and in this her amusement makes as much profit as the man earns by the sweat of his brow; and no maiden ever complains at even of the length of the day. the issue is a fine web, open to the air with many an aperture, which feeds the pride of the whole globe; which encircles with its fine border cloaks and tuckers, and shows grandly round the throats and hands of kings; and, what is more surprising, this web is of the lightness of a feather, which in its price is too heavy for our purses. go, ye men, inflamed with the desire of the golden fleece, endure so many dangers by land, so many at sea, whilst the woman, remaining in her brabantine home, prepares phrygian fleeces by peaceful assiduity."--_jacobi eyckii antwerpiensis urbium belgicarum centuria._ antw. 1651. 1 vol., 4to. bib. royale, brussels. [323] alençon excepted. [324] it is said to destroy the eyesight. "i was told by a gentleman well acquainted with flanders," says mcpherson, "that they were generally almost blind before thirty years of age."--_history of commerce_, 1785. [325] together with the cap is preserved a parchment with this inscription: "gorro que perteneccio à carlos quinto, emperad. guarda lo, hijo mio, es memoria de juhan de garnica." ("cap which belonged to the emperor charles v. keep it, my son, in remembrance of john de garnica"). j. de garnica was treasurer to philip ii. séguin, however, is of opinion that this cap belonged to one of charles v.'s successors:- "ce bonnet ... a dû appartenir très certainement à un de ses successeurs (of charles v.), à cause que ce bonnet se trouve coupé et encadré par un petit entre-deux de guipure au fuseau, façon point de gênes, qui ne pouvait pas avoir été fait du temps de charles quint."--séguin, _la dentelle_. [326] married, 1599, albert, archduke of austria. [327] by andrew yarranton, gent. london, 1677. a proposal to erect schools for teaching and improving the linen manufacture as they do "in flanders and holland, where little girls from six years old upwards learn to employ their fingers." hadrianus junius, a most learned writer, in his description of the netherlands, highly extols the fine needlework and linen called cambric of the belgian nuns, which in whiteness rivals the snow, in texture satin, and in price the sea-silk--byssus, or beard of the pinna. [328] an old term, still used in scotland, for gossip, chatter. [329] these dogs were of large size, and able to carry from 22 to 26 lbs. they also conveyed tobacco. the swiss dogs smuggle watches. [330] black lace was also imported at this period from the low countries. among the articles advertised as lost, in the _newsman_ of may 26th, 1664, is, "a black lute-string gown with a black flanders lace." [331] mercure galant. 1678. [332] "le corsage et les manches étaient bordés d'une blanche et légère dentelle, sortie à coup sûr des meilleures manufactures d'angleterre." [333] we have, however, one entry in the wardrobe accounts of the duc de penthièvre: "1738. onze aunes d'angleterre de flandre." [334] _mercure galant._ 1678. [335] "deux paires de manchettes et une cravatte de point d'angleterre."--_inventaire d'anne d'escoubleau, baronne de sourdis, veuve de françois de simiane._ arch. nat. m. m. 802. [336] _inv. après le decès de mgr. mich. philippine de la vrillière, patriarche, archevêque de bourges_, 1694. bib. nat. mss. f. fr. 11,426. "une toilette et sa touaille avec un peignoir de point d'angleterre."--_inv. de decès de mademoiselle de charollais._ 1758. arch. nat. [337] _mrs. calderwood's journey through holland and belgium_, 1756. printed by the maitland club. [338] flax is also cultivated solely for lace and cambric thread at st. nicholas, tournay, and courtrai. the process of steeping (_rouissage_) principally takes place at courtrai, the clearness of the waters of the lys rendering them peculiarly fitted for the purpose. savary states that fine thread was first spun at mechlin. [339] it is often sold at £240 per lb., and in the report of the french exhibition of 1859 it is mentioned as high as £500 (25,000fr. the kilogramme). no wonder that so much thread is made by machinery, and that scotch cotton thread is so generally used, except for the choicest laces. but machine-made thread has never attained the fineness of that made by hand. of those in the exhibition of 1862, the finest lille was 800 leas (a technical term for a reel of 300 yards), the brussels 600, the manchester 700; whereas in westphalia and belgium hand-spun threads as fine as 800 to 1000 are spun for costly laces. the writer has seen specimens, in the museum at lille, equal to 1200 of machinery; but this industry is so poorly remunerated, that the number of skilful hand-spinners is fast diminishing. [340] _dictionnaire du citoyen._ 1761. [341] _comptes de madame du barry._ bib. nat. mss. f. fr. 8157 and 8. [342] "trois aubes de batiste garnies de grande dentelle de gros point d'angleterre."--_inv. des meubles, etc., de louis, duc d'orléans, decedé 4 fev. 1752._ (son of the regent.) arch. nat. x. 10,075. "deux aubes de point d'angleterre servant à messieurs les curez. "une autre aube à dentelle de gros point servant aussy à m. le curé."--_inventaire et description de l'argenterie, vermeil doré, ornemens, linge, etc., appartenant à l'oeuvre et fabrique de l'église saint-merry à paris._ 1714. arch. nat. l.l. 859. [343] "une coëffure à une pièce d'angleterre bride et réseau."--_comptes de madame du barry._ "1 aune et quart d'angleterre mêlé."--_ibid._ [344] mrs. delany writes ("corr.," vol. 2): the laces "i have pitched on for you are charming; it is grounded brussels." "deux tours de gorge à raiseau, un tour de camisolle à bride."--1720. _inv. de la duchesse de bourbon._ arch. nat. x. 10,062-4. "six peignoirs de toille fine garnis par en haut d'une vielle dentelle d'angleterre à raiseau."--_inv. de decès de monsieur philippe petit fils de france, duc d'orléans, regent du royaume, decedé 2 décembre, 1723._ arch. nat. x. 10,067. the "fond écaillé" often occurs. "une coëffure à une pièce de point à l'écaille; "une paire de manchettes de cour de point à raizeau, et deux devants de corps de point à brides à écailles."--1761. _inv. de la duchesse de modène._ arch. nat. x. 10,082. "deux barbes, rayon, et fond d'angleterre superfin fond écaillé."--_comptes de madame du barry._ see her _angleterre_, chap. xi. note 26. [345] to which machinery has added a third, the tulle or brussels net. [346] the needleground is three times as expensive as the pillow, because the needle is passed four times into each mesh, whereas in the pillow it is not passed at all. [347] "trois oreillers, l'un de toille blanche picquée garnis autour de chacun d'un point plat."--_inv. de la duchesse de modène._ [348] _tableau de paris_, par s. mercier. amsterdam, 1782. [349] "fashion." j. warton. [350] brussels lace-makers divide the plat into three parts, the "mat," the close part answering to the french _toilé_ (chapter iii.); _gaze au fuseau_, in which small interstices appear, french _grillé_, and the _jours_, or open work. [351] the veil presented by the city of brussels to the empress josephine was sold in 1816 by eugene beauharnais to lady jane hamilton. it is described to have been of such ample dimensions that, when placed on lady jane's head--who was upwards of six feet high--it trained on the ground. the texture of the réseau was exquisitely fine. in each corner was the imperial crown and cypher, encircled with wreaths of flowers. this _chef d'oeuvre_ passed into the possession of lady jane's daughter, the duchesse de coigny. [352] to afford an idea of the intrinsic value of brussels lace, we give an estimate of the expense of a fine flounce (_volant_), of _vrai réseau mélangé_ (point and plat), 12 metres long by 35 centimetres wide (13¼ yards by 14 inches)- fr. cost of the plat 1,885.75 needle-point 5,000 open-work, _jours_ (_fonnage_) 390 appliqué (_stricage_) 800 ground (_réseau_) 2,782 footing (_engrêlure_) 1.27 -------- total 10,859.02 -------- = £434 7 6 equals £36 3s. 9d. the metre, and the selling price would be about £50 16s., which would make the flounces amount to £609 12s. [353] "une paire de manchettes de dentelle de malines brodée." "quatre bonnets de nuit garnis de malines brodée."--_inv. de decès de mademoiselle de charollais._ 1758. [354] _inv. de la duchesse de bourbon._ 1720. "1704. deux fichus garnis de dentelle de malines à bride ou rézeau. "une cravatte avec les manchettes de point de malines à bride. "deux autres cravattes de dentelle de malines à rézeau et trois paires de manchettes de pareille dentelle."--_inv. de franç. phelypeaux loisel._ bib. nat. mss. f. fr. 11,459. [355] _inv. de decès de madame anne, palatine de bavière, princesse de condé._ 1723. arch. de nat. x. 10,065. [356] in the accounts of madame du barry, we have "malines bâtarde à bordure." [357] _inv. après le decès de mgr. le maréchal de la motte._ bib. nat. mss. f. fr. 11,426. "quatre paires de manchettes garnyes de passement tant de venise, gennes, et de malines." [358] _voyage en flandre._ 1681. [359] b. m. add. mss. no. 5751. [360] gr. ward. acc. p. r. o. [361] _ibid._ [362] "on chamarre les jupes en quiles de dentelles plissées."--_mercure galant._ 1678. "un volant dentelle d'angleterre plissée."--_extraordinaire du mercure. quartier d'esté._ 1678. [363] "1741. une coiffure de nuit de malines à raizeau campanée de deux pièces. "une paire de manches de malines brodée a raizeau campanée, un tour de gorge, et une garniture de corset."--_inv. de mademoiselle de clermont._ "1761. une paire de manches de malines bridés non campanée, tour de gorge, et garniture de corset."--_inv. de la duchesse de modène._ [364] "1720. une garniture de teste à trois pièces de dentelle de malines à bride. "deux peignoirs de toile d'hollande garnis de dentelle, l'une d'angleterre à bride et l'autre de maline à raiseau."--_inv. de la duchesse de bourbon._ "1750. une dormeuse de malines."--_inv. de mademoiselle de charollais._ "1770. 5½ grande hauteur de malines pour une paire de manchettes, 264 francs. "1 au. jabot pour le tour de gorge, 16. "5 au. ¼ malines pour garnir 3 chemises au nègre à 12 fr." (the wretch zamor who denounced her.)--_comptes de madame du barry._ "1788. 6 tayes d'oreiller garnies de malines."--_etat de ce qui a été fourni pour le renouvellement de mgr. le dauphin._ arch. nat. k. 505, no. 20. "1792. 2 tayes d'oreillier garnis de maline."--_notes du linge du çi-devant roi. ibid._ no. 8. "1792. 24 fichus de batiste garnis de maline. "2 taye d'orilier garnis de maline."--_renouvellement de m. le duc. de normandie. ibid._ [365] an arrêt, dated 14 aug., 1688, requires that "toutes les dentelles de fil d'anvers, bruxelles, malines et autres lieux de la flandre espagnolle," shall enter only by rousselars and condé, and pay a duty of 40 livres per lb.--arch. nat. _coll. rondonneau._ [366] in the list of foreign protestants resident in england, 1618 to 1688, we find in london, aldersgate ward, jacob johnson, born at antwerp, lace-maker, and antony du veal, lace-weaver, born in turny (tournay). [367] this portrait has been engraved by verbruggen, who gives it as that of catherine of aragon. [368] _mercure galant_, 1696. [369] the flower-pot was a symbol of the annunciation. in the early representations of the appearance of the angel gabriel to the virgin mary, lilies are placed either in his hand, or set as an accessory in a vase. as romanism declined, the angel disappeared, and the lily pot became a vase of flowers; subsequently the virgin was omitted, and there remained only the vase of flowers. [370] see appendix. [371] _tableau statistique du dép. des deux-nèthes_, par le citoyen herbouville. an x. = 1802. [372] their names are given: veuves mesele, papegay, and turck. [373] ypres valenciennes was exhibited at £80 (the metre). the lace-maker, working twelve hours a day, could scarcely produce one-third of an inch a week. it would take her twelve years to complete a length of six or seven metres, her daily earnings averaging two to three francs. ypres makes the widest valenciennes of any manufacture except courtrai, whence was exhibited a half shawl (pointe) of valenciennes. [374] m. duhayon brunfaut, of ypres. [375] _treille_ is the general term for the ground (_réseau_) throughout belgium and the dép. du nord. [376] france alone buys of belgium more valenciennes than all the other countries united; upwards of 12 millions of francs (£480,000).--aubry. [377] at ghent two turns and a half, and at courtrai three and a half. each town has its own peculiar stitch. [378] _l'industrie dentellière belge_, par b. v. d. dussen, bruxelles, 1860. [379] robinson crusoe, when at lisbon, sends "some flanders lace of a good value" as a present to the wife and daughter of his partner in the brazils. [380] _answer to sir john sinclair_, by mr. h. schoulthem, concerning the manufactures of ghent. 1815. [381] arch. de nat., coll. rondonneau. [382] _point and pillow lace_, a. m. s. london, 1899. [383] "une paire de manchettes de cour de dentelle de binche; "trois paires de manchettes à trois rangs de dentelle de binche; "deux fichus de mousseline bordées de dentelle de binche; "deux devants de corps de dentelle de binche."--arch. de nat. x., 10,082. [384] "m. victor hugo told the author he had, in his younger days, seen binch guipure of great beauty."--mrs. palliser, 1869. [385] letter of sir henry wotton to lord zouch.--state papers, domestic, jas. i., p. r. o. [386] in the _bulletin de l'institut archéologique_, liègois xviii., 1885, is a copy of a contract dated january 23rd, 1634, whereby a lace-maker of liège, barbe bonneville, undertakes for 25 florins, current money, to teach a young girl lace-making. again, in the copy of a namur act of november, 1701, a merchant of namur orders from a liègois "3 pieces of needle-made lace called venice point," to sell at the rate of 5½ florins, 4½ florins, and one écu respectively. [387] arch. de nat., coll. rondonneau. [388] "caïeteresses," from _caïets_, bobbins. [389] _exposition de liège_, par chanoine dubois, 1881. [390] _statistique du dép. de la meuse-inf._, par le citoyen cavenne. an. x. [391] liège in the seventeenth century numbered 1600 workers, and produced black and white laces which it exported to england, germany and france. the rich clergy of the country also bought a large quantity. at the time of the exhibition held there in 1881 the fabric had so declined that it was impossible to find a single piece of lace that had been made in the town. [392] _fil tiré_, drawn and embroidered muslin-work so fine as to be classed with lace, was made in dinant in the religious communities of the city and the "pays" of dinant before the french revolution. at marche lace with flowers worked directly on the réseau is made, and the lace of yorck is also imitated--a lace characterised by additions worked on to the lace, giving relief to the flowers.--_exposition de liège_, par chanoine dubois, 1881. the list of belgian laces also includes "les points de brabant, plus mats, et plus remplis que les points de flandres; les differentes dentelles de fantaisie, non classées, puis les grosses dentelles de couvin, en soie noire, qui servaient jadis à garnir les pelisses des femmes de l'entre sambre-et-meuse."--_la dentelle de belgique_, par mme. daimeries, 1893. [393] italian fashions appeared early in france. isabeau de bavière, wearer of the oriental _hennin_, and valentine de milan, first introduced the rich tissues of italy. louis xi. sent for workmen from milan, venice, and pistoja, to whom he granted various privileges, which charles viii. confirmed. lace, according to séguin, first appears in a portrait of henri ii. at versailles, a portrait painted in the latter years of his reign. "les deux portraits de francois i^{er} qui sont au louvre n'en laissent pas soupçonner l'usage de son temps. aucun des autres portraits historiques qui y sont, non plus que ceux des galeries de versailles de la même époque, n'en attestent l'existence, et le premier où on la découvre est un portrait de henri ii à versailles, qui a dû être peint vers les dernières années de son règne. le col, brodé d'entrelacs de couleur, est bordé d'une petite dentelle bien simple et bien modeste. nous possédons des portraits authentiques antérieurs au milieu du xvi^e siècle, des specimens incontestés des costumes qui ont précédé cette époque, aucun de ces nombreux témoins n'atteste son existence. "il faut reconnaître que l'origine de la dentelle n'est pas antérieure au milieu du xvi^e siècle."--séguin, _la dentelle_. paris, 1875. [394] in ulpian fulwell's _interlude_, 1568, nichol newfangle says- "i learn to make gowns with long sleeves and wings, i learn to make ruffs like calves' chitterlings." [395] the queen was accused by her enemies of having, by the aid of maître rené, "empoisonneur en titre," terminated the life of queen jeanne de navarre, in 1571, by a perfumed ruff (not gloves--_description de la vie de catherine de médicis_); and her favourite son, the duke d'alençon, was said, cir. 1575, to have tried to suborn a valet to take away the life of his brother henry by scratching him in the back of his neck with a poisoned pin when fastening his fraise. [396] _satyre menippée._ paris, 1593. [397] _chronologie novenaire_, vict. p. cayet. [398] "s'ils se tournoient, chacun se reculoit, crainte de gater leurs fraizes."--_satyre menippée._ "le col ne se tourne à leur aise dans le long reply de leur fraise." --_vertus et propriétés des mignons_, 1576. [399] "ces beaux mignons portoient ... leur fraizes de chemise de toute d'atour empesez et longues d'un demi-pied, de façon qu'à voir leurs testes dessus leurs fraizes, il sembloit que ce fut le chef de saint jean dans un plat."--_journal de henri iii._, pierre de l'estoille. [400] _perroniana._ cologne, 1691. [401] "goudronnées en tuyaux d'orgue, fraisées en choux crépus, et grandes comme des meules de moulin."--_blaise de viginière._ "la fraize veaudelisée à six étages."--_la mode qui court._ paris, n.d. [402] "appelez par les espagnols 'lechuguillas' ou petites laitues, à cause du rapport de ces gaudrons repliées avec les fraisures de la laitue."--_histoire de la ville de paris_, d. mich. félibien. [403] "1575. le roy alloit tous les jours faire ses aumônes et ses prières en grande devotion, laissant ses chemises à grands goderons, dont il estoit auparavant si curieux, pour en prendre à collet renversé a l'italienne."--_journal de henri iii._, pierre de l'estoille. [404] no less than ten were sent forth by the valois kings, from 1549 to 1583. [405] these were dated 1594, 1600, 1601, and 1606. [406] copper used instead of gold thread for embroidery or lace. the term was equally applied to false silver thread. "1582. dix escus pour dix aulnes de gaze blanche rayée d'argent clinquant pour faire ung voille à la boullonnoise."--_comptes de la reine de navarre._ arch. nat. k. k. 170. [407] regnier, math., _ses satyres._ 1642. [408] the observation was not new. a remonstrance to catherine de médicis, 1586, complains that "leurs moulins, leurs terres, leurs prez, leurs bois et leurs revenuz, se coulent en broderies, pourfilures, passemens, franges, tortis, canetilles, recameurs, chenettes, picqueurs, arrièrepoins, etc., qu'on invente de jour à autre."--_discours sur l'extrême cherté, etc., presenté à la mère du roi, par un sien fidelle serviteur (du haillan)._ bordeaux, 1586. [409] "1579. pour avoir remonsté trois fraises à poinct couppé, 15 sols. "pour avoir monté cinq fraizes à poinct couppé sur linomple, les avoir ourllés et couzeus à la petite cordellière et au poinct noué à raison de 30 sols pour chacune. "pour la façon de sept rabatz ourllés à double arrièrepoinct et couzu le passement au dessus. "1580. pour avoir faict d'ung mouchoir ouvré deux rabatz, 20 sols. "pour deux pieces de poinct couppé pour servir à ladicte dame, vi livres. "pour dix huict aulnes de passement blanc pour mestre à des fraizes à trois escus l'aulne." 1582. the account for this year contains entries for "passement faict à lesguille," "grand passement," "passement faict au mestier," etc.--_comptes de la reine de navarre._ arch. nat. [410] "vingt trois chemizes de toile fine à ouvrage de fil d'or et soye de plusieurs coulleurs, aux manchettes coulet et coutures. "ung chemize à ouvrage de soye noire. "quatre chemizes les trois à ouvrage d'or et d'argent et soye bleu."--_inv. des meubles qui ont estés portés à paris._ 1602. arch. nat. [411] "1577. a jehan dupré, linger, demeurant à paris, la somme de soixante douze livres tournois à luy or donnée pour son payement de quatre layz d'ouvraige à poinct couppé pour faire une garniture de chemise pour servir à mon dict segneur, à raison de 18 liv. chacune."--_comptes de la reine de navarre._ arch. nat. k. k. 162, fol. 655. [412] "this shirt," he adds, "is well attested. it became the perquisite of the king's first valet de chambre. at the extinction of his descendants, it was exposed to sale."--_memoirs._ a rival shirt turned up (c. 1860) at madame tussaud's with "the real blood" still visible. monsieur curtius, uncle of madame tussaud, purchased it at an auction of effects once the property of cardinal mazarin. charles x. offered 200 guineas for it. [413] "item, cinq mouchoirs d'ouvrages d'or, d'argent et soye, prisez ensemble cent escuz. "item, deux tauayelles aussi ouvrage d'or, d'argent et soye, prisées cent escuz. "item, trois tauayelles blanches de rezeuil, prisées ensemble trente escuz. "item, une paire de manches de point coupé et enrichies d'argent, prisez vingt escuz. "item, deux mouchoirs blancz de point coupé, prisez ensemble vingt escuz. "toutes lesquelles tauayelles et mouchoirs cy dessus trouvez dans un coffre de bahu que la dicte defunte dame faisoit ordinairement porter avec elle a la court sont demeurez entre les mains du s^r de beringhen, suivant le commandement qu'il en avoit de sa majesté pour les representer à icelle, ce qu'il a promis de faire."--_inventaire apres le decès de gabrielle d'estrées._ 1599. arch. nat. k. k. 157, fol. 17. [414] "item, un lit d'yvoire à filletz noirs de padoue, garny de son estuy de cuir rouge."--_ibid._ [415] "item, une autre tenture de cabinet de carré de rezeau brodurée et montans recouvert de feuillages de fil avec des carrez de thoile plaine, prisé et estimé la somme de cent escus soleil. "item, dix sept carrez de thoile de hollande en broderie d'or et d'argent fait a deux endroictz, prisez et estimez à 85 escus. "item, un autre pavilion tout de rezeil avec le chapiteau de fleurs et feuillages.... "item, un autre en neuf fait par carrez de point coupé."--_ibid._ fols. 46 and 47. [416] "manchettes et collets enrichys de point couppé."--_inventaire apres le decès de messire philippe herault, comte de cheverny, chancelier de france._ 1599. bib. nat. mss. f. 11,424. [417] in 1598. vulson de la colombière, _vray théatre d'honneur et de chevalerie_. 1647. [418] _satyrique de la court._ 1613. [419] _histoire de la mère et du fils_, from 1616 to 19. amsterdam, 1729. [420] _livre nouveau dict patrons de lingerie, etc._ _patrons de diverses manières, etc._ (title in rhyme.) _s'ensuyvent les patrons de mesire antoine belin._ _ce livre est plaisant et utile._ (title in rhyme.) [421] _la fleur des patrons de lingerie._ [422] _tresor des patrons._ j. ostans. [423] _le livre de moresques_ (1546), _livre de lingerie_, dom. de sera (1584), and _patrons pour brodeurs_ (no date), were also printed at paris. the last book on this kind of work printed at paris is styled, _méthode pour faire des desseins avec des carreaux, etc._, by père dominique donat, religieux carme. 1722. [424] a point de venise alb, of rose point, said to be of this period, is in the musée de cluny. [425] "quelques autres de frangez bordent leur riche cuir, qui vient des lieux estranges."--_le gan_, de jean godard, parisien. 1588. [426] "1619. deux paires de rozes à soulliers garnies de dentelle d'or."--_inv. de madame soeur du roi._ (henrietta maria.) arch. nat. [427] _satyrique de la court._ [428] the inventory of the unfortunate maréchal de marillac, beheaded 1632, has "broderye et poinctz d'espagnes d'or, argent et soye; rabats et collets de point couppé; taffetas nacarat garnye de dantelle d'argent; pour-poinct passementé de dantelle de canetille de flandre," etc.--bib. nat. mss. f. fr. 11,426. [429] 1620, feb. 8th. "déclaration portant deffenses de porter des clinquants, passements, broderies," etc.--arch. nat. g. g. g. 1623, march 20th. "déclaration qui defend l'usage des étoffes d'or," etc.--_recueil des anciennes lois françaises._ t. 16, 107. 1625, sept. 30th. déclaration prohibits the wearing of "collets, fraizes, manchettes, et autres linges des passements, point coupez et dentelles, comme aussi des broderies et decoupures sur quentin ou autre toile."--bib. nat. l. i. 8. [430] _consolation des dames sur la reformation des passemens._ 1620. [431] again, 1633, nov. 18th. déclaration restricts the prohibition; permits "passements manufacturés dans le royaume qui n'excederont 9 ll. l'aune."--arch. nat. g. g. g. 1634, may 30th. "lettres patentes pour la reformation du luxe des habits," prohibits "dentelles, passements et broderies" on boots, carriages, etc. (british museum). 1636, april 3rd. "déclaration contre le luxe." again prohibits both foreign and home-made points coupés, etc., under pain of banishment for five years, confiscation, and a fine of 6000 francs.--de la mare, _traité de la police_. 1639, nov. 24th. fresh prohibition, points de gênes specially mentioned. not to wear on the collar, cuffs, or boots, "autres choses que de la toile simple sans aucune façon."--arch. nat. g. g. g. [432] _le courtisan reformé, suivant l'edit. de l'année 1633_; and again, _le jardin de la noblesse françoise dans lequel ce peut cueillir leur manière de vettement_. 1629. [433] april, 1636. [434] 1631. _trésorerie de la reine marie de médicis._--arch. nat. k. k. 191. [435] vulson de la colombière, _pompes qu'on pratique aux obséques des rois de france_. [436] _mémoires de guy joly_, from 1648 to 1665. [437] about this period a special act had confirmed the statutes of the maîtres passementiers of paris. by article 21, they are privileged to make every sort of passement or lace, "sur l'oreiller, aux fuzeaux, aux épingles, et à la main," on condition the material, gold, silver, thread, or silk, be "de toutes fines ou de toutes fausses." the sale of thread and lace was allowed to the lingères, but by an arrêt of the parliament of paris, 1665, no one could be a marchande lingère unless she had made profession of the "religion catholique, apostolique, et romaine," a condition worthy of the times. "il n'y fut," writes gilles de felice, in his _histoire des protestants de france_, "pas jusqu'à la corporation des lingères qui ne s'en allât remontrer au conseil que leur communauté, ayant été instituée par saint louis, no pouvait admettre d'hérétiques, et cette réclamation fut gravement confirmée par un arrêt du 21 août, 1665." [438] dated november 19th, 1653. the letter is given in full by the marquis de laborde in _le palais mazarin_. paris, 1845. [439] _inv. fait apres la mort du cardinal mazarin_, 1661.--bibl. nat. mss. suite de mortmart, 37. [440] it is to be found at the archives national, or in the library of the cour de cassation. in the archives national is a small collection of ordinances relative to lace collected by m. rondonneau, extending from 1666 to 1773. it is very difficult to get at all the ordinances. many are printed in de la mare (_traité de la police_); but the most complete work is the _recueil général des anciennes lois françaises, depuis l'an 420 jusqu'à la révolution de 1789_, par mm. isambert, ducrusy, et taillandier. paris, 1829. the ordinances bear two dates, that of their issue and of their registry. [441] this "canon," originally called "bas de bottes," was a circle of linen or other stuff fastened below the knee, widening at the bottom so as to fill the enlargement of the boot, and when trimmed with lace, having the appearance of a ruffle. [442] _dictionnaire des précieuses._ 1660. molière likewise ridicules them:- "et de ces grands canons, où, comme des entraves, on met tous les matins les deux jambes esclaves." --_l'école des maris._ and again, in _l'école des femmes_: "ils ont de grands canons, force rubans et plumes." [443] _les délices de la france_, par m. savinière d'alquié. 1670. [444] the fashion of wearing black lace was introduced into england in the reign of charles ii. "anon the house grew full, and the candles lit, and it was a glorious sight to see our mistress stewart in black and white lace, and her head and shoulders dressed with diamonds."--pepys's _diary._ "the french have increased among us many considerable trades, such as black and white lace."--_england's great happiness_, etc. dialogue between content and complaint. 1677. "item, un autre habit de grosse moire garny de dantelle d'angleterre noire."--1691. _inv. de madame de simiane._ arch. nat., m. m. 802. [445] "of this custom, a relic may still be found at the court of turin, where ladies wear lappets of black lace. not many years since, the wife of a russian minister, persisting to appear in a suit of brussels point, was courteously requested by the grand chamberlain to retire" (1869). [446] _chroniques de l'oeil-de-boeuf._ [447] madame de motteville is not complimentary to the ladies of the spanish court: "elles avoient peu de linge," she writes, "et leurs dentelles nous parurent laides."--_mémoires pour servir à l'histoire d'anne d'autriche._ [448] madame de sévigné mentions these dresses: "avez-vous ouï parler des transparens?... de robes noires transparentes ou des belles dentelles d'angleterre."--_lettres._ [449] 1690. _chroniques de l'oeil-de-boeuf._ [450] 1661, may 27; 1662, jan. 1; 1664, may 31, sept. 18, and dec. 12. [451] "on fabriquait précédemment ces espèces de dentelles guipures, dont on ornait les aubes des prêtres, les rochets des évêques et les jupons des femmes de qualité."--_roland de la platière._ the articles on lace by roland and savary have been copied by all succeeding writers on the subject. [452] mgr. de bonzy, dec. 20, 1664. _correspondance administrative sous colbert_, vol. 3. [453] lefébure. [454] "il y a très longtemps que le point coupé se faict icy, qui a son débit selon le temps; mais qu'une femme nommée la perrière (sic), fort habile à ces ouvrages, trouva il y a quelques années le moyen d'imiter les points de venise, en sorte qu'elle y vint à telle perfection que ceux qu'elle faisoit ne devaient rien aux estrangers. pour faire ces ouvrages il luy falloit enseigner plusieurs petites filles auxquelles elle montroit à faire ce point ... à présent je vous puis asseurer qu'il y a plus de 8,000 personnes qui y travaillent dans alençon, dans seèz, dans argentan, falaise.... "monseigneur, c'est une manne, et une vraie bénédiction du ciel qui s'est espandue sur tout ce pays, dans lequel les petitz enfants mesmes de sept ans trouvent moyen de gaigner leur vie. les vieillards y travaillent et les petites bergerettes des champs y travaillent mêmes."--_letter from favier-duboulay, intendant d'alençon since 1644._ correspondance administrative sous le règne de louis xiv (quoted by madame despierres), vol. 3. [455] in 1842 m. joseph odolant desnos, grandson of this author, writes, "ce fut une dame gilberte, qui avait fait son apprentissage à venise, et était native d'alençon. dès qu'elle fut à ses ordres, ce ministre (colbert) la logea dans le magnifique château de lonrai, qu'il possédait près d'alençon."--_annuaire de l'orne._ [456] _mémoires historiques sur la ville d'alençon_, m. odolant desnos. alençon, 1787. [457] "le château de lonrai ne passa dans la maison de colbert que par le mariage de catherine thérèse de matignon, marquise de lonrai, avec jean-baptiste colbert, fils ainé du grand colbert, le 6e septembre 1678" (_i.e._, fourteen years after the establishment of points de france at alençon) --madame despierres, _histoire de point d'alençon_. [458] madame despierres, after an exhaustive study of the mass of documentary evidence on this point, gives as her opinion that- "(1) la première personne qui à alençon imita le point de venise, et par conséquent créa le point d'alençon, fut mme la perrière, vers 1650, et non mme gilbert. "(2) la préposée-directrice des manufactures de point de france des différentes villes du royaume qui a établi les bureaux à alençon, fut catherine de marcq, et non pas une dame gilbert. "(3) les préposées mises à la tête de l'établissement d'alençon étaient mme raffy et marie fillesae, dont les noms ne répondent pas à celui d'une dame gilbert."--_madame despierres, histoire de point d'alençon._ [459] mrs. palliser sought in vain for this ordinance in the library of the cour de cassation, where it is stated to be, by the authors of the "recueil général des anciennes lois françaises, depuis l'an 420 jusqu'à la révolution de 1789"; but fortunately it is recited in a subsequent act, dated oct. 12, 1666 (arch. nat., coll. rondonneau), by which it appears that the declaration ordered the establishment in "les villes de quesnoy, arras, reims, sedan, château-thierry, loudun, alençon, aurillac, et autres du royaume, de la manufacture de toutes sortes d'ouvrages de fil, tant à l'éguille qu'au coussin, en la manière des points qui se font à venise, gennes, raguse, et autres pays estrangers, qui seroient appellés points de france," by which it would appear the term point de france did not exclusively belong to the productions of alençon. after the company was dissolved in 1675 the name of point de france was applied to point d'alençon alone. in a subsequent arrêt it is set forth that the entrepreneurs have caused to be brought in great numbers the best workers from venice and other foreign cities, and have distributed them over le quesnoy and the above-mentioned towns, and that now are made in france "des ouvrages de fil si exquis, qu'ils esgallent, mesme surpassent en beauté les estrangers."--_bibl. de la cour de cassation._ what became of these manufactures at le quesnoy and château-thierry, of which not a tradition remains? [460] talon, "secrétaire du cabinet," was one of the first members. we find by an arrêt, feb. 15, 1667, that this patent had already been infringed. on the petition of jean pluymers, paul, and catherine de marcq, "entrepreneurs" of the fabric of points de france, his majesty confirms to them the sole privilege of making and selling the said points.--arch. nat., coll. rondonneau. nov. 17 of the same year appears a fresh prohibition of wearing or selling the passements, lace, and other works in thread of venice, genoa, and other foreign countries (british museum), and march 17, 1668, "itératives" prohibitions to wear these, either new or "commencé d'user," as injurious to a manufacture of point which gives subsistence to a number of persons in the kingdom.--_ibid._ again, aug. 19, 1669, a fresh arrêt in consequence of complaints that the workers are suborned and work concealed in paris, etc.--arch nat., coll. rondonneau. [461] colbert said to louis xiv.: "there will always be found fools enough to purchase the manufactures of france, though france should be prohibited from purchasing those of other countries." the king agreed with the minister, whom he made chief director of the trade and manufactures of the kingdom. [462] a favourite saying of colbert. [463] the artists who furnished designs for all works undertaken for the court of louis xiv. must have supplied designs for the lace manufactures: "in the accounts of the king's buildings is the entry of a payment due to bailly, the painter, for several days' work with other painters in making designs for embroideries and points d'espagne" (lefébure). [464] the principal centres of lace-making were aurillac, sedan, rheims, le quesnoy, alençon, arras, and loudun, and the name "points de france" was given without distinction to all laces made at these towns; preference was given in choosing these centres to those towns already engaged in lace-making. alençon produced the most brilliant results, for from the beginning of the seventeenth century the town had been engaged in needle-point lace, and some of the lace-makers earned high wages, and showed great aptitude for the art. in her _histoire du point d'alençon_, madame despierres has made some interesting extracts from various marriage contracts and wills:- "a notable instance is that of a family named barbot, the mother having amassed 500 livres. her daughter, marthe barbot, married michel mercier, sieur de la perrière, and brought him a wedding-portion of 300 livres, the earnings of her industry; while her sister suzanne barbot's wedding-portion, upon her marriage with paul ternouillet, amounted to 6,000 livres, earned in making cut-works and works en _velin_ (needle-point lace done on a parchment pattern), which command a high price" (lefébure). [465] the venetian senate, according to charles yriarte, regarded this emigration of workers to france as a crime against the state, and issued the following decree:- "if any artist or handicraftsman practises his art in any foreign land to the detriment of the republic, orders to return will be sent him; if he disobeys them, his nearest of kin will be put into prison, in order that through his interest in their welfare his obedience may be compelled. if he comes back, his past offence will be condoned, and employment for him will be found in venice; but if, notwithstanding the imprisonment of his nearest of kin, he obstinately decides to continue living abroad, an emissary will be commissioned to kill him, and his next of kin will only be liberated upon his death." [466] to afford an idea of the importance of the lace trade in france at the beginning of the eighteenth century, and of the immense consumption of lace in france, we give the following statistics:--in 1707, the collection of the duties of lace was under-farmed to one étienne nicolas, for the annual sum of 201,000 livres. the duty then was of 50 livres per lb. weight of lace, so that there entered annually into france above 400,000 lbs. of lace, which, estimating at the lowest 1,000 lbs. of lace to be worth 1,000 livres, would represent 4 millions of that epoch. taking into calculation that fraud was extensively practised, that the points of venice and genoa, being prohibited, could not appear in the receipts; and that, on the other part, the under-farmer did not pay the farmer-general the 201,000 livres without the certainty of profit to himself, we must admit that the figure, though high, is far from representing the value of the foreign laces which entered france at that period. we think that 8 millions (£320,000) would be below the true figure.--_rapport sur les dentelles fait à la commission française de l'exposition universelle de londres_, 1851. felix aubry. the best history of lace published. [467] "deux tours de chaire de point de france donnez depuis quelques années par deux dames de la paroisse."--_inv. de l'église de saint-merry, à paris._ arch. nat. l. l. 859. [468] _inv. de madame anne palatine de bavière, princesse de condé._--_ibid._ x. 10,065. [469] _inv. de l'église de saint-gervais, à paris._--_ibid._ l. l. 854. [470] the saints, too, came in for their share of the booty. "there was st. winifred," writes a traveller of the day, "in a point commode with a large scarf on and a loup in hand, as tho' she were going to mass. st. denis, with a laced hat and embroidered coat and sash, like a captain of the guards."--_six weeks in france._ 1691. [471] "toille de hollande, avec des grands points de france."--_le cérémonial de la nomination de monseigneur le dauphin._ 1668. arch. nat. k. k. 1431. [472] _le mercure galant._ juillet, 1688. this periodical, which we shall have occasion so frequently to quote, was begun in 1672, and continued to july, 1716. it comprises, with the _extraordinaires_, 571 vols. in 12mo. _le mercure de france_, from 1717 to 1792, consists of 777 vols.--brunet. manuel de libraire. [473] _le mercure galant._ [474] it was the custom, at the birth of a dauphin, for the papal nuncio to go to the palace and present to the new-born child "les langes benites," or consecrated layette, on behalf of his holiness the pope. the shirts, handkerchiefs, and other linen, were by half-dozens, and trimmed with the richest point. this custom dates as early as the birth of louis xiii. mercier describes the ceremony of carrying the layette to versailles in the time of louis xv.--_vie du dauphin, père de louis xvi._ paris, 1858. [475] in the lancaster state bedroom, at fonthill, was sold in 1823: "a state bed quilt of brussels point, for 100 guineas, and a brussels toilet cover for 30 guineas."--fonthill. sale catalogue. "1694. une toilette de satin violet picquée garny d'un point d'espagne d'or à deux carreaux de mesme satin et aussi piqué."--_inv. de mgr. de la vrillière, patriarche, archevêque de bourges._ bib. nat. "1743. une toilette et son bonhomme garnie d'une vieille dentelle d'angleterre."--_inv. de la duchesse de bourbon._ "1758. une toilette avec sa touaille de point fort vieux d'alençon."--_inv. de mademoiselle de charollois._ "1770. une tres belle toilette de point d'argentan, en son surtout de 9,000 livres. "une tres belle toilette d'angleterre, et son surtout de 9,000."--_cptes. de madame du barry._ [476] "on voit toujours des jupes de point de france."--_mercure galant_, 1686. "corsets chamarrés de point de france."--_ibid._ [477] madame de sévigné describes mademoiselle de blois as "belle comme un ange," with "un tablier et une bavette de point de france."--_lettres._ paris, 27 jan., 1674. [478] "garnis de point de france formant une manière de rose antique."--_mercure galant._ 1677. [479] in the extraordinaire du _mercure_ for 1678, we have, in "habit d'este," gloves of "point d'angleterre." [480] _mercure galant._ 1672. [481] _ibid._ 1686. [482] _mercure galant._ fév. 1685. [483] _ibid._ 1678. [484] at the mazarin library there are four folio volumes of engravings, after bonnard and others, of the costumes of the time of louis xiv.; and at the archives nat. is a large series preserved in cartons numbered m. 815 to 823, etc., labelled "gravures de modes." [485] _la fontange altière._--boileau. [486] the wife of trajan wore this coiffure, and her sister marcina faustina, wife of antoninus, much regretted the fashion when it went out. speaking of this head-dress, says a writer in the _bibliothèque universelle_ of 1693, "on regarde quelque fois des certaines choses comme tout à fait nouvelles, qui ne sont que des vieilles modes renouvellées. l'auteur en appelle un exemple dans les coiffures elevées que portent les femmes aujourd'hui, croyant ajouter par là quelque chose à leur taille. les dames romaines avaient la même ambition et mettaient des ajustemens de tête tout semblables aux commodes et aux fontanges de ce temps. juvenal en parle expressément dans sa satire vi." [487] _galerie de l'ancienne cour._ [488] "1699. oct. le vendredi 25, il y eut grande toilette chez madame la duchesse de bourgogne où les dames parurent, pour la première fois, en coiffures d'une forme nouvelle, c'est à dire beaucoup plus basses."--_mercure galant._ [489] "corr. de la duchesse d'orléans, princesse palatine, mère du régent." [490] speaking of the iron mask, voltaire writes:--"his greatest passion was for linen of great fineness and for lace."--_siècle de louis xiv._ [491] fought by marshal luxembourg--vieux tapissier de notre-dame--against william of orange. [492] falbala--a deep single flounce of point or gold lace. the _mercure galant_, 1698, describing the duchess of burgundy "à la promenade," states: "elle avoit un habit gris de lin en falbala, tout garny de dentelles d'argent." "femme de qualité en steinkerke et falbala."--engraving of 1693. [493] see england.--william iii. [494] regnard. [495] dame du palais to queen marie thérèse, and afterwards first lady of honour to the duchess of burgundy. she died 1726. [496] _mercure galant._ 1683. again, in 1688, he says: "les points de malines sont fort en regne pour les manches qu'on nomme engageantes. ou y met des points très-hauts, fort plissés, avec des pieds." "ladies trimmed their _berthes_ and sleeves with lace; when the sleeves were short they were called _engageantes_; when long, _pagodes_. upon skirts laces were worn _volantes_ or as flounces, whence the name _volant_ or flounce, which has come into use for all wide laces; these flouncings were draped either in _tournantes_ or _quilles_, the former laid horizontally, the latter vertically upon skirts; but in either case these were stitched down on each edge of the lace, whereas flounces were fastened to dresses by the _engrêlure_ or footing. lace _barbes_ and _fontanges_ were used as head-dresses." they appear to have been soon introduced into england, for evelyn, in his _mundus muliebris_, 1690, says: "about her sleeves are engageants;" and the _ladies' dictionary_ of nearly the same date gives: "ængageants, double ruffles that fall over the wrist." in the lace bills of queen mary ii., we find- £ s. d. "1694. 1¾ yd. point for a broad pair of engageants, at £5 10s. 9 12 6 3½ for a double pair of ditto, at £5 10s. 19 5 0 1 pair of point engageants 30 0 0" --(b. m., add. mss. no. 5751.) "1720. six pairs d'engageantes, dont quatre à un rang de dentelle, et les autres paires à double rang, l'une de dentelle d'angleterre à raiseau et l'autre de dentelle à bride."--_inv. de la duchesse de bourbon._ arch. nat. "1723. une paire d'engageantes à deux rangs de point plat à raiseau."--_inv. d'anne de bavière, princesse de condé._ "1770. six rangs d'engageantes de point à l'aiguille," with the same of point d'argentan and angleterre, appear in the lace bills of madame du barry. [497] "1725. deux manteaux de bain et deux chemises, aussi de bain, garnis aux manches de dentelle, l'une à bride, et l'autre à raiseau."--_inv. d'anne de bavière, princesse de condé._ "1743. ung tour de baignoir de bazin garny de vieille dentelle. "trois linges de baignoire garnis de dentelle."--_inv. de la duchesse de bourbon._ [498] describing the duties of the "critic of each bright ruelle," tickell says:- "oft with varied art, his thoughts digress on deeper themes--the documents of dress; with nice discernment, to each style of face adapt a ribbon, or suggest a lace; o'er granby's cap bid loftier feathers float, and add new bows to devon's petticoat."--_wreath of fashion._ [499] in the spring of 1802, mr. holcroft, when in paris, received a polite note from a lady at whose house he visited, requesting to see him. he went, and was informed by her maid the lady was in her warm bath, but she would announce his arrival. she returned, and led him to a kind of closet, where her mistress was up to her chin in water. he knew the manners of the place, and was not surprised.--_travels._ [500] mercier also mentions, in his _tableau de paris_, la poupée de la rue saint-honoré: "c'est de paris que les profondes inventions en modes donnent des loix à l'univers. la fameuse poupée, le mannequin precieux, affublé des modes les plus nouvelles ... passe de paris à londres tous les mois, et va de là répandre ses graces dans toute l'europe. il va au nord et du midi, il pénètre à constantinople et à petersbourg, et le pli qu'a donné une main françoise se répète chez toute les nations, humbles observatrices du goût de la rue saint-honoré." [501] the practice was much more ancient. m. ladomie asserts that in the royal expenses for 1391, figure so many livres for a doll sent to the queen of england; in 1496 another, sent to the queen of spain; and in 1571 a third, to the duchess of bavaria. henry iv. writes in 1600, before his marriage to marie de médicis: "frontenac tells me that you desire patterns of our fashion in dress. i send you, therefore, some model dolls."--miss freer's _henry iv._ it was also the custom of venice, at the annual fair held in the piazza of st. mark, on the day of the ascension (a fair which dates from 1180), to expose in the most conspicuous place of the fair a rag doll, which served as a model for the fashions for the year.--michiel, _origine delle feste veneziani._ [502] _tableau de paris._ 1782. [503] "the french nation are eminent for making a fine outside, when perhaps they want necessaries, and indeed a gay shop and a mean stock is like the frenchman with his laced ruffles without a shirt."--_the complete english tradesman._ dan. defoe. lond., 1726. foote, in his prologue to the _trip to paris_, says, "they sold me some ruffles, and i found the shirts." [504] _souvenirs de la marquise de créquy._ 1710-1802. [505] clement x. was in the habit of making presents of italian lace, at that time much prized in france, to m. de sabière. "he sends ruffles," said the irritated frenchman who looked for something more tangible, "to a man who never has a shirt." [506] "m. de vendôme, at his marriage, was quite astonished at putting on his clean shirt a-day, and fearfully embarrassed at having some point lace on the one given him to put on at night. indeed," continues she, "you would hardly recognise the taste of the french. the men are worse than the women. they wish their wives to take snuff, play, and pay no more attention to their dress." the exquisite cleanliness of anne of austria's court was at an end. [507] in the old scotch song of gilderoy, the famous highwayman, we have an instance:- "for gilderoy, that luve of mine, gude faith, i freely bought a wedding sark of holland fine, wi' silken flowers wrought." and in an account quoted in the _reliquary_, july, 1865, is the charge on feb. 16, of "six shillings for a cravat for hur vallentine." [508] _inv. après le decès de mgr. c. de saint-albin, archevesque de cambray._ (son of the regent.) 1764. arch. nat. m. m. 718. louis xvi. had 59 pairs the year before his death: 28 of point, 21 of valenciennes, and 10 of angleterre.--_etat des effets subsistant et formant le fond de la garderobe du roi au 1^{er} janvier, 1792._ arch. nat. k. 506, no. 30. [509] _etat d'un trousseau._ description des arts et métiers. paris, 1777. [510] "deux aunes trois quarts d'angleterre à bride pour deux paires de manchettes tournantes, à 45 livres l'aune."--_garderobe de s. a. s. mgr. le duc de penthièvre._ 1738. arch. nat. k. k. 390. [511] _ibid._ the laces for ruffles were of various kinds: point brodé, point à bride, point à raiseau, point à bride à écaille, point superfin, point brillant, angleterre à bride à raiseau, and one pair of point d'argentan; valenciennes pour manchettes de nuit à 42 livres l'aune. the duke's wardrobe accounts afford a good specimen of the extravagance in the decoration of night attire at this period:- 4 au. de point pour collet et manchettes de la chemise de nuit et garnir la coëffe, à 130 ll. 520 ll. 3 au. ¾ dito pour jabot et fourchettes de nuit et garnir le devant de la camisole, à 66 ll. 247 ll. 10s. sept douze de point pour plaquer sur les manches de camisolle, à 55 ll. 32 ll. 1s. then for his nightcaps:- 3 au. toile fine pour coëffes de nuit 27 ll. 4 au. dentelles de malines pour les tours de coëffes, à 20 ll. 80 ll. 5 au. ½ valenciennes, à 46 ll. 253 ll. 52 au. dito petit point, pour garnir les tours, à 5 ll. 5s. 273 ll. pour avoir monté un bonnet de nuit de point 1 l. 5s. 7 au. de campanne de point pour chamarrer la camisolle et le bonnet de nuit, à 10 ll. 10s. 73 ll. 10s. the marquise de créquy speaks of a night-cap, "à grandes dentelles," offered, with la robe de chambre, to the dauphin, son of louis xv., by the people of the duke de grammont, on his having lost his way hunting, and wandered to the duke's château. [512] "le parisien qui n'a pas dix mille livres de rente n'a ordinairement ni draps, ni lit, ni serviettes, ni chemises; mais il a une montre à repetition, des glaces, des bas de soie, des dentelles."--_tableau de paris._ [513] _histoire de paris._ [514] "ordinairement un laquais de bon ton prend le nom de son maître, quand il est avec d'autres laquais, il prend aussi ses moeurs, ses gestes, ses manières.... le laquais d'un seigneur porte la montre d'or ciselée, des dentelles, des boucles à brillants," etc.--_tableau de paris._ [515] _amusemens des eaux de spa._ amsterdam, 1751. "les manches qu'à table on voit tâter la sauce."--_école des maris._ [516] the state liveries of queen victoria were most richly embroidered in gold. they were made in the early part of george ii.'s reign, since which time they have been in use. in the year 1848, the servants appeared at the royal balls in gold and ruffles of the richest gros point de france, of the same epoch as their dresses. in 1849, the lace no longer appeared--probably suppressed by order. queen anne, who was a great martinet in trifles, had her servants marshalled before her every day, that she might see if their ruffles were clean and their periwigs dressed. [517] _tableau de paris._ [518] _mémoires._ [519] "1723. un couvrepied de toile blanche, picqure de marseille, garni autour d'un point en campane de demie aune de hauteur."--_inv. d'a. de bavière, princesse de condé._ "1743. un couvrepied de toile picquée, brodée or et soye, bordé de trois côtés d'une grande dentelle d'angleterre et du quatrième d'un moyen dentelle d'angleterre à bords. "un autre, garni d'une grande et moyenne dentelle de point d'alençon. "un autre, garni d'un grand point de demie aune de hauteur, brodé, garni d'une campane en bas. "un autre, 'point à bride,'" and many others.--_inv. de la duchesse de bourbon._ [520] "1704. deux taies d'oreiller garnies de dentelle, l'une à raiseau, et l'autre à bride."--_inv. de f. p. loisel._ bib. nat. mss. f. fr. 11,459. "1723. quatre taies d'oreiller, dont trois garnies de differentes dentelles, et l'autre de point."--_inv. d'anne de bavière, princesse de condé._ "1755. deux taies d'oreiller garnies de point d'alençon."--_inv. de mademoiselle de charollais._ "1761. trois taies d'oreiller de dentelle de point à brides."--_inv. de la duchesse de modène._ "1770. 7 au. 1/8 vraie valenciennes pour garnir une taie d'oreiller, à 60 ll. 427 10."--_comptes de madame du barry._ "1707. 7 au. tournante d'angleterre pour garnir des plottes (pincushions) à 50 350 00."--_comptes de madame du barry._ "1788. 12 pelottes garnies de dentelle."--_ibid._ "6 trousses à peigne garnies de dentelle."--_fourni pour mgr. le dauphin._ arch. nat. "1792. 6 pelottes garnies de dentelle."--_linge du çi-devant roi. ibid._ [521] souvenirs. [522] _mémoires du due de luynes._ [523] 1786. _courts of europe._ [524] it may be amusing to the reader to learn the laces necessary for l'état d'un trousseau, in 1777, as given in the _description des arts de métiers_: "une toilette de ville en dentelle; 2 jupons garnis du même. une coiffure avec tour de gorge, et le fichu plissé de point d'alençon. un idem de point d'angleterre. 1 id. de vraie valenciennes. une coiffure dite 'battant d'oeil' de malines brodée, pour le negligé. 6 fichus simples en mousseline à mille fleurs garnis de dentelle pour le negligé. 12 grands bonnets garnis d'une petite dentelle pour la nuit. 12 à deux rangs, plus beaux, pour le jour, en cas d'indisposition. 12 serres-tête garnis d'une petite dentelle pour la nuit. 2 taies d'oreiller garnies en dentelle. 12 pièces d'estomach garnies d'une petite dentelle. 6 garnitures de corset. 12 tours de gorge. 12 paires ce manchettes en dentelle. une toilette; les volants, au nombre de deux, sont en dentelle; ils ont 5 aunes de tour. dessus de pelotte, en toile garnie de dentelle, etc. la layette: 6 paires de manches pour la mère, garnies de dentelle. 24 bonnets ronds de 3 ages en dentelle. 12 bavoirs de deux ages, garnis en dentelle." the layette was furnished together with the trousseau, because, says a fabricant, "les enfans se font plus vite que les points." [525] "1787. pour achat de 11 au. blonde noire, à 6 10 71 livres 10 sous."--_comptes de monsieur hergosse._ bib. nat. mss., f. fr. 11,447. [526] when the empress joséphine was at frankfort-on-the-maine, a masked ball was given on the occasion. the ladies, says mademoiselle avrillion, wore short dominoes with their faces covered with a mask, "le tour des yeux garni d'une petite dentelle noire."--_mém. de mademoiselle avrillion, première femme de chambre de l'impératrice._ paris, 1833. [527] a few extracts from madame du barry's lace accounts will furnish an idea of her consumption of point d'angleterre:- une toilette d'angleterre complette de 8823 livres. une parure composée de deux barbes, rayon et fond, 6 rangs de manchettes, 1 ½ au. de ruban fait exprès, 1/3 jabot pour le devant de tour. le tout d'angleterre superfin de 7000 --- un ajustemente d'angleterre complet de 3216 --- une garniture de peignoir d'angleterre de 2342 livres. une garniture de fichu d'angleterre 388 --- 8 au. d'angleterre pour tayes d'oreiller 240 9 ½ au. dito pour la tête 76 14 au. pied dito pour la tête 140 ---456 livres. [528] "les dentelles les plus précieuses pour chaque saison."--(duchesse d'abrantès.) [529] _mémoires._ [530] _mém. de la princesse palatine, veuve de monsieur._ [531] "cuisinières et tourières." the joke formed the subject of some clever verses from the chevalier de boufflers. [532] _marli_, which takes its name from the village between versailles and st. germain, is tulle dotted with small square spots. see page 225. [533] the _barbe_, or lappet, of whatever form it be, has always, in all ages and all countries, been a subject of etiquette. at the interment of queen mary tudor, december 14th, 1558, it is told how the ladies in the first and second chariots were clad in mourning apparel, according to their estates, "their barbes above their chynes." "the 4 ladies on horseback in like manner had their barbes on their chynes." in the third chariot, "the ladies had their barbes under their chynes."--state papers, domestic, eliz., vol. 32. see also the curious extract from madame de campan's _mémoires_:- "madame de noailles était remplie de vertus; mais l'etiquette était pour elle une sorte d'atmosphère. un jour je mis, sans le vouloir, cette pauvre dame dans une angoisse terrible; la reine recevait je ne sais plus qui. tout était bien, au moins je le croyais. je vois tout-à-coup les yeux de madame de noailles attachés sur les miens, et puis ses deux sourcils se levent jusqu'au haut de son front, redescendent, remontent. l'agitation de la comtesse croissait toujours. la reine s'aperçut de tout ceci ... et me dit alors à mi-voix: 'detachez vos barbes, où la comtesse en mourra.' l'etiquette du costume disait: 'barbes pendentes.'" [534] only in her last lace bill, 1773: "une paire de barbes plattes longues de ¾ en blonde fine à fleurs fond d'alençon, 36. "une blonde grande hauteur à bouquets détachés et à bordure riche. "6 au. de blonde de grande hauteur façon d'alençon à coquilles à mille poix, à 18. "une paire de sabots de comtesse de deux rangs de tulle blonde à festons, fond d'alençon."--_comptes de la comtesse du barry._ bib. nat. f. fr. 8157. madame du barry went to the greatest extravagance in lace ajustements, barbes, collerettes, volants, quilles, coëffes, etc., of argentan, angleterre, and point à l'aiguille. [535] the great fashion. the shoes were embroidered in diamonds, which were scarcely worn on other parts of the dress. the back seam, trimmed with emeralds, was called "venez-y-voir." [536] _souvenirs du marquis de valfons_, 1710-1786. a "chat," tippet or palatine, so named after the mother of the regent. [537] in the national archives, formerly preserved with the _livre rouge_ in the armorie de fer, is the _gazette pour l'année_, 1782, of marie antoinette, consisting of a list of the dresses furnished for the queen during the year, drawn up by the comtesse d'ossune, her dame des atours. we find--grands habits, robes sur le grand panier, robes sur le petit panier, with a pattern of the material affixed to each entry, and the name of the couturière who made the dress. one "lévite" alone appears trimmed with blonde. there is also the _gazette_ of madame elizabeth, for 1792. [538] _mémoires sur la cour de louis xvi._ [539] among these were sedan, charleville, mézières, dieppe, havre, pont-l'évêque, honfleur, eu, and more than ten neighbouring villages. the points of aurillac, bourgogne, and murat disappeared; and worst of all was the loss of the manufacture of valenciennes. laces were also made in champagne, at troyes and domchéry, etc. [540] 1649. anne gohory leaves all her personals to madame de sévigné except her "plus beau mouchoir, le col de point fin de flandres, et une juppe de satin à fleurs fond vert, garnye de point fin d'or et de soie." 1764. geneviève laval bequeaths to her sister "une garniture de dentelle de raiseau à grandes dents, valant au moins quinze livres l'aune."--arch. de nat. y. 58. 1764. anne challus leaves her "belle garniture de dentelle en plein, manchettes, tour de gorge, palatine et fond."--_ibid_. 1764. madame de pompadour, in her will, says, "je donne à mes deux femmes de chambre tout ce qui concerne ma garderobe ... y compris les dentelles." [541] _mém. de mademoiselle d'avrillion_. [542] _mémoires sur la restauration_, par madame la duchesse d'abrantès. [543] _ibid._ t. v., p. 48. [544] after the peace of amiens, 1801. [545] _mémoires de madame la duchesse d'abrantès._ [546] the revival first appeared in the towns which made the cheaper laces: caen, bayeux, mirecourt, le puy, arras, etc. [547] "fil de mulquinerie." [548] the name _point colbert_, adopted in memory of the great minister, is applied to point laces in high relief. "la brode a toujours existé dans le point d'alençon, aussi que dans le point de venise, seulement dans le point d'alençon les reliefs étaient moins énlevés. on ne mettait pas seulement un fil, mais trois, cinq, huit ou dix fils, suivant l'épaisseur du relief que l'on voulait obtenir puis, sur ce bourrage, se faisaient des points bouclés très serrés de façon que la boucle fut presque sous les fils formant le relief. c'est ce point que certains fabricants nomment point colbert."--madame despierres, _histoire du point d'alençon_.--page 228, _post_. [549] in 1673, july, we read in the _mercure_:--"on fait aussi des dentelles à grandes brides, comme aux points de fil sans raiseau, et des dentelles d'espagne avec des brides claires sans picots; et l'on fait aux nouveaux points de france des brides qui en sont remplies d'un nombre infini." [550] _mémoire concernant le généralité d'alençon_, dressé par m. de pommereu. 1698. bib. nat. mss. fonds mortemart, no. 89. [551] vilain, velin, vellum, from the parchment or vellum upon which it is made. "la manufacture des points de france, appelés dans le pays velin."--savary, vol. i., p. 108. "the expression is still used. when the author inquired at alençon the way to the house of mr. r., a lace manufacturer, she was asked in return if it was 'celui qui fait le velin?'"--mrs. palliser. [552] in 1788 arthur young states the number of lace-makers at and about alençon to be from 8,000 to 9,000."--_travels in france._ madame despierres, however, states that only 500 or 600 lace-workers left alençon on the revocation of the edict of nantes, _as there were not 4,000 lace-workers then in the town_. [553] he deducts 150,000 livres for the raw material, the lille thread, which was used at prices ranging from 60 to 1,600 livres per pound; from 800 to 900 livres for good fine point; but lille at that time fabricated thread as high as 1,800 livres per pound. [554] in 1705 there were ten processes:--(1) le dessin; (2) le picage; (3) la trace; (4) les fonds; (5) la dentelure ou bride à picots; (6) la brode; (7) l'enlevage; (8) l'éboulage; (9) le régalage; (10) l'assemblage. mrs. palliser gives eighteen processes, and states that this number is now reduced to twelve. the workwomen were:--(1) the piqueuse; (2) traceuse; (3) réseleuse; (4) remplisseuse; (5) fondeuse; (6) modeuse; (7) brodeuse; (8) ébouleuse; (9) régaleuse; (10) assembleuse; (11) toucheuse; (12) brideuse; (13) boucleuse; (14) gazeuse; (15) mignonneuse; (16) picoteuse; (17) affineuse; (18) affiquese. [555] "the origin of this name argentella is obscure, but it was presumed to imply that the lace was worked in genoa or venice. there is, however, no evidence of this type of lace being made there. another theory is that argentella is an italianised title for the more delicate examples of point d'argentan. the character of the lace and the style of the floral patterns worked upon mesh grounds are those of alençon laces." in specimen 1,373-74 in the victoria and albert museum collection the cordonnet is done in buttonhole stitches closely cast over a thread which outlines various forms in the design--a distinctive mark of point d'alençon. and the hexagonal wheel device in this example is often to be seen introduced into flounces of point d'alençon, of which other portions are composed of the ordinary alençon ground or réseau.--a. s. cole. fig. 88 and plate lvii. [556] _dictionnaire du citoyen_, paris, 1761. [557] madame despierres writes on this head that entries of point d'alençon occur as early as 1663:- "1663, 9 juin--contrat entre georges rouillon, greffier, et marie leroy.... "1900 liv. gagnées par son industrie à faire des ouvrages de point d'alençon." [558] _inv. de madame anne palatine, princesse de condé_. see chap. x. note 468. [559] in the inventory of the duc de penthièvre, 1738. see chap. xi. [560] "une coiffure de point d'alençon à raiseau."--_inv. de decès de mademoiselle de clermont_, 1741. again, 1743, _inv. de la duchesse de bourbon_. bib. nat. [561] among the objects of religious art exhibited in 1864 at the general assembly of the catholics of belgium at malines was a "voile de bénédiction," the handkerchief used to cover the ciborium, of point d'alençon, with figures of the virgin, st. catherine, st. ursula, and st. barbara. it belonged to the church of st. christopher at charleroi. [562] séez has now no records of its manufacture. [563] _descr. du dép. de l'orne_. an ix. publiée par ordre du ministre de l'intérieur. [564] _illustrated news_, march 22, 1856. [565] it only requires to compare figs. 74, 75, 76, and 80, with figs. 82 and 83 to see the marked difference in the character of the lace. [566] "sous louis xiv. il y avaient de magnifiques rinceaux, guirlandes, et cornes d'abondance d'où s'échappent de superbes fleurs. sous louis xv. les fabricants changèrent encore leurs dessins pour prendre les fleurs qui s'épanouent et s'ensoulent capricieusement les unes aux autres. "le style de louis xvi. n'a rien de l'ampleur ni de l'élégance des styles précédents. les formes sont arrondies; des guirlandes et des fleurettes sont la base des dessins de cette époque. "sous la république et le premier empire, les dessins deviennent raides" (madame despierres.) [567] this effect is produced by varying the application of the two stitches used in making the flowers, the _toilé_, which forms the close tissue, and the _grillé_, the more open part of the pattern. the system has been adopted in france, belgium, and england, but with most success in france. "li boen citean de roem, e la jovante de caem, e de falaise e d'argentoen." --_roman de rou._ [569] henry founded a chapel at argentan to st. thomas of canterbury. [570] "the average size of a diagonal, taken from angle to angle, in an alençon or so-called argentan hexagon was about 1/6 of an inch, and each side of the hexagon was about 1/10 of an inch. an idea of the minuteness of the work can be formed from the fact that a side of a hexagon would be overcast with some nine or ten buttonhole stitches" (a. s. cole). "so little is the beautiful workmanship of this ground known or understood, that the author has seen priceless flowers of argentan relentlessly cut out and transferred to bobbin net, 'to get rid of the ugly, old, coarse ground'" (mrs. palliser, 1869). [571] "les trois sortes de brides comme champ sont exécutées dans ces deux fabriques, et les points ont été et sont encore faits par les mêmes procédés de fabrication, et avec les mêmes matières textiles," writes madame despierres. mrs. palliser, on the other hand, was of opinion that the two manufactures were distinct, "though some lace-makers near lignères-la-doucelle worked for both establishments. alençon made the finest réseau; argentan specially excelled in the bride. the flowers of argentan were bolder and larger in pattern, in higher relief, heavier and coarser than those of alençon. the toilé was flatter and more compact. the workmanship differed in character. on the clear bride ground this lace was more effective than the minuter workmanship of alençon; it more resembled the venetian. indeed, so close is its resemblance that many of the fine garnitures de robe, aprons, and tunics that have survived the revolutionary storm would be assigned to venice, did not their pedigree prove them to be of the argentan fabric" (mrs. palliser, 1869). [572] letter of september 19th, 1744. [573] "burgoigne, the first part of the dress for the head next the hair."--_mundus muliebris._ 1609. "burgoigin, the part of the head-dress that covers up the head."--_ladies' dictionary._ 1694. in farquhar's comedy of "sir harry wildair," 1700, parley, when asked what he had been about, answers, "sir, i was coming to mademoiselle furbelow, the french milliner, for a new burgundy for my lady's head." [574] the offenders, manufacturers and workwomen, incurred considerable fines. [575] nov. 12th, 1745. [576] in 1765, under the name of duponchel. [577] 1772. un ajustement de point d'argentan- les 6 rangs manchettes. 1/3 pour devant de gorge. 4 au. 1/3 festonné des deux costés, le fichu et une garniture de fichu de nuit 2,500 livres. 1 au ¾ ruban de point d'argentan, à 100 175 --- une collerette de point d'argentan 360 --- --(_comptes de madame du barry._) 1781. "une nappe d'autel garnie d'une tres belle dentelle de point d'argentan."--_inv. de l'eglise de st. gervais._ arch. nat. l. 654. 1789. "item, un parement de robe consistant en garniture, deux paires de manchettes, et fichu, le tout de point d'argentan." (dans la garderobe de madame.)--_inv. de decès de mgr. de duc de duras._ bib. nat. mss. f. fr. 11,440. [578] "une coiffure bride à picot complete."--_inv. de decès de mademoiselle de clermont_, 1741. [579] these details on the manufacture of argentan have been furnished from the archives of alençon through the kindness of m. léon de la sicotière, the learned archæologist of the department of the orne (mrs. palliser, 1869). [580] embroidery has replaced this industry among the workers of the town and the hand-spinning of hemp among those of the country. [581] _légende du point d'argentan_, m. eugène de lonlay. [582] _nouveau réglement général sur toutes sortes de marchandises et manufactures qui sont utiles et necessaires dans ce royaume_, etc., par m. le marquis de la gomberdière. paris, 1634. in 8vo. [583] m. fournier says that france was at this time tributary to flanders for "passemens de fil," very fine and delicately worked. laffemas, in his _réglement général pour dresser les manufactures du royaume_, 1597, estimates the annual cost of these "passemens" of every sort, silk stockings, etc., at 800,000 crowns. montchrestien, at above a million. [584] this was established by colbert, and there they made, as well as at aurillac, the finest pillow lace in the style of point d'angleterre. this manufacture was encouraged by the king and the court, and its productions were among the choicest of the points de france. [585] youngest son of the comte d'harcourt. [586] vie de j.-bap. colbert. (printed in the _archives curieuses_.) [587] "livre commode ou les adienes de la ville de paris" for 1692. [588] for the introduction of the gold point of spain into france, see spain. the manufacture of gold lace in paris was, however, prior to colbert. "1732, un bord de point d'espagne d'or de paris, à fonds de réseau."--_garderobe de s. a. s. mgr. le duc de penthièvre._ arch. nat. k. k. 390-1. [589] in _statistique de la france_, 1800, the finest silk lace is said to be made at fontenay, puisieux, morges, and louvres-en-parisis. the coarse and common kinds at montmorency, villiers-le-bel, sarcelles, écouen, saint-brice, groslay, gisors, saint-pierre-les-champs, etrepagny, etc. peuchet adds: "il s'y fait dans paris et ses environs une grande quantité de dentelles noires dont il se fait des expéditions considérables." it was this same black silk lace which raised to so high a reputation the fabrics of chantilly. [590] _inv. de decés de la duchesse de modène._ 1761. [591] _inv. de decés du duc de duras._ 1789. [592] "une fraise à deux rangs de blonde tres fine, grande hauteur, 120 l. "une paire de sabots de la même blonde, 84 l. "un fichu en colonette la fraise garnie à deux rangs d'une tres belle blonde fond d'alençon, 120 l. "un pouff bordé d'un plissé de blonde tournante fond d'alençon, à bouquets tres fins et des bouillons de même blonde." this wonderful coiffure being finished with "un beau panache de quatre plumes couleurs impériales, 108 l." [593] see preceding note. [594] "the bourgoin is formed of white, stiffly-starched muslin, covering a paste-board shape, and rises to a great height above the head, frequently diminishing in size towards the top, where it finishes in a circular form. two long lappets hang from either side towards the back, composed often of the finest lace. the bourgoins throughout normandy are not alike."--_mrs. stothard's tour in normandy._ [595] this must have included honfleur and other surrounding localities. by a paper on the lace trade (_mém. concernant le commerce des dentelles_, 1704. bib. nat. mss. f. fr. 14,294), we find that the making of "dentelles de bas prix," employed at rouen, dieppe, le havre, and throughout the pays de caux, the bailliage of caen, at lyons, le puy, and other parts of france, one quarter of the population of all classes and ages from six to seventy years. these laces were all made of haarlem thread. see holland. "the lace-makers of havre," writes peuchet, "work both in black and white points, from 5 sous to 30 francs the ell. they are all employed by a certain number of dealers, who purchase the produce of their pillows. much is transported to foreign countries, even to the east indies, the southern seas, and the islands of america." [596] _dictionnaire géographique._ t. corneille. 1707. [597] _gravures de modes._ arch. nat. m., 815-23. [598] "1683. deux housses de toille piquée avec dentelle du havre deux camisolles de pareille toille et de dentelle du havre."--_inv. fait après le decedz de monseigneur colbert._ bib. nat. mss. suite de mortemart, 34. [599] "1651. un tour d'autel de dentelle du havre."--_inv. des meubles de la sacristie de l'oratoire de jesus, à paris._ bib. nat. mss. f. f. 8621. "1681. une chemisette de toile de marseille picquée garnye de dentelle du havre."--_inv. d'anne d'escoubleau de sourdis, veuve de françois de simiane._ arch. nat. m. m. 802. [600] "les ouvriers n'étant apparemment rappelés par aucune possession dans cette ville, lorsqu'elle fut rétablie, ils s'y sont établis et ont transmis leur travail à la postérité."--peuchet. [601] point de dieppe appears among the already-quoted lace boxes of 1688. [602] _mémoires pour servir à l'histoire de la ville de dieppe_, composés en l'année 1761, par michel-claude gurbert. p. 99. [603] _mémoires chronologiques pour servir à l'histoire de dieppe_, par m. desmarquets. 1785. [604] _notices sur dieppe, arques_, etc., par p. j. feret. 1824. [605] peuchet, of dieppe, says: "on ne fait pas la dentelle en roulant les fuseaux sur le coussin, mais en l'y jetant." [606] _almanach de dieppe pour 1847._ the author has to express her thanks to soeur hubert, of the école d'apprentissage de dentelle, and m. a. morin, librarian at dieppe, for their communications. [607] arch. nat. x. 10,086. [608] "the silk came from nankin by way of london or the east, the black silk called 'grenadine' was dyed and prepared at lyons, the thread was from haarlem."--roland de la platière. [609] page 213. [610] letter from edgar mcculloch, esq., guernsey. [611] blondes appear also to have been made at le mans:- "cette manufacture qui etoit autrefois entretenue à l'hôpital du mans, lui rapportoit un benefice de 4,000 à 5,000 fr. elle est bien tombée par la dispersion des anciennes soeurs hospitalières."--_stat. du dép. de la sarthe_, par le citoyen l.-m. auvray. an x. [612] the handkerchief of "paris net" mentioned by goldsmith. [613] in the dép. du nord, by jean-ph. briatte. "its fall was owing to the bad faith of imitators, who substituted a single thread of bad quality for the double twisted thread of the country."--dieudonné, _statistique de dép. du nord_. in the _mercure galant_ for june, 1687, we find the ladies wear cornettes à la jardinière "de marly." [614] _l'industrie française depuis la révolution de février et l'exposition de 1848_, par m. a. audiganne. m. aubry thus divides the lace-makers of normandy:- department of calvados- arrondissement of caen 25,000 arr. of bayeux 15,000 arr. of pont-l'evêque, falaise,* and lisieux 10,000 departments of la manche and seine-inférieure 10,000 ----- 60,000 the women earn from 50 sous to 25 sous a day, an improvement on the wages of the last century, which, in the time of arthur young, seldom amounted to 24 sous. their products are estimated at from 8 to 10 millions of francs (£320,000 to £400,000). * "falaise, dentelles façon de dieppe."--peuchet. [615] he had run away with the rich heiress of coadelan. [616] _chants populaires de la bretagne_, par th. hersart de la villemarqué. [617] the bringing home of the wedding dress is an event of solemn importance. the family alone are admitted to see it, and each of them sprinkles the orange blossoms with which it is trimmed with holy water placed at the foot of the bed whereon the dress is laid, and offers up a prayer for the future welfare of the wearer. [618] french hainault, french flanders and cambrésis (the present dép. du nord), with artois, were conquests of louis xiii. and louis xiv., confirmed to france by the treaties of aix-la-chapelle (1668) and nimeguen (1678). [619] photographed in the _album d'archéologie religieuse_. it is supposed to have been made towards the end of the seventeenth century. [620] founded 1630. [621] "1772. 15 aunes 3-16^{mes} jabot haut de vraie valencienne, 3,706 livres 17 sous"; and many other similar entries. [622] "5/8 bâtarde dito à bordure, à 60 ll., 37 ll. 10 s."--_comptes de madame du barry._ [623] _statistique du dép. du nord_, par m. dieudonné, préfet en 1804. [624] "among the various fabrics having the same process of manufacture, there is not one which produces exactly the same style of lace. the same pattern, with the same material, whether executed in belgium, saxony, lille, arras, mirecourt, or le puy, will always bear the stamp of the place where it is made. it has never been possible to transfer any kind of manufacture from one city to another without there being a marked difference between the productions."--aubry. "after the french revolution, when so many lace-makers fled to belgium, alost, ypres, bruges, ghent, menin, and courtrai became the centres of this industry, and the lace produced in each town has a distinctive feature in the ground. that made in ghent is square-meshed, the bobbins being twisted two and a half times. at ypres, which makes a better quality of valenciennes, the ground is also square-meshed, but the bobbins are twisted four times. in courtrai and menin the grounds are twisted three and a half times, and in bruges, where the ground has a circular mesh, the bobbins are twisted three times." [625] in the already quoted _etat d'un trousseau_, 1771, among the necessary articles are enumerated: "une coëffure, tour de gorge et le fichu plissé de vraie valencienne." the trimming of one of madame du barry's pillowcases cost 487 fr.; her lappets, 1,030. the ruffles of the duchesse de modène and mademoiselle de charollais are valued at 200 livres the pair. du barry, more extravagant, gives 770 for hers. [626] "2 barbes et rayon de vraie valencienne; 3 au. ¾ collet grande hauteur; 4 au. grand jabot; le tout de la même main, de 2,400 livres."--_comptes de madame du barry._ 1770. [627] arthur young, in 1788, says of valenciennes: "laces of 30 to 40 lines' breadth for gentlemen's ruffles is from 160 to 216 livres (£9 9s.) an ell. the quantity for a lady's headdress from 1,000 to 24,000 livres. the women gain from 20 to 30 sous a day. 3,600 persons are employed at valenciennes, and are an object of 450,000 livres, of which the flax is not more than 1/30. the thread costs from 24 to 700 livres the pound." [628] the "barbes pleines" consisted of a pair of lappets from 3 to 5 inches wide each, and half an ell (20 inches) long, with a double pattern of sprigged flowers and rounded at the ends. a narrow lace 1 ½ ell long, called the _papillon_, with the bande or passe, and the fond de bonnet, completed the suit. [629] the fault of the old valenciennes lace is its colour, never of a clear white, but inclining to a reddish cast. [630] "les dentelières avaient adopté un par-dessus de calamande rayée, un bonniquet de toile fine plissé à petits canons. une médaille d'argent, pendue au cou par un petit liseré noir, complétait leur costume, qui est arrivé jusqu'à nous; car nous l'avons vu, il n'y a pas trente ans."--_hist. de lille_, par v. derode. paris et lille, 1848. [631] _mémoires sur l'intendance de flandre._--ms. bib. de lille. [632] period of the peace of utrecht when lille, which had been retaken by prince eugène, was again restored to france. [633] _histoire populaire de lille._ henri brunet. lille, 1848; and _histoire de lille._ v. derode. [634] _report of the commissioners for 1851._ [635] as late as 1761 lille was considered as "foreign" with respect to france, and her laces made to pay duty according to the tariff of 1664. in 1708 (31st of july) we have an arrest du conseil d'estat du roy, relative to the seizure of seventeen cartons of lace belonging to one "mathieu, marchand à l'isle." mathieu, in defence, pretends that "les dentelles avoient esté fabriquées à haluin (near lille), terre de la domination de sa majesté."--arch. nat. coll. rondonneau. [636] see flanders (west), _treille_. [637] in 1789, thread was 192 francs the kilogramme. [638] describing her trousseau, every article of which was trimmed with angleterre, malines, or valenciennes, she adds: "a cette époque (1800), on ignorait même l'existence du tulle, les seules dentelles communes que l'on connût étaient les dentelles de lille et d'arras, qui n'étaient portées que par les femmes les plus ordinaires."--_mém. de madame la duchesse d'abrantès._ t. iii. certainly the laces of lille and arras never appear in the inventories of the "grandes dames" of the last century. [639] dieudonné. [640] peuchet states much "fausse valenciennes, très rapprochée de la vraie," to have been fabricated in the hospital at lille, in which institution there were, in 1723, 700 lace-workers. [641] a piece of lille lace contains from 10 to 12 ells. [642] "l'abbaye du vivier, etablie dans la ville d'arras," poëme par le père dom martin du buisson, in _mémoires et pièces pour servir a l'histoire de la ville d'arras_.--bib. nat. mss., fonds françois, 8,936. [643] bib. nat. mss., fonds françois, 8,936. [644] we find in the colbert correspondence (1669), the directors of the general hospital at arras had enticed lace-workers of point de france, with a view to establish the manufacture in their hospital, but the jealousy of the other cities threatening to overthrow their commerce, they wrote to colbert for protection. [645] gt. ward. acc. geo. i. 1714-15 (p. r. o.), and acc. of john, duke of montagu, master of the great wardrobe, touching the expenses of the funeral of queen anne and the coronation of george i. (p.r.o.) in 1761 an act was passed against its being counterfeited, and a vendor of "orrice lace" (counterfeit, we suppose) forfeits her goods. [646] _statistique des gens de lettres._ 1808. herbin. t. ii. [647] a museum of lace has been established at bailleul. [648] in 1788, bailleul, cassel, and the district of hazebrouck, had 1351 lace-makers. in 1802 the number had diminished; but it has since gradually increased. in 1830 there were 2,500. in 1851 there were already 8,000, dispersed over twenty communes. [649] haute-loire, cantal, puy-de-dôme, and loire. [650] 1640. [651] 1833 and 1848. [652] by médecis. [653] they represent to the king that the laces of the "diocèse du puy, du vélay et de l'auvergne, dont il se faisait un commerce très considérable dans les pays étrangers, par les ports de bordeaux, la rochelle et nantes," ought not to pay the import duties held by the "cinq grosses fermes."--_arrest du conseil d'estat du roy_, 6 august, 1707. arch. nat. coll. rond. they ended by obtaining a duty of five sous per lb., instead of the 50 livres paid by flanders and england, or the ten livres by the laces of comté, liège, and lorraine. [654] 1715 and 1716. [655] see milan. [656] roland de la platière. [657] three-fourths were consumed in europe in time of peace:--sardinia took 120,000 francs, purchased by the merchants of turin, once a year, and then distributed through the country: florence and spain, each 200,000; guyenne exported by the merchants of bordeaux 200,000; 500,000 went to the spanish indies. the rest was sold in france by means of colporteurs.--peuchet. [658] in auvergne lace has preserved its ancient names of "passement" and "pointes," the latter applied especially to needle-made lace. it has always retained its celebrity for passements or guipures made in bands. the simplicity of life in the mountains has doubtless been a factor in the unbroken continuity of the lace-trade. [659] le puy in recent years has named some of its coarse patterns "guipure de cluny," after the museum in paris--a purely fanciful name. [660] savinière d'alquie. [661] savary. point d'aurillac is mentioned in the _révolte des passemens_. [662] _histoire du point d' alençon_, madame despierres. [663] "voile de toile d'argent, garni de grandes dentelles d'or et argent fin, donné en 1711 pour envelopper le chef de s. gaudence."--_inventaire du monastère des bénédictines de st. aligre._ [664] in the convents are constantly noted down "point d'espagne d'or et argent fin," while in the cathedral of clermont the chapter contented itself with "dentelles d'or et argent faux." [665] "1773. 6 au. de grande entoilage de belle blonde à poix." [666] "16 au. entoilage à mouches à 11 l., 1761."--_comptes de madame du barry._ [667] "7 au. de tulle pour hausser les manchettes, à 9 l., 63 l."--1770. _cptes. de madame du barry._ [668] _souvenirs de la marquise de créquy._ [669] in an old geography we find, "tulle, tuille three hundred years ago." the word tule or tuly occurs in an english inventory of 1315, and again, in "sir gawayn and the green knight"; but in both cases the word seems not to indicate a stuff but rather a locality, probably toulouse.--francisque michel. in skelton's _garland of lawrell_, we find, "a skein of tewly silk"; which his commentator, the rev. a. dyce, considers to be "dyed of a red colour." [670] as early as 1615 there appears to have been a traffic with italy in laces, the painter claude lorraine being taken to italy in that year by his uncle, a carrier and dealer in laces. [671] neufchâteau. [672] the trader who purchases the lace is called "peussemotier." [673] the lorraine laces could only enter france by the bureau of chaumont, nor could they leave the country without a formal permit delivered at monthureux-le-sec.--arch. nat., coll. rondonneau. [674] in a catalogue of the collection of objects of religious art, exhibited at mechlin in 1864, we find noticed, "dentelle pour rochet, point de nancy," from the church of st. charles at antwerp, together with various "voiles de bénédiction," laces for rochets and altar-cloths, of "point de paris." [675] the _tableau statistique du dép. des vosges_, by citoyen desgoulles, an x, says: "mirecourt is celebrated for its lace fabrics. there are twenty lace merchants; but the workers are not attached to any particular house. they buy their own thread, make the lace, and bring it to the merchants of mirecourt to purchase. the women follow this occupation when not engaged in field work; but they only earn from 25 to 40 centimes a day. before the revolution, 7/8 of the coarse lace was exported to germany towards swabia. of the fine qualities, france consumed 2/3. the remainder went to the colonies." [676] so are those of courseulles (calvados). [677] savary. sedan was ceded to louis xiii. in 1642. [678] "eidem pro 6 divi[=t] sedan et itali[=e] colaris opere scis[=s] et pro 62 purles opere acuo pro 6 pa[=r] mani[=c] lintea[=r] eisdem, £116 6s."--gt. ward. acc. car. i., ix. to xi. p. r. o. [679] "eidem pro 6 divi[=t] pultenarian sedan de opere scis[=s] colaris et pro 72 purles divi[=t] opere acuo pro mani[=c] lintea[=r] eisdem, £106 16s."--gt. ward. acc. car. i., xi. to xii. [680] in 1700 there were several lace manufacturers at charleville, the principal of whom was named vigoureux.--_hist. de charleville._ charleville, 1854. [681] savary. ed. 1726. [682] _description de la france._ ed. 1752. [683] savary. [684] john roberts, of burgundy, eight years in england, "a knitter of knotted wool." peter de grue, burgundian, "knitter of cauls and sleeves." callys de hove, "maker of lace," and jane his wife, born in burgundy.--state papers, dom., eliz. vol. 84. p.r.o. [685] m. joseph garnier, the learned archiviste of dijon, informed mrs. palliser that "les archives de l'hospice sainte-anne n'ont conservé aucune trace de la manufacture de dentelles qui y fut établie. tout ce qu'on sait, c'est qu'elle était sous la direction d'un sieur helling, et qu'on y fabriquait le point d'alençon." [686] _descr. du dép. de la vienne_, par le citoyen cochon. an x. [687] "ce n'est pas une grande chose que la manufacture de points qui est établie dans l'hôpital de bourdeaux."--savary. edit. 1726. [688] table of the number of lace-workers in france in 1851. (from m. aubry.) manufacture of chantilly and alençon:- orne } seine-et-oise } eure } 12,500 seine-et-marne } oise } manufacture of lille, arras, and bailleul:- nord } pas-de-calais } 18,000 manufacture of normandy, caen, and bayeux:- calvados } manche } 55,000 seine-inférieure } manufacture of lorraine, mirecourt:- vosges } meurthe } 22,000 manufacture of auvergne, le puy:- cantal } haute loire } 130,000 loire } puy-de-dôme } application-work at paris} and lace-makers } 2,500 ------ total 240,000 ------ in his _report on the universal exhibition of 1867_, m. aubry estimates the number at 200,000--their average wages from 1 to 1½ francs a day of ten hours' labour; some earn as much as 3½ francs. almost all work at home, combining the work of the pillow with their agricultural and household occupations. lace schools are being founded throughout the northern lace departments of france, and prizes and every kind of encouragement given to the pupils by the empress, as well as by public authorities and private individuals. [689] in the census of 1571, giving the names of all strangers in the city of london, we find mention but of one dutchman, richard thomas, "a worker of billament lace." [690] in 1689 appears an "arrest du roi qui ordonne l'exécution d'une sentence du maître de poste de rouen, portant confiscation des dentelles venant d'amsterdam."--arch. nat. coll. rondonneau. [691] 1685. [692] we have frequent mention of dentelle à la reine previous to its introduction into holland. 1619. "plus une aulne ung tiers de dentelle à la reyne."--_trésorerie de madame, soeur de roi._ arch. nat. k. k. 234. 1678. "les dames mettent ordinairement deux cornettes de point à la reyne ou de soie écrue, rarement de point de france, parce que le point clair sied mieux au visage."--_mercure galant._ 1683. "deux aubes de toille demie holande garnis de point à la reyne."--_inv. fait apres le decedz de mgr. colbert._ bib. nat. mss. suite de mortemart, 34. [693] c. weisse. _history of the french protestant refugees from the edict of nantes._ edinburgh, 1854. [694] grandson of simon châtelain. see chap. vi. [695] in the paper already referred to (see normandy) on the lace trade, in 1704, it is stated the flemish laces called "dentelles de haut prix" are made of lille, mons and mechlin thread, sent to bleach at haarlem, "as they know not how to bleach them elsewhere." the "dentelles de bas prix" of normandy and other parts of france being made entirely of the cheaper thread of haarlem itself, an act, then just passed, excluding the haarlem thread, would, if carried out, annihilate this branch of industry in france.--_commerce des dentelles de fil._ bib. nat. mss. f. fr. 14,294. [696] and. yarranton. 1677. [697] "flax is improved by age. the saying was, 'wool may be kept to dust, flax to silk.' i have seen flax twenty years old as fine as a hair."--_ibid._ [698] _commerce de la hollande._ 1768. [699] _edinburgh amusement._ [700] _six weeks in the court and country of france._ 1691. [701] treillis d'allemagne is early mentioned in the french inventories:- 1543. "pour une aulne deux tiers trillist d'allemagne."--_argenterie de la reine_ (_eléonore d'autriche_). arch. nat. k. k. 104. 1557. "pour une aulne de treilliz noir d'allemagne pour garnir la robbe de damars noir ou il y a de la bizette."--_comptes de l'argentier du roi_ (_henry ii._). arch. nat. k. k. 106. [702] "at a meeting of the society of polite arts, premiums were given to a specimen of a new invention imitating dresden work. it is done with such success as to imitate all the various stitches of which dresden work is composed, with such ingenuity as to surpass the finest performance with the needle. this specimen, consisting of a cap and a piece for a long apron, the apron, valued by the inventress at £2 2s., was declared by the judges worth £56."--_annual register._ 1762. [703] "smash go the glasses, aboard pours the wine on circling laces, dresden aprons, silvered silks, and rich brocades." and again, "your points of spain, your ruffles of dresden."--_fool of quality._ 1766. [704] _caledonian mercury._ 1760. [705] letter from koestritz. 1863. [706] in 1713. [707] weisse. [708] dated oct. 29, 1685. [709] anderson. [710] arch. nat. coll. rondonneau. [711] "commissions and privileges granted by charles i., landgrave of hesse, to the french protestants, dated cassel, dec. 12, 1685." [712] peuchet. [713] anderson. [714] _la france protestante_, par m. m. haag. paris 1846-59. [715] "item. dix carrez de tapisserye a poinctz de hongrye d'or, d'argent et soye de differends patrons."--1632. _inv. après le decès du maréchal de marillac._ bib. nat. mss. f. fr. 11,424. [716] hungary was so styled in the seventeenth century. in a _relation of the most famous kingdoms and common weales through the world_, london, 1608, we find "hungerland." [717] "city madam." massinger. [718] _pictures of german life in the fifteenth, sixteenth, and seventeenth centuries_, by gustaf freytag. [719] _merveilleux amusements des bains de bade._ londres, 1739. [720] bishop of salisbury. "letters." 1748-9. [721] _modelbuch in kupfen gemacht._ nürnberg, 1601. [722] poppenreuth is about a german mile from nuremberg. [723] "austria."--_report of the international exhibition of 1862._ [724] as quoted in lefébure's _embroidery and lace_. [725] haag. _la france protestante._ [726] the neufchâtel trade extended through the jura range from the valley of lake joux (vaud) to porentruy, near bâle. [727] _statistique de la suisse._ picot, de genève. 1819. [728] a curious pattern-book has been sent to us, belonging to the antiquarian society of zurich, through the kindness of its president, dr. ferd. keller. it contains specimens of a variety of narrow braids and edgings of a kind of knotted work, but only a few open-work edgings that could be called lace. [729] on her marriage, 1515. [730] "1619. sept. 11. paid for a lace, 63 rixd. 11 skillings. "1620. oct. 11. paid to a female lace-worker, 28 rixd. "nov. 4. paid 10 rixd. to a female lace-worker who received her dismissal. "nov. 11. paid 71 specie dollars to a lace-seller for lace for the use of the children. "paid 33 specie dollars and 18 skill. lubec money, to the same man for lace and cambric. "1625. may 19. paid 21 rixd. for lace. "dec. 20. paid 25 specie dollars 15 skill. lubec money, for taffetas and lace." [731] 1639. [732] _rawert's report upon the industry in the kingdom of denmark._ 1848. [733] "the great recess." [734] two-thirds of a yard. [735] dated 1643. [736] "tönder lace, fine and middling, made in the districts of lygum kloster, keeps all the peasant girls employed. thereof is exported to the german markets and the baltic, it is supposed, for more than 100,000 rixdollars (£11,110), and the fine thread must be had from the netherlands, and sometimes costs 100 rixdollars per lb."--_pontoppidan. economical balance._ 1759. [737] "in the victoria and albert museum collection, denmark is represented by a few skilful embroideries done on and with fine linen, muslin and suchlike, which are somewhat similar in appearance to lace fabrics of mechlin design."--(a. s. cole.) [738] "the lace fabric in north sleswick in 1840 was divided into two districts--that of tönder and lygum kloster on the western coasts, and that of haderslaben and apenraade on the east. the quality of the lace from these last localities is so bad that no copenhagen dealers will have it in their shops."--_report of the royal sleswick-holstein government._ 1840. [739] mr. jens wulff, an eminent lace-dealer, knight of the danebrog, who has made great exertions to revive the lace industry in denmark. [740] tönder lace was celebrated for its durability, the best flax or silk thread only being used. [741] "a lace-maker earns from 3½d. to 4½d. per day of sixteen hours."--_rawert's report._ 1848. [742] the tönder lace-traders enjoy the privilege of offering their wares for sale all over denmark without a license (concession), a privilege extended to no other industry. [743] the early perfection of bridget herself in this employment, if we may credit the chronicle of the abbess margaretha, 1440-46, may be ascribed to a miraculous origin. when, at the age of twelve, she was employed at her knitted lace-work, a fear came over her that she should not finish her work creditably to herself, and in her anxiety she raised her heart above. as her aunt came into the chamber she beheld an unknown maiden sitting opposite to her niece, and aiding her in her task; she vanished immediately, and when the aunt asked bridget who had helped her she know nothing about it, and assured her relation she had seen no one. all were astonished at the fineness and perfection of the work, and kept the lace as of miraculous origin. [744] _wadstena past and present_ (förr och nu). [745] the letter is dated march 20th, 1544. [746] in the detailed account of the trousseau furnished to his daughter, there is no mention of lace; but the author of _one year in sweden_ has seen the body of his little granddaughter, the princess isabella, daughter of john iii., as it lies in the vault of strengnäs, the child's dress and shoes literally covered with gold and silver lace of a gothic pattern, fresh and untarnished as though made yesterday. [747] in the victoria and albert museum there is a collection of norwegian cut-work of the eighteenth century. [748] weber. _bilberbuch._ leipzig, 1746. _handbok for unga fruntimmer_, by ekenmark. stockholm, 1826-28. [749] some are twice the width of fig. 117. [750] for this information, with a collection of specimens, the author has to thank madame petre of gefle. [751] the russian bobbins are interesting by reason of their archaic simplicity. lacking any trace of decoration, whether suggested by sentimental fancy or artistic taste, they are purely utilitarian, mere sticks of wood, more or less straight and smooth, and six or seven inches long. [752] a depôt has been opened in london, where russian laces and embroidery of all kinds are shown. [753] _rot. parl. 37 edw. iii._ printed. p. 278, col. 2, no. 26. [754] see her monument in westminster abbey.--sandford's _genealogical history_. [755] "blanche, duchess of lancaster, wife of john of gaunt, wears a quilted silk cap with a three-pointed border of broad lace network." (sandford. st. paul's monument, after dugdale.) "elizabeth, duchess of exeter, died 1425 (sandford, p. 259), wore also a caul of network with a needlework edging." [756] in the statute 2 rich. ii. = 1378, merchant strangers are allowed to sell in gross and in retail "gold wire or silver wire" and other such small ware. neither in this nor in the treaty 13 rich. ii. = 1390, between england, the count of flanders, and "les bonnes gentz des trois bonnes villes de flandres gand, brugges et ipre" (see rymer), is there any mention of lace, which, even if fabricated, was of too little importance as an article of commerce to deserve mention save as other "small wares." [757] pins not yet being in common use, any lace would be called "work of the needle." [758] 3 edw. iv., cap. iv. [759] "1463. john barett bequeaths to 'my lady walgrave, my musk ball of gold with [=p]le and lace. "'item, to john eden, my o gr. of tawny silk with poynts of needle work--_opus punctatum_.'"--_bury wills and inventories._ [760] bib. harl. 2,320. [761] such as "lace bascon, lace endented, lace bordred on both syde, yn o syde, pykke lace bordred, lace condrak, lace dawns, lace piol, lace covert, lace coverte doble, lace compon coverte, lace maskel, lace cheyne brode, las cheveron, lace oundé, grene dorge, lace for hattys," etc. another ms. of directions for making these same named laces is in the possession of the vicar of ipsden, oxfordshire, and has been examined by the author through the kindness of mr. w. twopenny. [762] bows, loops. [763] additional mss. no. 6,293, small quarto, ff. 38. it contains instructions for making various laces, letters and "edges," such as "diamond stiff, fly, cross, long s, figure of 8, spider, hart," etc., and at the end:- "heare may you see in letters new the love of her that honoreth you. my love is this, presented is the love i owe i cannot showe, the fall of kings confusion bringes not the vallyou but the love when this you see remember me." in the british museum (lansdowne roll, no. 22) is a third ms. on the same subject, a parchment roll written about the time of charles i., containing rules and directions for executing various kinds of sampler-work, to be wrought in letters, etc., by means of coloured strings or bows. it has a sort of title in these words, "to know the use of this booke it is two folkes worke," meaning that the works are to be done by two persons. probably of this work was the "brede (braid) of divers colours, woven by four ladies," the subject of some verses by waller beginning:- "twice twenty slender virgins' fingers twine this curious web, where all their fancies shine. as nature them, so they this shade have wrought, soft as their hands, and various as their thoughts," etc. [764] 1 rich. iii. = 1483. act xii. [765] _privy purse expenses of elizabeth of york,_ and _wardrobe accounts of king edward iv._, by sir h. nicolas. [766] 1 rich. iii. renews 3 edw. iv. for ten years, and that of richard is continued by 19 henry vii. for twenty years more. [767] 4 hen. vii. = 1488-9. [768] p.r.o. the same warrant contains an order to deliver "for the use and wearing of our right dere daughter the lady mary," together with a black velvet gown, scarlet petticoat, etc., "a nounce of lace for her kyrtel," and a thousand "pynnes." [769] in the list of the late king henry's plate, made 1543, we have some curious entries, in which the term lace appears:- "item, oone picture of a woman made of erthe with a carnation roobe knitt with a knott in the lefte shoulder and bare hedid with her heere rowlid up with a white lace sett in a boxe of wodde. "item, oone picture of a woman made of erthe with a carnac[=o]n garment after the inglishe tyer and bareheddid with her heare rowled up with a white lace sett in a boxe of wodde."--p. r. o. [770] 19 hen. vii. = 1504. [771] sir h. nicolas. [772] statute 1 hen. viii. = 1509-10. an act agaynst wearing of costly apparell, and again, 6 hen. viii. = 1514-15. "gard, to trim with lace."--cotgrave. "no less than crimson velvet did him grace, all garded and regarded with gold lace."--samuel rowlands, _a pair of spy-knaves._ "i do forsake these 'broidered gardes, and all the fashions new."--_the queen in king cambisis_, circ. 1615. [774] under forfeiture of the same shirt and a fine of 40 shillings. [775] 7 hen. viii. = 1515-16.--"thacte of apparell." [776] 24 hen. viii. = 1532-33.--"an act for reformation of excess in apparel." [777] in 1539. [778] lisle. _corr._ vol. i., p. 64. p.r.o. lord lisle was governor of calais, whence the letter is dated. honor. lylle to madame antoinette de sevenges, à dunkerke. "madame,--je ne vous eusse vollu envoier ceste demi dousaine pour changier nestoit que tous celles que menvoiez dernierement sont trop larges, et une dousaine estoit de cestuy ouvrage dont jestis esmerveillé, veu que je vous avois escript que menvoissiez de louvrage aux lozenges, vous priant que la demy dousaine que menvoierez pour ceste demy dousaine soient du dict ouvrage de lozenge, et quil soient plus estroictes mesmement par devant nonobstant que lexemple est au contraire." [779] among the marriage clothes of mary neville, who espoused george clifton, 1536, is:- "a neyge of perle, £1 4s. 0d." in the pictures, at hampton court palace, of queens mary and elizabeth, and another of francis ii., all as children, their ruffs are edged with a very narrow purl. [780] 1538. lisle. _corr._ (p.r.o.) [781] see note 776. [782] privy purse ex. hen. viii. 1529-32. sir h. nicolas. [783] father of lord burleigh. there are other similar entries:--"8 pieces of yellow lace, 9s. 4d." also, "green silk lace." 1632, "green silk lace" occurs again, as trimming a pair of french shoes in a "bill of shoes for sir francis windebank and family."--state papers dom. vol. 221. p.r.o. [784] "inv. of hen. viii. and 4 edw. vi." harl. ms. 1419, a and b. [785] 38 hen. viii. = 1546. rymer's _foedera_. vol. xv., p. 105. [786] harl. ms. 1419. _passim._ [787] see holbein's portraits. [788] "the old cut-work cope."--beaumont and fletcher. _the spanish curate._ [789] we read, too, of "3 kyrcheys y^t was given to the kyrk wash," large as a woman's hood worn at a funeral, highly ornamented with the needle by pious women, and given to be sold for the good of the impoverished church, for which the churchwardens of st. michael, spurr gate, york, received the sum of 5s. [790] 1 and 2 ph. and mary. [791] "white work" appears also among queen elizabeth's new year's gifts:- "1578. lady ratcliff. a veil of white work, with spangles and small bone lace of silver. a swete bag, being of changeable silk, with a small bone lace of gold. "1589. lady shandowes (chandos). a cushion cloth of lawne wrought with whitework of branches and trees, edged with bone work, wrought with crowns."--nichols' _royal progresses_. [792] roll of new year's gifts. 1556. [793] stowe, _queen mary_. an. 1554. [794] it is not known when brass wire pins were first made in england, but it must have been before 1543, in which year a statute was passed (35 hen. viii.) entitled, "an act for the true making of pynnes," in which the price is fixed not to exceed 6s. 8d. per 1,000. by an act of rich. iii. the importation of pins was prohibited. the early pins were of boxwood, bone, bronze or silver. in 1347 (_liber garderobæ_, 12-16 edw. iii. p. r. o.) we have a charge for 12,000 pins for the trousseau of joanna, daughter of edward iii., betrothed to peter the cruel. the young princess probably escaped a miserable married life by her decease of the black death at bordeaux when on her way to castille. the annual import of pins in the time of elizabeth amounted to £3,297.--state papers, dom., eliz. vol. viii. p. r. o. in eliz., q. of bohemia's expenses, we find: "dix mille espingles dans un papier, 4 florins."--ger. corr. no. 41. p. r. o. "in holland pillow-lace is called pinwork lace--gespelde-werkte kant."--_sewell's eng. and dutch dict._ [795] an elderly woman informed the author that she recollects in her youth, when she learned to make honiton point of an ancient teacher of the parish, bone pins were still employed. they were in use until a recent period, and renounced only on account of their costliness. the author purchased of a devonshire lace-maker one, bearing date 1829, with the name tatooed into the bone, the gift of some long-forgotten youth to her grandmother. these bone or wood bobbins, some ornamented with glass beads--the more ancient with silver let in--are the calendar of a lace-worker's life. one records her first appearance at a neighbouring fair or may meeting; a second was the first gift of her good man, long cold in his grave; a third the first prize brought home by her child from the dame school, and proudly added to her mother's cushion: one and all, as she sits weaving her threads, are memories of bygone days of hopes and fears, of joys and sorrows; and, though many a sigh it calls forth, she cherishes her well-worn cushion as an old friend, and works away, her present labour lightened by the memory of the past. [796] surtees' _wills and inv._ "hearing bone lace value 5s. 4d." is mentioned "in y^e shoppe of john johnston, of darlington, merchant." [797] 1578. "james backhouse, of kirby in lonsdale. bobbin lace, 6s. per ounce." 1597. "john farbeck, of durham. in y^e shoppe, 4 oz. & ½ of bobbing lace, 6s. 4d."--_ibid._ "bobbin" lace is noted in the royal inventories, but not so frequently as "bone." "laqueo ... fact. super lez bobbins."--g. w. a. eliz., 27 and 28. p. r. o. "three peces teniar bobbin."--_ibid._ car. i., vi. "one pece of bobin lace, 2s.," occurs frequently in the accounts of lord compton, afterwards earl of northampton, master of the wardrobe of prince charles.--roll, 1622-23, extraordinary expenses, and others. p. r. o. [798] in the ward. acc. of his brother, prince henry, 1607, and the warrant to the g. ward., on his sister the princess elizabeth's marriage, 1612-13, "bone" lace is in endless quantities. bobbin lace appears invariably distinguished from bone lace, both being mentioned in the same inventory. the author one day showed an old vandyke italian edging to a devonshire lace-worker, asking her if she could make it. "i think i can," she answered; "it is bobbin lace." on inquiring the distinction, she said: "bobbin lace is made with a coarse thread, and in its manufacture we use long bobbins instead of the boxwood of ordinary size, which would not hold the necessary quantity of this thread, though sufficient for the quality used in making honiton flowers and trolly lace."--mrs. palliser. [799] randle holme, in his enumeration of terms used in arts, gives: "bone lace, wrought with pegs." the materials used for bobbins in italy have been already mentioned. [800] lord compton. "extraordinary expenses of the wardrobe of k. charles, before and after he was king."--roll, 1622-26. p. r. o. [801] an. 1635. [802] a miniature of old hilliard, now in the possession of his grace the duke of hamilton. [803] 1614. [804] massinger. 1612. [805] beaumont and fletcher. [806] "the things you follow and make songs on now, should be sent to knit, or sit down to bobbins or bone-lace."--_tatler._ [807] "we destroy the symmetry of the human figure, and foolishly combine to call off the eye from great and real beauties to childish gewgaw ribbands and bone-lace."--_spectator._ [808] it is used in walpole's _new british traveller_. 1784. [809] haliwell gives compas as "a circle; anglo-norman." [810] partlet, a small ruff or neck-band. [811] "eidem pro 4 pec' de opera rhet' bon' florat' in forma oper' sciss' ad 24s., £4 16s."--g. w. a. eliz., 43 to 44. 1578-79. new year's gifts. baroness shandowes. "a vail of black network flourished with flowers of silver and a small bone-lace."--nichols. [812] _encyclopædia britannica._ art. _costume._ sixteenth century. [813] _encyclopædia britannica._ art. _costume._ sixteenth century. [814] crown lace--so called from the pattern being worked on a succession of crowns sometimes intermixed with acorns or roses. a relic of this lace may still be found in the "faux galon" sold by the german jews, for the decoration of fancy dresses and theatrical purposes. it is frequently mentioned. we have:- "12 yards laquei, called crown lace of black gold and silk."--g. w. a. eliz. 4 & 5. "18 yards crown lace purled with one wreath on one side."--_ibid._ 5 & 6. [815] "11 virgis laquei byas."--_ibid._ 29 & 30. [816] hemming and edging 8 yards of ruff of cambric with white lace called hollow lace, and various entries of spanish lace, fringe, black chain, diamond, knotted, hollow, and others, are scattered through the earlier wardrobe accounts of queen elizabeth. the accounts of the keepers of the great wardrobe, which we shall have occasion so frequently to cite, are now deposited in the public record office, to which place they were transferred from the audit office in 1859. they extend from the 1 elizabeth = 1558 to oct. 10, 1781, and comprise 160 volumes, written in latin until 1730-31, when the account appears in english, and is continued so to the end. 1748-49 is the last account in which the items are given. [817] eliz. 30 & 31. billament lace occurs both in the "shoppes" and inventories of the day. among the list of foreigners settled in the city of london in 1571 (state papers, dom., eliz. vol 84. p.r.o.), are: william crutall, "useth the craft of making byllament lace"; rich. thomas, dutch, "a worker of billament lace." in 1573 a country gentleman, by his will deposited in the prerogative court of canterbury (brayley and britton's _graphic illustrations_), bequeaths: "to my son tyble my short gown faced with wolf skin and laid with billements lace." in john johnston's shop we have: "3 doz. of velvet billemunt lace, 12s." in that of john farbeck, 9 yards of the same. (surtees' _wills and inv._) widow chapman of newcastle's inventory, 1533, contains: "one old cassock of broad cloth, with billements lace, 10s." (_ibid._) [818] 95 dozen rich silver double diamond and cross laces occur also in the _extraordinary expenses for prince charles's journey to spain_. 1623.--p. r. o. [819] 1571. "in y^e great shop, 8 peces of 'waborne' lace, 16d."--_mr. john wilkinson's goods, of newcastle, merchant._ 1580. "100 gross and a half of 'waborne' lace."--_inv. of cuthbert ellyson._ 1549. john de tronch, abbot of kilmainham priory, is condemned to pay 100 marks fine for detaining 2 lbs. of waborne thread, value 3s., and other articles, the property of w. sacy. [820] g. w. a. eliz. 16 & 17. [821] "eidem pro 6 manuterg' de camerick operat' cum serico nigra trustich," etc.--g. w. a. eliz. 41 & 42, and, again, 44. [822] 1572. inventory of thomas swinburne of ealingham, esq. "his apparell." "a wellwett cote layd with silver las. "a satten doullet layd with silver las. "a payr of wellwett sleeves layd with silver las."--surtees' _wills and inv._ [823] new year's gifts. lady mary sidney. "a smock and two pillow beres of cameryck wrought with black-work and edged with a broad bone-lace of black sylke." [824] "eidem pro 6 caules alb' nodat opat' cu' le chainestich et ligat' cu' tape de filo soror, ad 14s., 4l. 4s."--g. w. a. eliz. 41 & 42. also in the last year of her reign (1602) we find:- "six fine net caules flourished with chaine stitch with sister's thread."--wardrobe accounts. b. m. add. mss. no. 5751. [825] in 1583. [826] g. w. a. eliz. 38 & 39. we have it also on ruffs. "eidem pro 2 sutes de lez ruffs bon' de la lawne operat' in le laid work et edged cum ten' bon' ad 70s. per pec', 7l."--g. w. a. eliz. 43 & 44. [827] g. w. a. eliz., last year of her reign. again- 1600. "drawing and working with black silk drawne worke, five smocks of fine holland cloth."--b. m. add. mss. no. 5751. "these holland smocks as white as snow, and gorgets brave with drawn-work wrought." --_pleasant quippes for upstart newfangled gentlewomen._ 1596. [828] as early as 1485 we have in the inventory of st. mary-at-hill, "an altar cloth of diaper, garnished with 3 blue kays (st. peter's) at each end." all the church linen seems to have been embroidered in blue thread, and so appears to have been the smocks and other linen. jenkin, speaking of his sweetheart, says: "she gave me a shirt collar, wrought over with no counterfeit stuff." george: "what! was it gold?" jenkin: "nay, 'twas better than gold." george: "what was it?" jenkin: "right coventry blue."--_pinner of wakefield._ 1599. "it was a simple napkin wrought with coventry blue."--_laugh and lie downe, or the worlde's folly._ 1605. "though he perfume the table with rose cake or appropriate bone-lace and coventry blue," writes stephens in his _satirical essays_. 1615. in the inventory of mary stuart, taken at fotheringay, after her death, we have: "furniture for a bedd of black velvet, garnished with bleue lace. in the care of rallay, _alias_ beauregard." this blue lace is still to be found on baptismal garments which have been preserved in old families on the continent and in england. [829] the widow of the famous clothier, called jack of newbury, is described when a bride as "led to church between two boys with bride laces and rosemary tied about their sleeves." [830] "tawdry. as dr. henshaw and skinner suppose, of knots and ribbons, bought at a fair held in st. audrey's chapel; fine, without grace or elegance."--_bailey's dict._ 1764. southey (_omniana._ vol. i., p. 8) says:- "it was formerly the custom in england for women to wear a necklace of fine silk called tawdry lace, from st. audrey. "she had in her youth been used to wear carcanets of jewels, and being afterwards tormented with violent pains in the neck, was wont to say, that heaven, in his mercy, had thus punished her for her love of vanity. she died of a swelling in her neck. audry (the same as ethelrede) was daughter of king anna, who founded the abbey of ely." spenser in the _shepherd's calender_, has:- "bind your fillets faste and gird in your waste for more fineness with a tawdry lace;" and in the _faithful shepherdess_ of beaumont and fletcher, amaryllis speaks of "the primrose chaplet, tawdry lace and ring." [831] a passage already quoted in _much ado about nothing_ shows us that, in shakespeare's time, the term "to lace" was generally used as a verb, denoting to decorate with trimming. margaret, the tiring woman, describes the duchess of milan's gown as of "cloth o' gold, and cuts, and laced with silver." [832] _much ado about nothing._ [833] new year's gifts of mrs. wyngfield, lady southwell, and lady willoughby.--_nichols' royal progresses._ [834] "mrs. edmonds. a cushion cloth of lawn cutwork like leaves, and a few owes of silver."--new year's gifts. "eidem pro le edginge unius panni vocat' a quishion cloth de lawne alb' operat' cum spaces de opere sciss' et pro viii. virg' de laquei alb' lat' operat' sup' oss' 33s. 4d."--g. w. a. eliz. 31 & 32. [835] "mistress twist, the court laundress. four toothcloths of holland wrought with black silk and edged with bone lace of silver and black silk."--new year's gifts. [836] "lady ratcliffe. a night coyf of white cutwork flourished with silver and set with spangles."--_ibid._ [837] "cropson. a night coyf of cameryk cutwork and spangells, with a forehead cloth, and a night border of cutwork with bone lace."--_ibid._ 1577-8. [838] "eidem pro emenda[=c] lavacione et starching unius par' corpor' (stays) et manic' de lawne alb' bon' deorsum operat' in diversis locis cum spaciis lat' de operibus italic' scis[=s] 20_sh._"--g. w. a. eliz. 26-27. [839] _ibid._ [840] _ibid._ 28-29. [841] g. w. a. eliz. 29-30. [842] _ibid._ 35-36. [843] _ibid._ 43-44. "a round kyrtle of cutwork in lawne."--b. m. add. mss. no. 5751. [844] "one yard of double italian cutwork a quarter of a yard wide, 55s. 4d."--g. w. a. eliz. 33 and 34. "una virga de opere sciss' lat' de factura italica, 26s. 8d."--_ibid._ 29 & 30. [845] "for one yard of double flanders cutwork worked with italian purl, 33s. 4d."--_ibid._ 33 & 34. [846] "3 suits of good lawn cutwork ruffs edged with good bone lace 'operat' super oss',' at 70s., 10l. 10s."--_ibid._ 43 & 44. [847] "7 virg' tenie lat' operis acui, ad 6s. 8d., 46s. 8d."--_ibid._ 37-38. [848] "eidem pro 2 pectoral' de ope' sciss' fact' de italic' et flaundr' purle, ad 46s."--_ibid._ 42 & 43. "eidem pro 1 virg' de tenie de opere acuo cum le purle italic' de cons' ope' acuo 20s."--g. w. a. eliz. 40 & 41. [849] eliz. 44 = 1603. [850] "3 yards broad needlework lace of italy, with the purls of similar work, at 50s. per yard, 8l. 15s."--_ibid._ 41-42. bone lace varies in price from 40s. the dozen to 11s. 6d. the yard. needle-made lace from 6s. 8d. to 50s.--g. w. a. _passim._ [851] lace is always called "lacqueus" in the gt. wardrobe accounts up to 1595-6, after which it is rendered "tænia." both terms seem, like our "lace" to have been equally applied to silk passements. "galons de soye, de l'espèce qui peuvent être dénominés par le terme latin de 'tæniola.'" "laqueus, enlassements de diverses couleurs, galons imitation de ces chaînes qui les romains faisoient peindre, dorer et argenter, pour les rendre plus supportables aux illustres malheureux que le sort avoit réduit à les porter."--_traité des marques nationales._ paris, 1739. [852] "fine white or nun's thread is made by the augustine nuns of crema," writes skippin, 1631. from the great wardrobe accounts the price appears to have been half a crown an ounce. "eidem pro 2 li. 4 unc.' fili sororis, ad 2s. 6d. per unciam, 4l. 10s."--eliz. 34 & 35. [853] state papers domestic. eliz. vol. 84. the sum total amounts to 4,287. [854] see burgundy. "the naturalized french residing in this country are normans of the district of caux, a wicked sort of french, worse than all the english," writes, in 1553, stephen porlin, a french ecclesiastic, in his _description of england and scotland_. [855] 1559. oct. 20. proclamation against excess of apparel.--state papers dom. eliz. vol. vii. 1566. feb. 12.--_ibid._ vol. xxxix. 1579. star chamber on apparel. [856] state papers dom. eliz. vol. xxiii. no. 8. [857] _ibid._ vol. xlvii. no. 49. [858] _ibid._ vol. viii. no. 31. [859] the value of thread imported amounts to £13,671 13s. 4d. [860] walsingham writes: in opening a coffer of the queen of scots, he found certain heades which so pleased certain ladies of his acquaintance, he had taken the liberty to detain a couple. [861] "a mantel of lawn cutwork wrought throughout with cutwork of 'pomegranettes, roses, honeysuckles, cum crowns.'" "a doublet of lawn cutwork worked with 'lez rolls and true loves,' &c."--g. w. a. eliz. last year. [862] new year's gifts. by the lady shandowes. 1577-8. [863] marquis of northampton. [864] lady carew. "a cushyn of fine cameryk edged with bone lace of venice sylver." [865] "laqueus de serico jeano"--(genoa). g. w. a. eliz. 30-1. [866] 1571. _revels at court._ cunningham. some curious entries occur on the occasion of a masque called "the prince" given at court in 1600:- "for the tooth-drawer: "to loope leace for his doublet and cassacke, 8s. "for leace for the corne-cutters suite, 7s. "for green leace for the tinkers suite, 2s. "for the mouse-trapp-man: "6 yards of copper leace to leace _is_ cloake, at 1s. 8d., 10s. "the prophet merely wears fringe, 2 ruffes and cuffes, 3s. 10d." the subject of the masque seems lost to posterity. [867] lady chandos, jun. "a cushyn cloth of lawne, wrought with white worke of branches and trees edged with white bone worke wrought with crownes."--new year's gifts. 1577-8. [868] 1572. _revels at court._ [869] in the possession of mrs. evans of wimbledon. [870] sir gawine carew. "a smock of cameryke wrought with black work and edged with bone lace of gold." lady souche. "a smock of cameryke, the ruffs and collar edged with a bone lace of gold." the lady marquis of winchester. "a smock of cameryke wrought with tanny silk and black, the ruffs and collar edged with a bone lace of silver."--new year's gifts. 1578-9. [871] "a bearing cloth," for the squire's child, is mentioned in the _winter's tale_. [872] many of these christening robes of lace and point are preserved as heirlooms in old families; some are of old guipure, others of flanders lace, and later of valenciennes, or needle-point. the bib formed of guipure padded, with tiny mittens of lace, were also furnished to complete the suit. [873] in 1584-5 queen elizabeth sends a most wonderful apron to be washed and starched, of cambric, edged with lace of gold, silver, and in-grain carnation silk, "operat' super oss'," with "pearl buttons pro ornatione dict' apron."--g. w. a. eliz. 26 & 27. "a handkerchief she had, all wrought with silke and gold, which she, to stay her trickling tears, before her eyes did hold." --"ballad of george barwell." [875] new year's gift of lady radcliffe. 1561. [876] new year's gift of lady st. lawrence. [877] surtees' wills and inv. "though the luxury of the court was excessive, the nation at large were frugal in their habits. our argentine of dorset was called 'argentine the golden,' in consequence of his buckles, tags, and laces being of gold. such an extravagance being looked on as a marvel in the remote hamlets of the southern counties." [878] hence ruffles, diminutive of ruffs. "ruff cuffs" they are called in the g. w. a. of james i., 11 & 12. [879] stowe's chron. [880] endless are the entries in the gt. w. acc. for washing, starching and mending. the court laundress can have had no sinecure. we find "le jup de lawne operat' cum stellis et aristis tritici anglice wheateares" (eliz. 42 & 43), sent to be washed, starched, etc. a network vail "sciss' totum desuper cum ragged staves." (leicester's device. _ibid._ 29 & 30.) a diploid' (doublet) of cut-work flourished "cum auro et spangles" (_ibid._), and more wonderful still, in the last year of her reign she has washed and starched a toga "cum traine de la lawne operat' in auro et argento in forma caudarum pavorum," the identical dress in which she is portrayed in one of her portraits. [881] "eidem pro un ruff bon pynned sup' le wier franc' c[=u] rhet' aur' spangled, 70s."--eliz. 42 & 43. [882] gt. w. acc. eliz. 33 & 34. [883] "b.: where's my ruff and poker?" "r.: there's your ruff, shall i poke it?" "b.: so poke my ruff now."--old play by p. dekker. 1602. autolycus, among his wares, has "poking-sticks of steel." "poked her rebatoes and surveryed her steel."--_law tricks._ 1608. [884] middleton's comedy of _blurt, master constable_. [885] _or, the world's folly._ 1605. [886] stowe. [887] _ibid._ [888] therefore she wore "chin" ruffs. "eidem pro 2 sutes de lez chinne ruffs edged cu' arg., 10s."--eliz. 42 & 43. [889] ben jonson. _every man out of his humour._ 1599. [890] lady cromwell. "three sutes of ruffs of white cutwork edged with a passamayne of white." lady mary se'm'. "3 ruffs of lawne cutwork of flowers." [891] "they are either clogged with gold, silver, or silk laces of stately price, wrought all over with needleworke, speckeled and sparkeled here and there with the sunne, the moone, the starres and many other antiques strange to beholde. some are wrought with open worke donne to the midst of the ruffe, and further some with close worke, some with purled lace so closed and other gewgawes so pestered, as the ruff is the leest parte of itself."--stubbe's description of the cut-work ruff. [892] _anatomie of abuses._ 1583. [893] "eidem pro 3 dozin laquei fact' de crine brayded cum lez rising puffs de crine, ad 36s. le dd., £5 8s."--eliz. 31 & 32. the entry occurs frequently. in _ibid._ 87 & 38 is a charge "pro 4 pirrywigges de crine," at 16s. 8d. each. [894] in the g. w. a. of the last year of her reign, elizabeth had a variety of devices in false hair. we have:- "eidem pro 200 invencionibus factis decrine in forma lez lowpes et tuftes," at 6d. each; the like number in the form of leaves at 12d.; 12 in form of "lez peramides," at 3s. 4d.; 24 of globes, at 12d., with hair by the yard, made in lowpes, "crispat' curiose fact'," curle rotund', and other wonderful "inventions." [895] "your trebble-quadruple dædalian ruffes, nor your stiffe necked rebatoes that have more arches for pride to row under than can stand under five london bridges."--_the gul's hornebooke_, by t. deckar. london, 1609. [896] beaumont and fletcher. _nice valour._ [897] _ibid._ _the blind lady._ 1661. [898] 1641. [899] called by james i. "the king of preachers." ob. 1621 [900] in the _dumb knight_, 1608, a woman, speaking of her ruff, says:- "this is but shallow. i have a ruff is a quarter deep, measured by the yard." [901] see the portraits in the national portrait gallery of sir dudley and lady carleton, by cornelius janssens, of the queen of bohemia, by mirevelt, and of the countess of pembroke, by mark geerards. in westminster abbey, the effigies of queen elizabeth and mary queen of scots, on their tombs. [902] _every man out of his humour_, 1599. again, in his _silent woman_, he says:- "she must have that rich gown for such a great day, a new one for the next, a richer for the third; have the chamber filled with a succession of grooms, footmen, ushers, and other messengers; besides embroiderers, jewellers, tire-women, semsters, feather men, perfumers; whilst she feels not how the land drops away, nor the acres melt; nor foresees the change, when the mercer has your woods for her velvets; never weighs what her pride costs, sir." [903] "second acc. of sir john villiers, 1617-8." p. r. o. "150 yards of fyne bone lace for six extraordinary ruff's provided against his majesty's marriage, at 9s., 67s. 10d."--extraordinary expenses. 1622-6. p. r. o. [904] state papers dom., jac. i. vol. iii., no. 89. p. r. o. [905] jasper mayne. 1670. [906] "mistris turner, the first inventresse of yellow starch, was executed in a cobweb lawn ruff of that color at tyburn, and with her i believe that yellow starch, which so much disfigured our nation and rendred them so ridiculous and fantastic, will receive its funerall."--_howel's letters._ 1645. [907] state papers dom., james i. vol. cxiii. no. 18. [908] we read that in 1574 the venetian ladies dyed their lace the colour of saffron. the fashion may therefore be derived from them. "he is of england, by his yellow band."--_notes from black fryers._ henry fitzgeffery. 1617. "now ten or twenty eggs will hardly suffice to starch one of these yellow bandes."--barnaby rich. _the irish_ _hubbub, or the english hue and cry._ 1622. killigrew, in his play called _the parson's wedding_, published in 1664, alludes to the time when "yellow starch and wheel verdingales were cried down"; and in _the blind lady_, a play printed in 1661, a serving-man says to the maid: "you had once better opinion of me, though now you wash every day your best handkerchief in yellow starch." [909] _la courtisane à la mode, selon l'usage de la cour de ce temps._ paris, 1625. [910] carlo, in _every man out of his humour._ 1599. [911] "eidem pro 29 virg' le opere sciss' bon' italic', ad 35s., £68 5s."--gt. w. a. jac. i. 5 & 6. [912] _the new inn._ [913] _advice to sir george villiers._ [914] see _parliamentary history of england._ sir giles was proceeded against as "a monopolist and patentee," and sentenced to be degraded and banished for life. [915] speech in parliament. _rushout papers._ vol. xi., p. 916. [916] "the office or grant for sealing bone lace was quashed by the king's proclamation, 1639, dated from his manour of york."--_verney papers._ [917] b. m. _bib. lands._ 172, no. 59. [918] 1604. sept. 27. patent to ric. dike and others to make venice gold and silver thread for 21 years.--state papers dom., jas. i. vol. ix. 48. 1604. dec. 30. lease of the customs on gold and silver thread.--_ibid._ vol. x. 1605. feb. 2. the same. _ibid._ vol. xii. 1611. may 21. patent to ric. dike renewed.--_ibid._ vol. lxiii. 9. in the same year (june 30) we find a re-grant to the earl of suffolk of the moiety of all seizures of venice gold and silver formerly granted in the fifth year of the king.--_ibid._ vol. lxiv. 66. in 1622 a lease on the customs on gold and silver thread lace is given to sir edward villiers.--_ibid._ vol. cxxxii. 34. [919] _ibid._ vol. cxxi. 64. [920] _ibid._ vol. cxxxii. 34. [921] in 1624 king james renews his prohibition against the manufacture of "gold purles," as tending to the consumption of the coin and bullion of the kingdom.--_foedera_, vol. xvii., p. 605. [922] petition. april 8, 1623.--state papers, vol. cxlii. 44. see chap. xxx. [923] "twoe payer of hande rebayters," _i.e._, cuffs. [924] in the p. r. o. (state papers dom., james i. 1603, sept. vol. iii. no. 89) is "a memorandum of that misteris jane dru[=m]onde her recyte from ester littellye, the furnishinge of her majesties linen cloth," a long account, in which, among numerous other entries, we find:- "it. at basinge. twenty four yeardes of small nidle work, at 6s. the yearde, £7 4s. "more at basinge. one ruffe cloth, cumbinge cloth and apron all shewed with white worke, at 50s. the piece, £7 10s. "it. one pece of fine lawin to bee a ruffe, £5. "item, for 18 yeards of fine lace to shewe the ruffe, at 6s. the yearde, £5 8s. "item, 68 purle of fair needlework, at 20 pence the purle, £5 15s. 4d. "item, at winchester, the 28th of september, one piece of cambrick, £4. "item, for 6 yards of fine purle, at 20s., £6. "item, for 4 yards of great bone lace, at 9s. the yard, 36s. queen anne has also a fair wrought sark costing £6, and a cut-work handkerchief, £12, and 2 pieces of cut-work, ell wide and 2 yards long, at £2. the length, etc. [925] _lady audrye walsingham's account._ 1606.--p. r. o. [926] mary, her third daughter, died 1607, not two years of age. mrs. greene quotes from the p. r. o. a note of the "necessaries to be provided for the child," among which are six large cambric handkerchiefs, whereof one is to be edged with "fair cut-work to lay over the child's face"; six veils of lawn, edged with fair bone lace; six "gathered bibs of fine lawn with ruffles edged with bone lace," etc. the total value of the lace and cambric required for the infant's garments is estimated at £300.--_lives of the princesses of england._ vol. vi., p. 90. [927] england is rich in monumental effigies decorated with lace--too many to enumerate. among them we would instance that of alice, countess of derby, died 1636, in harefield church, middlesex, in which the lace is very carefully sculptured.--communicated by mr. albert hartshorne. [928] 1620-1. we have entries of "falling bands" of good cambric, edged with beautiful bone lace, two dozen stitched and shagged, and cut-work nightcaps, purchased for james i., in the same account, with 28s. for "one load of hay to stuff the woolsacks for the parliament house."--g. w. acc. jac. i. 18 to 19. in the same year, 1620, an english company exported a large quantity of gold and silver lace to india for the king of golconda. [929] _malcontent._ 1600. [930] extraordinary expenses, 1622-26. p. r. o. [931] "2nd acc. of sir j. villiers. 1617-18." p. r. o. [932] gt. w. a. jac. i. 6 to 7. [933] taylor. 1640:- "the beau would feign sickness to show his nightcap fine, and his wrought pillow overspread with lawn."--davies. _epigrams._ [934] "acc. of sir lyonell cranfield (now earl of middlesex), late master of the great wardrobe, touching the funeral of queen anne, who died 2nd march, 1618 (_i.e._ 1619 n. s.). p. r. o. [935] about this time a complaint is made by the london tradesmen, of the influx of refugee artizans, "who keepe theire misteries to themselves, which hath made them bould of late to device engines for workinge lace, &c., and such wherein one man doth more among them than seven englishmen can doe, soe as theire cheape sale of those commodities beggareth all our english artificers of that trade and enricheth them," which becomes "scarce tolleruble," they conclude. cecil, in consequence, orders a census to be made in 1621. among the traders appears "one satten lace maker." colchester is bitterly irate against the dutch strangers, and complains of one "jonas snav, a bay and say maker, whose wife selleth blacke, browne, and white thredde, and all sorts of bone lace and vatuegardes, which they receive out of holland. one isaac bowman, an alyen born, a chirurgeon and merchant, selleth hoppes, bone lace, and such like, to the great grievance of the free burgesses." a nest of refugee lace-makers, "who came out of france by reason of the late 'trobles' yet continuing," were congregated at dover (1621-2). a list of about five-and-twenty "widows, being makers of bone lace," is given, and then mary tanyer and margarett le moyne, "maydens and makers of bone lace," wind up the catalogue of the dover "alyens." the maidstone authorities complain that the thread-makers' trade is much decayed by the importation of thread from flanders.--_list of foreign protestants resident in england._ 1618-88. printed by the camden society. [936] jasper mayne. [937] beaumont and fletcher. [938] "valuables of glenurquhy, 1640." innes' _sketches of early scotch history_. [939] collars of hollie worke appear in the inventories of mary stuart. [940] "thomas hodges, for making ruffe and cuffes for his highness of cuttworke edged with a fayre peake purle, £7."--2nd account of sir j. villiers. prince charles. 1617-18. p. r. o. "40 yards broad peaked lace to edge 6 cupboard cloths, at 4s. a yard, £8."--_ibid._ [941] "seaming" lace and spacing lace appear to have been generally used at this period to unite the breadths of linen, instead of a seam sewed. we find them employed for cupboard cloths, cushion cloths, sheets, shirts, etc., throughout the accounts of king james and prince charles. "at stratford-upon-avon is preserved, in the room where shakspeare's wife, anne hathaway, was born, an oaken linen chest, containing a pillow-case and a very large sheet made of homespun linen. down the middle of the sheet is an ornamental open or cut-work insertion, about an inch and a half deep, and the pillow-case is similarly ornamented. they are marked e. h., and have always been used by the hathaway family on special occasions, such as births, deaths, and marriages. this is still a common custom in warwickshire; and many families can proudly show embroidered bed linen, which has been used on state occasions, and carefully preserved in old carved chests for three centuries and more."--_a shakspeare memorial._ 1864. [942] _the truth of the times._ w. peacham. 1638. [943] state papers dom. jas. i. vol. lxxii. no. 28. [944] warrant on the great wardrobe. 1612-13. princess elizabeth's marriage. [945] frankfort fair, at which most of the german princes made their purchases. [946] german correspondence. 1614-15.--p. r. o. we find among the accounts of col. schomberg and others:- "to a merchant of strasbourg, for laces which she had sent from italy, 288 rix-dollars." and, in addition to numerous entries of silver and other laces:- "pour dentelle et linge karé pour madame, 115 florins." "donné madame de caus pour des mouchoirs à point couppée pour madame, £4." "une petite dentelle à point couppé, £3," etc. point coupé handkerchiefs seem to have been greatly in fashion. ben jonson, "bartholomew fair," 1614, mentions them:- "a cut-work handkerchief she gave me." [947] see _snelling's coins._ pl. ix. 8, 9, 10. [948] _ibid._ pl. ix. 5, 6, 11. [949] evelyn, describing a medal of king charles i., struck in 1633, says he wears "a falling band, which new mode succeeded the cumbersome ruff; but neither did the bishops or the judges give it up so soon, the lord keeper finch being, i think, the very first." [950] in 1633, the bills having risen to £1,500 a year, a project is made for reducing the charge for the king's fine linen and bone lace, "for his body," again to £1,000 per annum, for which sum it "may be very well done."--state papers, chas. i. vol. ccxxxiv. no. 83. [951] "paid to smith wilkinson, for 420 yards of good flanders bone lace for 12 day ruffes and 6 night ruffes 'cum cuffes eisdem,' £87 15s. "for 6 falling bands made of good broad flanders lace and cuttworks with cuffs of the same, £52 16s."--gt. w. a. car. i. 6 = 1631. [952] see g. w. a., mich., 1629, to april, 1630. [953] _twelfth-night._ [954] g. w. a. car. i. the annunciation 9 to mich. 11. [955] _ibid._ 8 and 9. [956] state papers dom. charles i. vol. cxlix. no. 31. [957] in a letter to mr. edward nicholas, sec. of the admiralty, march 7th, 1627 (afterwards sec. of state to chas. ii.).--st. p. d. chas. i. vol. cxxiii. 62. among the state papers (vol. cxxvi. 70), is a letter from susan nicholas to her "loveing brother," 1628. about lace for his band, she writes: "i have sent you your bootehose and could have sent your lase for your band, but that i did see these lasees which to my thought did do a greddeale better then that wh you did bespeake, and the best of them will cost no more then that which is half a crowne a yard, and so the uppermost will cost you, and the other will cost 18 pence; i did thinke you would rather staye something long for it then to pay so deare for that wh would make no better show; if you like either of these, you shall have it sone desptch, for i am promise to have it made in a fortnight. i have received the monie from my cousson hunton. heare is no news to wright of. thus with my best love remembred unto you, i rest your very loving sister, "susanne nicholas. "i have sent ye the lase ye foyrst bespoke, to compare them together, to see which ye like best." [958] in 1620 an english company exported a large quantity of gold and silver lace to india for the king of golconda. [959] w. peacham, _truth of the times_. 1638. hamlet says there are "two provençal roses on my regal shoes." "when roses in the gardens grow, and not in ribbons on a shoe; now ribbon-roses take such place, that garden roses want their grace." --"friar bacon's prophesie." 1604. "i like," says evelyn, "the boucle better than the formal rose."--_tyrannus, or the mode._ [960] this proclamation is dated from "our honour of hampton court, 30th april, 1635."--rymer's _foedera_. t. 19, p. 690. [961] when anne of austria was suspected of secret correspondence with spain and england, richelieu sent the chancellor to question the abbess of the val-de-grâce with respect to the casket which had been secretly brought into the monastery. the abbess (_vie de la mère d'arbouse_) declared that this same casket came from the queen of england, and that it only contained lace, ribbons, and other trimmings of english fashion, sent by henrietta maria as a present to the queen.--_galerie de l'ancienne cour._ 1791. [962] state papers dom. vol. cxxiii. no. 65. [963] "rhodon and iris, a pastoral." 1631. [964] "ornatus muliebris anglicanus." 1645. [965] "you must to the pawn (exchange) to buy lawn, to st. martin for lace."--_westward ho._ 1607. "a copper lace called st. martin's lace."--strype. [966] taylor, "whip of pride." 1640. [967] in _eastward ho_, 1605, proud gertrude says: "smocks of three pound a smock, are to be born with all." [968] "bartholomew fair." 1614. "she shewed me gowns and head tires, embroidered waistcoats, smocks seam'd thro' with cut-works." --beaumont and fletcher, "four plays in one." 1647. "who would ha' thought a woman so well harness'd, or rather well caparison'd, indeed, that wears such petticoats, and lace to her smocks, broad seaming laces." --ben jonson, _the devil is an ass_. 1616. [971] a suite of russet "laced all over with silver curle lace."--"expenses of robt. sidney, earl of leicester. temp. chas. i." "this comes of wearing scarlet, gold lace and cut-works; your fine gartering with your blown roses." --_the devil is an ass._ [973] _notes from black fryers._ [974] jasper mayne. "amorous war." 1659. [975] "the little french lawyer." [976] _memoirs._ [977] _the cromwell family._ [978] sir philip warwick. 1640. [979] at the restoration, it was removed from the abbey and hung out of the window at whitehall, and then broken up and destroyed. [980] 1661, nov. 20. state papers. dom. charles ii. vol. xliv. p. r. o. [981] "to william briers, for making the colobium sindonis of fine lawn laced with fine flanders lace, 33s. 4d. "to valentine stucky, for 14 yards and a half of very fine flanders lace for the same, at 18s. per yard, £12 6s. 6d."--"acc. of the e. of sandwich, master of the g. w. for the coronation of king charles ii. 23 april, 1661." p. r. o. [982] in the g. w. a. for 29 and 30 occurs a curious entry by the master of the great wardrobe:--"i doe hereby charge myself with 5,000 livres by me received in the realm of france for gold and silver fringes by me there sold, belon^g to a rich embroidered bed of his said majesty, which at one shilling and sevenpence [per] lib. english. being the value of the exchange at that time, amounts to £395 16s. 8d. "(signed) r. montague. "may 28, 1678." [983] 14 car. ii. c. 13. statutes at large. the acts of charles ii. date from the death of his father; so the year of the restoration, 1660, is counted as the thirteenth of his reign. [984] 1662. state papers dom. charles ii. vol. lv., no. 25. p. r. o. [985] he pays £194 to his laceman (tenentori) for 3 cravats "de poynt de venez," and 24s. per yard for 57 yards of narrow point "teniæ poynt augustæ," to trim his falling ruffles, "manicis cadentibus," etc.--g. w. a. car. ii. 24 and 25. later (1676-7) we find charged for "un par manicarum, le poynt, £14." [986] when it was replaced by a black ribbon and a bow. [987] london, 1680. [988] authors, however, disagree like the rest of the world. in a tract called _the ancient trades decayed repaired again_, by sir roger l'estrange (1678), we read: "nay, if the materials used in a trade be not of the growth of england, yet, if the trade be to employ the poor, we should have it bought without money, and brought to us from beyond the seas where it is made as 'bone lace.'" [989] swift. _baucis and philemon._ [990] _intelligencer_, 1665, june 5. "lost, six handkerchers wrapt up in a brown paper, two laced, one point-laced set on tiffany; the two laced ones had been worn, the other four new." _london gazette._ 1672, dec. 5-9. "lost, a lawn pocket handkercher with a broad hem, laced round with a fine point lace about four fingers broad, marked with an r in red silk." [991] evelyn. it was the custom, at a maiden assize, to present the judge with a pair of "laced gloves." lord campbell in 1856, at the lincoln lent assizes, received from the sheriff a pair of white gloves richly trimmed with brussels lace and embroidered, the city arms embossed in frosted silver on the back. [992] _london gazette._ 1677, jan. 28-31. again, oct. 4-8, in the same year. "stolen or lost out of the petworth waggon, a deal box directed to the lady young of burton in sussex; there was in it a fine point apron, a suit of thin laced night clothes," etc. [993] _london gazette._ 1675, june 14-17. "a right point lace with a long musling neck laced at the ends with a narrow point about three fingers broad, and a pair of point cuffs of the same, worn foul and never washt, was lost on monday last." _ibid._ 1677, oct. 22-25. "found in a ditch, four laced forehead cloths. one laced pinner, one laced quoif, one pair of laced ruffels.... two point aprons and other laced linen." _intelligencer._ 1664, oct. 3. "lost, a needle work point without a border, with a great part of the loups cut out, and a quarter of it new loupt with the needle. £5 reward." [994] _london gazette._ 1677, oct. 8-11. [995] _tyrannus, or the mode._ 1661. [996] it is written colberteen, colbertain, golbertain, colbertine. [997] colberteen, a lace resembling network, being of the manufacture of m. colbert, a french statesman. [998] a writer in _notes and queries_ says: "i recollect this lace worn as a ruffle fifty years ago. the ground was square and coarse, it had a fine edge, with a round mesh, on which the pattern was woven. it was an inferior lace and in every-day wear." [999] _cadenus and vanessa._ see also young, p. 111. [1000] _way of the world._ [1001] _six weeks in france._ 1691. [1002] gt. w. a. car. ii. 35-36 = 1683-4. [1003] _gazette_, july 20, 1682. lost, a portmanteau full of women's clothes, among which are enumerated "two pairs of point d'espagne ruffles, a laced night rail and waistcoat, a pair of point de venise ruffles, a black laced scarf," etc.--_malcolm's anecdotes of london._ the lace of james ii.'s cravats and ruffles are of point de venise. sex prælant cravatts de lacinia venetiarum, are charged £141, and 9 yards lace, for six more cravats, £45. £36 10s. for the cravat of venice lace to wear on the day of his coronation," etc.--g. w. a. jac. ii. 1685-6. [1004] a writer in the _gentleman's magazine_, (october, 1745), mentions: "in the parlour of the monastery of english benedictines at paris, i was shown the mask of the king's face, taken off immediately after he was dead, together with the fine laced nightcap he died in." the cap at dunkirk is trimmed with flemish lace (old mechlin). it must have passed from paris to the convent of english benedictines at dunkirk, who left that city in 1793. there is no record how it became deposited in the museum.--communicated by m. de forçade, conservator of the museu la dunkirk. [1005] 9 & 10 will. iii. = 1697-8. [1006] 11 & 12 will. iii. = 1698-9. [1007] smith's _wealth of nations_. [1008] see louis xiv. [1009] see louis xiv. [1010] _spectator_, no. 129. 1711. "lost, from behind a hackney coach, lombard street, a grounded lace night rail."--_london gazette._ aug. 8, 1695. "lost, two loopt lace pinners and a pair of double laced ruffles, bundled up together."--_ibid._ jan. 6-10, 1697. "taken out of two boxes in mr. drouth's waggon ... six cards of piece lace looped and purled, scolopt heads to most of them ... a fine flanders lace head and ruffles, groundwork set on a wier," etc.--_ibid._ april 11-14, 1698. "furbelows are not confined to scarfs, but, they must have furbelow'd gowns, and furbelow'd petticoats, and furbelow'd aprons; and, as i have heard, furbelow'd smocks too."--_pleasant art of money-catching._ 1730. [1011] b. m. add. mss. no. 5751. [1012] "bought of john bishop & jer. peirie, att y^e golden ball, in ludgate hill, 26 april, 1693: "3 yards ½ of rich silver rufl'd scollop lace falbala, with a rich broad silver tire orris at the head, at 7s. 3d. a yard, £25 0s. 6d. "8 yards of broad scollopped thread lace, at 25s. "3 yards rich paigning (?) lace, 48s. 8d., £8 14s." [1013] "9 ½ fine purle to set on the pinner, at 3s." [1014] "5 ¾ of fine broad cattgutt border, at 20_s_." [1015] "1 yard 7/16 raised point to put on the top of a pair of sleeves, at 30s." [1016] "8 yards of broad needlework lace, at 30s." [1017] "3 yards of lace to mazzarine y^e pinners, at 25s." probably the same as the french "campanner." [1018] the milliner, in shadwell's _bury fair_. 1720. [1019] g. w. a. will. iii. 1688 to 1702. p. r. o. [1020] _ibid._ vii. & viii. [1021] "i hope your lordship is pleased with your steinkerk."--sir john vanbrugh. _the relapse._ in colley cibber's _careless husband_, lady easy takes the steinkirk off her neck and lays it on sir charles's head when he is asleep. in _love's last shift_, by the same author (1695), the hero speaks of being "strangled in my own steinkerk." in _love for love_, by congreve, sir novelty enumerates the steinkirk, the large button, with other fashions, as created by him. "i have heard the steinkirk arrived but two months ago."--_spectator_, no. 129. the "modish spark" wears "a huge steinkirk, twisted, to the waist."--1694. _prologue to first part of don quixote._ frank osbaldeston, in _rob roy_, is deprived by the highlanders of his cravat, "a steinkirke richly laced." at ham house was the portrait of a countess of dysart, temp. anne, in three-cornered cocked hat, long coat, flapped waistcoat, and mechlin steinkirk. in the account book of isabella, duchess of grafton, daughter of lord arlington, evelyn's "sweet child"--her portrait hangs in queen mary's room, hampton court--we have: "1709. to a stinkirk, £1 12s. 3d." they appear to have been made of other stuffs than lace, for in the same account, 1708, we have entered: "to a green steenkirk, £1 1s. 6d." [1022] _the volunteers, or the stock jobbers._ [1023] "the tombs in westminster abbey," sung by the brothers popplewell. broadside, 1775.--b. m. roxburgh coll. [1024] king charles ii.'s lace is the same as that of queen mary. the duchess of buckingham (the "mad" duchess, daughter of james ii.) has also very fine raised lace. [1025] venice, bib. st. mark. contarini miscellany. communicated by mr. rawdon brown. [1026] _weekly journal._ march, 1717. [1027] _the modern warrior._ 1756. [1028] acc. of ralph, earl of montague, master of the g. w., touching the funeral of william iii. and coronation of queen anne. p. r. o. [1029] statutes at large.--anne 5 & 6. [1030] this edict greatly injured the lace trade of france. in the _atlas maritime et commercial_ of 1727, it states: "i might mention several other articles of french manufacture which, for want of a market in england where their chief consumption was, are so much decayed and in a manner quite sunk. i mean as to exportation, the english having now set up the same among themselves, such as bone lace." [1031] _history of trade._ london, 1702. [1032] "pro 14 virgis lautæ fimbr' bruxell' laciniæ et 12 virgis dict' laciniæ pro reginæ persona, £151."--g. w. a. 1710-11. [1033] _letters of the countess of hartford to the countess of pomfret._ 1740. [1034] _memoirs of lady r. russell._ "my high commode, my damask gown, my laced shoes of spanish leather." --d'urfey. _the young maid's portion._ [1036] no. 98. 1711. [1037] after fifteen years' discontinuance it shot up again. swift, on meeting the duchess of grafton, dining at sir thomas hanmer's, thus attired, declared she "looked like a mad woman." [1038] statutes at large. [1039] in 1712 mrs. beale had stolen from her "a green silk knit waistcoat with gold and silver flowers all over it, and about 14 yards of gold and silver thick lace on it"; while another lady was robbed of a scarlet cloth coat so overlaid with the same lace, it might have been of any other colour.--_malcolm's anecdotes of the manners and customs of london in the eighteenth century._ [1040] _post boy._ nov. 15, 1709. articles lost. [1041] _a discourse on trade_, by john cary, merchant of bristol. 1717. again: "what injury was done by the act 9-10 will. iii. for the more effectual preventing of importation of foreign bone lace, doth sufficiently appear by the preamble to that made 10-12 of the same reign for repealing it three months after the prohibition of our woollen manufactures in flanders (which was occasioned by it) should be taken off; but i don't understand it be yet done, and it may prove an inevitable loss to the nation." [1042] _lover._ no. 10. 1714. [1043] the ornamental ribbons worn about the dress: "his dress has bows, and fine fallals."--evelyn. sometimes the term appears applied to the fontanges or commode. we read (1691) of "her three-storied fladdal." [1044] _tunbridge wells._ 1727. [1045] in _the recruiting officer_ (1781), lucy the maid says: "indeed, madam the last bribe i had from the captain was only a small piece of flanders lace for a cap." melinda answers: "ay, flanders lace is a constant present from officers.... they every year bring over a cargo of lace, to cheat the king of his duty and his subjects of their honesty." again, silvio, in the bill of costs he sends in to the widow zelinda, at the termination of his unsuccessful suit, makes a charge for "a piece of flanders lace" to mrs. abigail, her woman.--addison, in _guardian_, no. 17. 1713. [1046] "in the next reign, george iii. and queen charlotte often condescended to become sponsors to the children of the aristocracy. to one child their presence was fatal. in 1778 they 'stood' to the infant daughter of the last duke and duchess of chandos. cornwallis, archbishop of canterbury, officiated. the baby, overwhelmed by whole mountains of lace, lay in a dead faint. her mother was so tender on the point of etiquette, that she would not let the little incident trouble a ceremony at which a king and queen were about to endow her child with the names of georgiana charlotte. as cornwallis gave back the infant to her nurse, he remarked that it was the quietest baby he had ever held. poor victim of ceremony! it was not quite dead, but dying; in a few unconscious hours it calmly slept away."--"a gossip on royal christenings." _cornhill magazine._ april, 1864. [1047] "furniture of a woman's mind." [1048] "dean swift to a young lady." [1049] cowley. [1050] 1731. _simile for the ladies, alluding to the laces worn at the last birthday and not paid for._ "in evening fair you may behold the clouds are fringed with borrowed gold, and this is many a lady's case who flaunts about in borrowed lace." [1051] jenyns. "the modern fine lady." [1052] crown. _sir courtly nice, or it cannot be_, a comedy. 1731. [1053] "1748. ruffles of twelve pounds a yard."--_apology for mrs. t. c. philips._ 1748. lace, however, might be had at a more reasonable rate:- "'i have a fine lac'd suit of pinners,' says mrs. thomas, 'that was my great-grandmother's! that has been worn but twice these forty years, and my mother told me cost almost four pounds when it was new, and reaches down hither.'"--"miss lucy in town." fielding. [1054] _dictionary of commerce._ 1766. [1055] he was a martinet about his own dress, for his biographer relates during the last illness of queen caroline (1737), though the king was "visibly affected," remembering he had to meet the foreign ministers next day, he gave particular directions to his pages "to see that new ruffles were sewn on his old shirt sleeves, whereby he might wear a decent air in the eyes of the representatives of foreign majesty." [1056] "by a list of linen furnished to the princesses louisa and mary, we find their night-dresses were trimmed with lace at 10s. per yard, and while their royal highnesses were in bibs, they had six suits of broad lace for aprons at from £50 to £60 each suit."--_corr. of the countess of suffolk, lady of the bedchamber to queen caroline._ observe also the lace-trimmed aprons, ruffles, tuckers, etc., in the pretty picture of the family of frederick, prince of wales, at hampton court palace. [1057] the laws regarding the introduction of lace during this reign continued much the same until 1749, when the royal assent was given to an act preventing the importation or wear of gold, silver, and thread lace manufactured in foreign parts. [1058] in the meeting of nov. 10, 1752, at the "crown, behind the royal exchange," the hon. edward vernon, grand president, in the chair, it was agreed that the following premiums should be awarded: "for the best pair of men's needlework ruffles, to be produced to the committee in the first week of may next, five guineas; to the second, three guineas; to the third, two guineas. and for the best pair of english bone lace for ladies' lappets, to be produced to the committee in august next, fifteen guineas; to the second, ten guineas; to the third, five guineas."--_gentleman's magazine._ [1059] "cardinal," a loose cloak after the fashion of a cardinal's "_trollopée_," a loose flowing gown open in the front, worn as a morning dress.--fairholt. "slammerkin," a sort of loose dress. this ugly word, in course of time, was used as an adjective, to signify untidy. fortunately it is now obsolete. [1060] "don't read history to me, for that i know to be false," said sir r. walpole to his son horace, when he offered to read to him in his last illness. [1061] lady m. w. montagu. "letter to lord harvey on the king's birthday." "the working apron, too, from france, with all its trim appurtenance." --"mundus muliebris." [1063] goldsmith. _life of richard nash, of bath._ london, 1762. [1064] 1764. [1065] _gentleman's magazine._ [1066] 1767. "an officer of the customs seized nearly £400 worth of flanders lace, artfully concealed in the hollow of a ship's buoy, on board a french trader, lying off iron gate."--_annual register._ 1772. "27,000 ells of french (blois?) lace were seized in the port of leigh alone."--_gentleman's magazine._ [1067] the turbulent bishop of rochester, who was arraigned for his jacobite intrigues, and died in exile at paris. 1731. [1068] if imported in smaller quantities than twelve yards, the duty imposed was £2 per yard. "let the ruffle grace his hand, ruffle, pride of gallic land." --"the beau." 1755. "and dip your wristbands (for cuffs you've none) as comely in the sauce as any courtier." --beaumont and fletcher. [1071] he had retired to the country to be out of the way. [1072] august, 1776. [1073] the wardrobe of george iv. was estimated at the same sum. [1074] cowper. [1075] 1757. [1076] "monsieur à la mode." 1753. "let of ruffles many a row guard your elbows white as snow." --"the belle." 1755. "gone to a lady of distinction with a brussels head and ruffles."--_the fool of quality._ 1766. [1078] "receipt for modern dress." 1753. [1079] _recollections of madame d'arblay._ [1080] beaumont and fletcher. _the knight of malta._ [1081] in coffins with glass tops. some of them date from 1700. [1082] in the vault of the schleswig-holstein family at sonderburg. [1083] in the church of revel lies the duc de croÿ, a general of charles xii., arrayed in full costume, with a rich flowing tie of fine guipure; not that he was ever interred--his body had been seized by his creditors for debt, and there it still remains. the author of _letters from a lady in russia_ (1775), describing the funeral of a daughter of prince menzikoff, states she was dressed in a nightgown of silver tissue, on her head a fine laced mob, and a coronet; round her forehead a ribbon embroidered with her name and age, etc. [1084] alluding to this custom of interring ladies of rank in full dress, madame de sévigné writes to her daughter:--"mon dieu, ma chère enfant, que vos femmes sont sottes, vivantes et mortes! vous me faites horreur de cette fontange; quelle profanation! cela sent le paganisme, ho! cela me dégoûteroit bien de mourir en provence; il faudroit que du moins je fusse assuré qu'on ne m'iroit pas chercher une coëffeuse en même temps qu'un plombier. ah! vraiment! fi! ne parlez plus de cela."--lettre 627. paris, 13 déc, 1688. [1085] laborde. _itin. de l'espagne._ again, the duc de luynes says: "the curé of st. sulpice related to me the fashion in which the duke of alva, who died in paris in 1739, was by his own will interred. a shirt of the finest holland, trimmed with new point lace, the finest to be had for money; a new coat of vardez cloth, embroidered in silver; a new wig; his cane on the right, his sword on the left of his coffin."--_mémoires._ [1086] that grave-clothes were lace-trimmed we infer from the following strange announcement in the _london gazette_ for august 12th to 15th, 1678: "whereas decent and fashionable lace shifts and dressings for the dead, made of woollen, have been presented to his majesty by amy potter, widow (the first that put the making of such things in practice), and his majesty well liking the same, hath upon her humble petition, been graciously pleased to give her leave to insert this advertisement, that it may be known she now wholly applies herself in making both lace and plain of all sorts, at reasonable prices, and lives in crane court in the old change, near st. paul's church yard." again, in november of the same year, we find another advertisement:--"his majesty, to increase the woollen manufacture and to encourage obedience to the late act for burying in woollen, has granted to amy potter the sole privilege of making all sorts of woollen laces for the decent burial of the dead or otherwise, for fourteen years, being the first inventor thereof." [1087] betterton's _history of the english stage_. her kindness to the poet savage is well known. [1088] this seems to have been a spécialité of gibbons; for we find among the treasures of strawberry hill: "a beautiful cravat, in imitation of lace, carved by gibbons, very masterly."--_hist. and antiquities of twickenham._ london, 1797. [1089] mrs. piozzi's _memoirs_. [1090] a lady, who had very fine old lace, bequeathed her "wardrobe and lace" to some young friends, who, going after her death to take possession of their legacy, were surprised to find nothing but new lace. on inquiring of the old faithful scotch servant what had become of the old needle points, she said: "deed it's aw there, 'cept a wheen auld dudds, black and ragged, i flinged on the fire." another collection of old lace met with an equally melancholy fate. the maid, not liking to give it over to the legatees in its coffee-coloured hue, sewed it carefully together, and put it in a strong soap lye on the fire, to simmer all night. when she took it out in the morning, it was reduced to a jelly! medea's caldron had not been more effectual! [1091] cowper. "the winter evening." [1092] bishop berkeley, in _a word to the wise_, writes of the english labourers in the south of england on a summer's evening "sitting along the streets of the town or village, each at his own door, with a cushion before him, making bone lace, and earning more in an evening's pastime than an irish family would in a whole day." [1093] "wells, bone lace and knitting stockings."--anderson. [1094] "launceston, where are two schools for forty-eight children of both sexes. the girls are taught to read, sew, and make bone lace, and they are to have their earnings for encouragement."--_magna britannia._ 1720. welsh lace was made at swansea, pont-ardawe, llanwrtyd, dufynock, and brecon, but never of any beauty, some not unlike a coarse valenciennes. "it was much made and worn," said an aged wesleyan lady, "by our 'connexion,' and as a child i had all my frocks and pinafores trimmed with it. it was made in the cottages; each lace-maker had her own pattern, and carried it out for sale in the country." [1095] at what period, and by whom the lace manufactory of ripon was founded, we have been unable to ascertain. it was probably a relic of conventual days, which, after having followed the fashion of each time, has now gradually died out. in 1842 broad trolly laces of french design and fair workmanship were fabricated in the old cathedral city; where, in the poorer localities near the bond and blossomgate, young women might be seen working their intricate patterns, with pillows, bobbins, and pins. in 1862 one old woman alone, says our informant, sustains the memory of the craft, her produce a lace of a small lozenge-shaped pattern (fig. 132), that earliest of all designs, and a narrow edging known in local parlance by the name of "fourpenny spot." [1096] till its annexation to the crown, the isle of man was the great smuggling depôt for french laces. the traders then removed en masse to the channel isles, there to carry on their traffic. an idiot called "peg the ply" in castletown (in 1842) was seen working at her pillow on a summer's evening, the last lace-maker of the island. isle of man lace was a simple valenciennes edging. [1097] isle of wight lace was honoured by the patronage of queen victoria. the princess royal, reports the _illustrated news_ of may, 1856, at the drawing-room, on her first presentation, wore a dress of newport lace, her train trimmed with the same. the weariness of incarceration, when at carisbrook, did not bring on charles i. any distaste for rich apparel. among the charges of 1648, sept. and nov., we find a sum of nigh £800 for suits and cloaks of black brocade tabby, black unshorn velvet, and black satin, all lined with plush and trimmed with rich bone lace. some bobbin lace was made in the island, but what is known as "isle of wight" resembles "nottingham" lace. it is made in frames on machine net, the pattern outlined with a run thread and filled in with needle-point stitches. queen victoria had several lace tippets made of isle of wight lace for the royal children, and always chose the mechlin style of rose pattern. now (1901) there are only two or three old women workers left. [1098] lace-making was never the staple manufacture of the channel islands; stockings and garments of knitted wool afforded a livelihood to the natives. we have early mention of these articles in the inventories of james v. of scotland and of mary stuart. also in those of henry viii. and queen elizabeth, in which last we find (gt. ward. acc., 28 & 29) the charge of 20s. for a pair of "caligarum nexat' de factura garneseie," the upper part and "lez clocks" worked in silk. at the beginning of the nineteenth century, when the island was inundated with french refugees, lace-making was introduced with much success into the poor-house of st. heliers. it formed the favourite occupation of the ladies of the island, some of whom (1863) retain the patterns and pillows of their mothers, just as they left them. of late years many of the old raised venetian points have been admirably imitated in "jersey crochet work." [1099] the puritans again, on their part, transferred the fabric to the other side of the atlantic, where, says a writer of the eighteenth century, "very much fine lace was made in long island by the protestant settlers." [1100] see chap. xxii. [1101] the richly-laced corporax cloths and church linen are sent to be washed by the "lady ancress," an ecclesiastical washerwoman, who is paid by the churchwardens of st. margaret's, westminster, the sum of 8d.; this lady ancress, or anchoress, being some worn-out nun, who, since the dissolution of the religious houses, eked out an existence by the art she had once practised within the convent. [1102] in 1753 prizes were awarded for 14 pairs of curious needlework point ruffles. [1103] one society confers a prize of ten guineas upon a "gentlewoman for an improvement in manufacture by finishing a piece of lace in a very elegant manner with knitting-needles." [1104] the lace of the three counties is practically equal--that is, it is all made in a similar fashion, and the same patterns are met with in each county. the "point" or "net" ground is met with in all, and worked level with the pattern in the same way with bobbins. [1105] who fled from the alva persecutions, and settled, first at cranfield in bedfordshire, then at buckingham, stoney stratford, and newport-pagnel, whence the manufacture extended gradually over oxford, northampton, and cambridge. many flemish names are still to be found in the villages of bedfordshire. [1106] queen katherine died 1536. [1107] she retired to ampthill early in 1531 while her appeal to rome was pending, and remained there till the summer of 1533. [1108] lace of the heavy venetian point was already used for ecclesiastical purposes, though scarcely in general use. the earliest known pattern-books date from fifteen years previous to the death of katherine (1536). [1109] dr. nicolas harpsfield. douay, 1622. (in latin.) again we read that at kimbolton "she plied her needle, drank her potions, and told her beads."--_duke of manchester. kimbolton papers._ [1110] a lady from ampthill writes (1863): "the feast of st. katherine is no longer kept. in the palmy days of the trade both old and young used to subscribe a sum of money and enjoy a good cup of bohea and cake, which they called 'cattern' cake. after tea they danced and made merry, and finished the evening with a supper of boiled stuffed rabbits smothered with onion sauce." the custom of sending about cattern cakes was also observed at kettering, in northamptonshire. [1111] _tour through the whole island of great britain_, by a gentleman. 3 vols. 1724-27. several subsequent editions of defoe were published, with additions, by richardson the novelist in 1732, 1742, 1762, 1769, and 1778. the last is "brought down to the present time by a gentleman of eminence in the literary world." [1112] _magna britannia et hibernia, or a new survey of great britain, collected and composed by an impartial hand_, by the rev. thos. owen. lond. 1720-31. [1113] state papers dom. jac. i. vol. 142. p. r. o. [1114] savary and peuchet. [1115] _worthies._ vol. i., p. 134. [1116] _magna britannia_, daniel and samuel lysons. 1806-22. [1117] describing the "lace and edgings" of the tradesman's wife, she has "from stoney stratford the first, and great marlow the last."--_the complete english tradesman_, dan. defoe. 1726. [1118] edition 1762. [1119] in _sheahan's history of bucks_, published in 1862, the following places are mentioned as being engaged in the industry:--"bierton (black and white lace), cuddington, haddenham, great hampden, wendover, gawcott (black), beachampton, marsh gibbon, preston bisset, claydon, grendon, dorton, grandborough, oving (black and white), waddesdon, newport-pagnell, bletchley, hopton, great horwood, bon buckhill, fenny stratford, hanslope (where 500 women and children are employed--about one-third of the population), levendon, great sandford, loughton, melton keynes, moulsoe, newton blossomville, olney, sherrington, and the adjoining villages, stoke hammond, wavendon, great and little kimble, wooleston, aston abbots, swanbourne, winslow, rodnage." [1120] _the voyage to great britain of don manuel gonzales, late merchant of the city of lisbon._--"some say defoe wrote this book himself; it is evidently from the pen of an englishman."--_lowndes' bibliographers' manual._ bohn's edition. [1121] _annual register._ [1122] see _britannia depicta_, by john owen, gent. lond. 1764, and others. [1123] in 1785 there appears in the _gentleman's magazine_* "an essay on the cause and prevention of deformity among the lace-makers of bucks and north hants," suggesting improved ventilation and various other remedies long since adopted by the lace-working population in all countries. * in 1761 appeared a previous paper, "to prevent the effects of stooping and vitiated air," etc. [1124] _dict. of commerce._ [1125] in flanders also these glasses were made and used. the "mediæval 'ourinals' are alike the retorts of the alchemist and the water-globes of the poor flemish flax-thread spinners and lace makers." _old english glasses._ a. hartshorne. [1126] the larger pins had heads put to them with seeds of _galium_ locally called hariffe or goose-grass; the seeds when fingered became hard and polished. [1127] bobbins are usually made of bone, wood or ivory. english bobbins are of bone or wood, and especially in the counties of bedford, bucks, and huntingdon, the set on a lace pillow formed a homely record of their owner's life. the names of her family, dates and records, births and marriages and mottoes, were carved, burnt, or stained on the bobbin, while events of general interest were often commemorated by the addition of a new bobbin. the _spangles_, _jingles_ (or _gingles_) fastened to the end of the bobbin have a certain interest; a waistcoat button and a few coral beads brought from overseas, a family relic in the shape of an old copper seal, or an ancient and battered coin--such things as these were often attached to the ring of brass wire passed through a hole in the bobbin. the inscriptions on the bobbins are sometimes burned and afterwards stained, and sometimes "pegged" or traced in tiny leaden studs, and consist of such mottoes as "love me truley" (_sic_), "buy the ring," "osborne for ever," "queen caroline," "let no false lover win my heart," "to me, my dear, you may come near," "lovely betty," "dear mother," and so forth.--r. e. head. "some notes on lace-bobbins." _the reliquary_, july, 1900. [1128] too much stress cannot be laid on the importance of using fine linen thread. many well-meant efforts are entirely ruined by the coarse woolly cotton thread used for what ought to be a fine make of lace. that good thread can be got in great britain is evident from the fact that the brussels dealers employ english thread, and sell it to venice for the exquisite work of burano. needless to say, no englishman has attempted to make a bid for the direct custom of the 8,000 lace-workers there employed. [1129] catalogue of lace (victoria and albert museum). [1130] _the conversion and experience of mary hurll', or hurdle, of marlborough, a maker of bone lace in this town_, by the rev. --- hughes, of that town. [1131] waylen's _history of marlborough_. [1132] "at bland, on the stour, between salisbury and dorchester, they made the finest lace in england, valued at £30 per yard."--_universal dict. of trade and commerce._ 1774. [1133] "much bone lace was made here, and the finest point in england, equal, if not superior, to that of flanders, and valued at £30 per yard till the beginning of this century."--_hutchins' hist. of the county of dorset._ 2nd edition, 1796. [1134] what this celebrated point was we cannot ascertain. two samplars sent to us as blandford point were of geometric pattern resembling the samplar, fig. 5. [1135] in 1752. [1136] roberts' _hist. of lyme regis_. [1137] burd, genest, raymunds, brock, couch, gerard, murck, stocker, maynard, trump, groot, etc. [1138] "we may rather infer that laces of silk and coarse thread were already fabricated in devonshire, as elsewhere; and that the flemings, on their arrival, having introduced the fine thread, then spun almost exclusively in their own country, from that period the trade of bone-lace-making flourished in the southern as well as in the midland counties of england" (mrs. palliser, 1869). [1139] ker's _synopsis_, written about the year 1561. two copies of this ms. exist, one in the library of lord haldon at haldon house (co. devon), the other in the british museum. this ms. was never printed, but served as an authority for westcote and others. [1140] "she was a daughter of john flay, vicar of buckrell, near honiton, who by will in 1614 bequeaths certain lands to jerom minify (_sic_), son of jerom minify, of burwash, sussex, who married his only daughter."--prince's _worthies of devon_. 1701. up to a recent date the honiton lace-makers were mostly of flemish origin. mrs. stocker, _ob._ 1769; mr. j. stocker, + 1788, and four daughters; mrs. mary stocker, + 179-; mr. gerard, + 1799, and daughter; mrs. lydia maynard (of anti-gallican celebrity), + 1786; mrs. ann brock, + 1815; mrs. elizabeth humphrey, + 1790, whose family had been in the lace manufacture 150 years and more. the above list has been furnished to the author by mrs. frank aberdein, whose grandfather was for many years in the trade. mrs. treadwin, of exeter, found an old lace-worker using a lace "turn" for winding sticks, having the date 1678 rudely carved on the foot, showing how the trade was continued in the same family from generation to generation. [1141] _view of devon._ t. westcote. [1142] her bequest is called "minifie's gift." [1143] here follows the numbers of the people in a few places who get their living by making lace. among those quoted in devonshire as interesting to compare with the present day are:- "coumbraligh 65, sidmont 302, axmouth 73, sidbury 321, buckerall 90, farway 70, utpotery 118, branscombe beare and seaton 326, honyton 1341, axminster 60, otery st. mary, 814." [1144] church book of the baptist chapel of lyme regis. [1145] colyton and ottery st. mary were among the first. wherever the say or serge decayed, the lace trade planted itself. in the church of colyton, under a fine canopied tomb, repose back to back in most unsociable fashion the recumbent figures of sir john and lady pole. "dame elizabeth, daughter of roger how, merchant of london, ob. 1623," wears a splendid cape of three rows of bone lace descending to the waist. her cap is trimmed with the same material. as this lace may be of devonshire fabric, we give a wood-cut of the pattern (fig. 150). sundry flemish names may still be seen above the shop-windows of colyton similar to those of honiton--stocker, murch, spiller, rochett, boatch, kettel, woram, and others. [1146] don manuel gonzales mentions "bone lace" among the commodities of devon. [1147] the lace manufacture now extends along the coast from the small watering-place of seaton, by beer, branscombe, salcombe, sidmouth, and ollerton, to exmouth, including the vale of honiton and the towns above mentioned. [1148] 1753. [1149] _complete system of geography._ emanuel bowen, 1747. this extract is repeated verbatim in _england's gazetteer_, by philip luckombe. london, 1790. [1150] died 1398. [1151] the best _réseau_ was made by hand with the needle, and was much more expensive. [1152] mrs. aberdein, of honiton, informed mrs. palliser that her father often paid ninety-five guineas per lb. for the thread from antwerp (1869). [1153] the manner of payment was somewhat phoenician, reminding one of queen dido and her bargain. the lace ground was spread out on the counter, and the worker herself desired to cover it with shillings; and as many coins as found place on her work she carried away as the fruit of her labour. the author once calculated the cost, after this fashion, of a small lace veil on real ground, said to be one of the first ever fabricated. it was 12 inches wide and 30 inches long, and, making allowance for the shrinking caused by washing, the value amounted to £20, which proved to be exactly the sum originally paid for the veil. the ground of this veil, though perfect in its workmanship, is of a much wider mesh than was made in the last days of the fabric. it was the property of mrs. chick. [1154] "the last specimen of 'real' ground made in devon was the marriage veil of mrs. marwood tucker. it was with the greatest difficulty workers could be procured to make it. the price paid for the ground alone was 30 guineas" (1869). [1155] with the desire of combining the two interests, her majesty ordered it to be made on the brussels (machine-made) ground. [1156] _a_maranth, _d_aphne, _e_glantine, _l_ilac, _a_uricula, _i_vy, _d_ahlia, _e_glantine. [1157] the workers of beer, axmouth, and branscombe, have always been considered the best in the trade. [1158] exposition universelle de 1867. rapport du jury international, "dentelles," par felix aubry. [1159] for the encouragement of agriculture, arts, manufactures, and commerce. the prizes were offered for the best sprigs, nosegays, borders for shawls, veils, or collars, lappets, collars and cuffs, pocket-handkerchiefs, etc., "of good workmanship and design, worked either in flowers, fruits, leaves, or insects, strictly designed from nature." three prizes were awarded for each description of article. the society also offered prizes for small application sprigged veils, and for the best specimens of braidwork, in imitation of spanish point. [1160] _honiton lace_, by mrs. treadwin. london, 1874. _honiton lace-making_, by devonia, london, 1874. [1161] lappets and scarfs were made of trolly lace from an early date. mrs. delarey, in one of her letters, dated 1756, speaks of a "trolly head." trolly lace, before its downfall, has been sold at the extravagant price of five guineas a yard. [1162] "fifty years since devonshire workers still make a 'greek' lace, as they termed it, similar to the 'dentelles torchons' so common through the continent. the author has seen specimens of this fabric in a lace-maker's old pattern-book, once the property of her mother" (mrs. palliser, 1869). [1163] though no longer employed at lace-making, the boys in the schools at exmouth are instructed in crochet work (1869). [1164] of otterton. [1165] in woodbury will be found a small colony of lace-makers who are employed in making imitation maltese or greek lace, a fabric introduced into devon by order of her late majesty the queen dowager on her return from malta. the workers copy these coarse geometric laces with great facility and precision. among the various cheap articles to which the devonshire workers have of late directed their labours is the tape or braid lace, and the shops of the country are now inundated with their productions in the form of collars and cuffs (1869.) [1166] the honiton pillows are rather smaller than those for buckinghamshire lace, and do not have the multiplicity of starched coverings--only three "pill cloths," one over the top, and another on each side of the lace in progress; two pieces of horn called "sliders" go between to take the weight of the bobbins from dragging the stitches in progress; a small square pin-cushion is on one side, and stuck into the pillow is the "needle-pin"--a large sewing needle in a wooden handle, and for picking up loops through which the bobbins are placed. the pillow has to be frequently turned round in the course of the work, so that no stand is used, and it is rested against a table or doorway; and formerly, in the golden days, in fine weather there would be rows of workers sitting outside their cottages resting their "pills" against the back of the chair in front. the bobbins used in honiton lace-making are delicately-fashioned slender things of smooth, close-grained wood, their length averaging about three and a half inches. they have no "gingles," and none of the carving and relief inlayings of the buckinghamshire and bedfordshire bobbins; but some of them are curiously stained with a brown pigment in an irregular pattern resembling the mottlings of clouded bamboo or those of tortoise-shell. [1167] "the author has visited many lace-schools in devon, and though it might be desired that some philanthropist would introduce the infant school system of allowing the pupils to march and stretch their limbs at the expiration of every hour, the children, notwithstanding, looked ruddy as the apples in their native orchards; and though the lace-worker may be less robust in appearance than the farm-servant or the cheshire milkmaid, her life is more healthy far than the female operative in our northern manufactories" (1875). [1168] "a good lace-maker easily earns her shilling a day, but in most parts of devonshire the work is paid by the truck system, many of the more respectable shops giving one-half in money, the remaining sixpence to be taken out in tea or clothing, sold often considerably above their value. other manufacturers--to their shame, be it told--pay their workers altogether in grocery, and should the lace-maker, from illness or any other cause, require an advance in cash, she is compelled to give work to the value of fourteen-pence for every shilling she receives. some few houses pay their workers in money" (1875). [1169] medals were won at the chicago world's fair for devonshire lace by mrs. fowler and miss radford, of sidmouth. the latter has also received the freedom of the city of london for a beautiful lace fan, her sprigs being the finest and most exquisite models of flowers and birds it is possible to produce in lace. a third medal was won by the italian laces at beer. [1170] those held at sidbury and sidford are very successful, and the children, ranging in age from, nine to fifteen, come regularly for their "lace." it is interesting to watch the improvement in the work of the "flys," the first lesson, and as a rule each child makes forty to fifty before going on to anything further. [1171] at beer, where fishing is the staple industry, in bad fish seasons the women can earn more than the men; and at honiton in the hard winter of 1895 the lace-makers kept themselves and their families, and were spared applying for relief--all honour to their skill and self-helpfulness. [1172] "1539. ane uther gowne of purpour satyne with ane braid pasment of gold and silver," etc. "twa spanye cloikis of black freis with ane braid pasment of gold and silver." "1542. three peces of braid pasmentes of gold and silver."--_inventories of the royal wardrobe and jewel house._ 1488-1606. edinb. 1815. [1173] 1542. same inv. [1174] in the inv. of the earl of huntley, 1511-12, there is mention of dresses "passamenté d'or." [1175] chap. x., note. 1537. james v. and lord somerville at holyrood:--"where are all your men and attendants, my lord?" "please, your majesty, they are here"--pointing to the lace which was on his son and two pages' dress. the king laughed heartily and surveyed the finery, and bade him "away with it all, and let him have his stout band of spears again." [1176] croft's _excerpta antiqua_. the countess of mar, daughter of the first duke of lennox and granddaughter by her mother's side to marie touchet. she was daughter-in-law to the preceptress of james vi., and in 1593 had the honour, at the baptism of prince henry, of lifting the child from his bed and delivering him to the duke of lennox. a portrait of this lady, in the high elizabethan ruff, and with a "forepart" and tucker of exquisite raised venice point, hung (circ. 1870) in the drawing-room of the late miss katherine sinclair. [1177] "une robe de velours vert couverté de broderies, gimpeures, et cordons d'or et d'argent, et bordée d'un passement de même. "une robe veluat cramoisi bandée de broderie de guimpeure d'argent. "une robe de satin blanc chamarrée de broderie faite de guimpeure d'or. "id. de satin jaune toute couverte de broderye gumpeure, etc. "robe de weloux noyr semée de geynpeurs d'or."--_inv. of lillebourg._ 1561. [1178] "chamarrée de bisette."--_inv. of lillebourg._ 1561. "ane rabbat of wolvin thread with passmentet with silver." [1179] chap. iii. [1180] see lacis, chap. ii. [1181] see needlework, chap. i. [1182] her lace ruffs mary appears to have had from france, as we may infer from a letter written by walsingham, at paris, to burleigh, when the queen was captive at sheffield castle, 1578: "i have of late granted a passport to one that conveyeth a box of linen to the queen of scots, who leaveth not this town for three or four days. i think your lordship shall see somewhat written on some of the linen contained in the same, that shall be worth the reading. her majesty, under colour of seeing the fashion of the _ruffes_, may cause the several parcels of the linen to be held to the fire, whereby the writing may appear; for i judge there will be some such matter discovered, which was the cause why i did the more willingly grant the passport." [1183] in 1575. [1184] there was some demur about receiving the nightcaps, for elizabeth declared "that great commotions had taken place in the privy council because she had accepted the gifts of the queen of scots. they therefore remained for some time in the hands of la mothe, the ambassador, but were finally accepted."--miss strickland. [1185] "inventaire of our soveraine lord and his dearest moder. 1578."--record office, edinburgh. [1186] _records of life_, by miss h. pigott. 1839. [1187] similar to the new year's gift of the baroness aletti to queen elizabeth:- "a veil of lawn cutwork flourished with silver and divers colours."--nichols' _royal progresses._ [1188] "twa quaiffs ane of layn and uther of woving thread. ane quaiff of layn with twa cornettes sewitt with cuttit out werk of gold and silver. twa pair of cornettes of layn sewitt with cuttit out werk of gold. ane wovin collar of thread passementit with incarnit and blew silk and silver."--_inv. of 1578._ [1189] "ane rabbat of cuttit out werk and gold and cramoisie silk with the handis (cuffs) thereof. ane rabbat of cuttit out werk of gold and black silk. ane rabbat of cuttit out werk with purpure silk with the handis of the same."--_ibid._ [1190] "twa towell claiths of holane claith sewitt with cuttit out werk and gold. four napkinnes of holane claith and cammaraye sewitt with cuttit out werk of gold and silver and divers cullours of silk."--_ibid._ [1191] published by prince labanoff. "recueil de lettres de marie stuart." t. vii., p. 247. [1192] _marriage expenses of james vi._, 1589. published by the bannatyne club. [1193] _accounts of the great chamberlain of scotland._ 1590.--bannatyne club. [1194] in 1581, 1597, and 1621. [1195] the same privilege was extended to their wives, their eldest sons with their wives, and their eldest daughters, but not to the younger children. [1196] 1633. in the _account of expenses for the young lord of lorne_, we find:- "2 ells cambridg' at 8s. the ell for ruffles, 16s. "2 ells of perling at 30s., the uther at 33s. 4d., £3 3s. 4d."--innes' _sketches of early scotch history._ [1197] january, 1686. [1198] "in 1701, when mistress margaret, daughter of the baron of kilravock, married, 'flounced muslin and lace for combing cloths,' appear in her outfit."--innes' _sketches_. [1199] in a pamphlet published 1702, entitled, _an accompt carried between england and scotland_, alluding to the encouragement of the yarn trade, the author says: "this great improvement can be attested by the industry of many young gentlewomen that have little or no portion, by spinning one pound of fine lint, and then breaking it into fine flax and whitening it. one gentlewoman told me herself that, by making an ounce or two of it into fine bone lace, it was worth, or she got, twenty pounds scots for that part of it; and might, after same manner, five or eight pounds sterling out of a pound of lint, that cost her not one shilling sterling. now if a law were made not to import any muslin (her grace the duchess of hamilton still wears our finest scots muslin as a pattern to others--she who may wear the finest apparel) and holland lace, it would induce and stir up many of all ranks to wear more fine 'scots lace,' which would encourage and give bread to many young gentlewomen and help their fortunes." then, among the products of scotland by which "we may balance any nation," the same writer mentions "our white thread, and making laces." "on tuesday, the 16th inst., will begin the roup of several sorts of merchants' goods, in the first story of the turnpyke, above the head of bells wynd, from 9 to 12 and 2 till 5. 'white thread lace.'"--_edinburgh courant._ 1706. [1200] see chap. xxv., queen anne. [1201] _edinburgh advertiser._ 1764. [1202] 1745. the following description of lady lovat, wife of the rebel simon, is a charming picture of a scotch gentlewoman of the last century:- "when at home her dress was a red silk gown with ruffled cuffs and sleeves puckered like a man's shirt, a fly cap of lace encircling her head, with a mob cap laid across it, falling down on the cheeks; her hair dressed and powdered; a lace handkerchief round the neck and bosom (termed by the scotch a _befong_)--a white apron edged with lace.... any one who saw her sitting on her chair, so neat, fresh, and clean, would have taken her for a queen in wax-work placed in a glass case."--_heart of midlothian._ sir walter scott, whose descriptions are invariably drawn from memory, in his _chronicles of the canongate_, describes the dressing-room of mrs. bethune balliol as exhibiting a superb mirror framed in silver filigree-work, a beautiful toilet, the cover of which was of flanders lace. [1203] _heart of midlothian._ [1204] _statistical account of scotland._ sir john sinclair. edinburgh, 1792. vol. ii., 198. [1205] _edinburgh amusement._ [1206] 1755. premium £2 offered. "for the whitest, best, and finest lace, commonly called hamilton lace, and of the best pattern, not under two yards in length and not under three inches in breadth." [1207] the edinburgh society did not confine their rewards to hamilton lace; imitation of dresden, catgut lace, gold, silver, and even livery lace, each met with its due reward. 1758. for imitation of lace done on catgut, for ruffles, a gold medal to miss anne cant, edinburgh. for a piece of livery lace done to perfection to j. bowie, 2 guineas. to w. bowie for a piece of gold and silver lace, 2 guineas. [1208] 1769. pennant, in his _tour_, mentions among the manufactures of scotland thread laces at leith, hamilton and dalkeith. [1209] in 1762, dec. 9, a schoolmistress in dundee, among thirty-one accomplishments in which she professes to instruct her pupils, such as "waxwork, boning fowls without cutting the back," etc., enumerates, no. 21, "true point or tape lace," as well as "washing flanders lace and point." again, in 1764, mr. and mrs. mitchell advertise in their boarding-school "lacework and the washing of blonde laces; the pupils' own laces washed and got up at home. terms £24." at miss glen's boarding-school in the trunk close, 1768, young ladies are taught "white and coloured seam and washing of lace"--gratis. these lady-teachers were not appointed in scotland without giving due proofs of their capacity. in 1758 the magistrates and council of aberdeen, being unanimous as to the "strict morality, dresden work, modesty, and catgut lace-making," etc., of miss betsey forbes, elected her to the office of schoolmistress of the city. in _the cottagers of glenburnie_ a lady, mrs. mason, tells a long story of the young laird having torn a suit of lace she was busied in getting up. [1210] _edinburgh advertiser._ [1211] 1774. "several punds of badly-spun yarn was burnt by the stamp master in montrose." this announcement constantly occurs. [1212] about this period a mr. brotherton, of leith, seems to have made a discovery which was but a prelude to the bobbin net. it is thus described in the _weekly magazine_ of 1772:--"a new invention has lately been discovered by mr. brotherton, in leith, for working black silk lace or white thread lace on a loom, to imitate any pattern whatever, and the lace done in this way looks fully as well as if sewed, and comes much cheaper. it is done any breadth, from three inches to three-quarters of a yard wide." [1213] in 1775 dallas, barclay & co., advertise a selling off of fine point, brussels thread, blond, and black laces of all kinds, silver double edged lace, etc.--_edinburgh advertiser._ 1775. "black blonde and thread laces, catguts of all sorts, just arrived from the india house in london in the canongate."--_caledonian mercury._ "fashions for january; dresses trimmed with brussels point or mignonette."--_ibid._ same year. [1214] "madame puteau carries on a lace manufacture after the manner of mechlin and brussels. she had lately twenty-two apprentices from the glasgow hospital.... mrs. puteau has as much merit in this branch as has her husband in the making of fine thread. this he manufactures of such a fineness as to be valued at £10 the pound weight."--_essays on the trade, commerce, manufactures, fisheries, etc., of scotland._ david loch. 1778. [1215] "if you look at the wardrobes of your grandmother, you will perceive what revolutions have happened in taste of mankind for laces and other fineries of that sort. how many suits of this kind do you meet with that cost amazing sums, which are now, and have long since been, entirely useless. in our own day did we not see that in one year brussels laces are most in fashion and purchased at any price, while the next perhaps they are entirely laid aside, and french or other thread laces, or fine sewings, the names of which i know not, highly prized."--_observations on the national industry of scotland._ anderson. 1778. [1216] lace-making at hamilton is now a thing of the past, replaced in the nineteenth century by a tambour network for veils, scarfs and flounces. [1217] _essay on the dress of the early irish._ j. c. walker. 1788. [1218] _the image of irelande_, by jhon derricke. 1578. [1219] in 1562. see camden. _hist. eliz._ [1220] henry viii. 1537. against irish fashions. not "to weare any shirt, smock, kerchor, bendel, neckerchour, mocket, or linen cappe colored or dyed with saffron," and not to use more than seven yards of linen in their shirts or smocks. [1221] 4 edw. iv., harl mss. no. 1419. _b.-g._ 494. [1222] that lace ruffs soon appeared in ireland may be proved by the effigy on a tomb still extant in the abbey of clonard, in which the dillon arms are conspicuous, and also by paintings of the st. lawrence family, _circ._ 1511, preserved at howth castle. in the portrait at muckruss of the countess of desmond she is represented with a lace collar. it was taken, as stated at the back of the portrait, "as she appeared at the court of king james, 1614, and in y^e 140th year of her age." thither she went to endeavour to reverse the attainder of her house. [1223] at the end of the last century there lived at creaden, near waterford, a lady of the name of power, lineal descendant of the kings of munster, and called the queen of creaden. she affected the dress of the ancient irish. the border of her coif was of the finest irish-made brussels lace; her jacket of the finest brown cloth trimmed with gold lace; her petticoat of the finest scarlet cloth bordered with a row of broad gold lace; all her dress was of irish manufacture. [1224] _gentleman's and citizen's almanack_, by g. watson. dublin, 1757. [1225] "the freedom of the city of dublin was also conferred upon her, presented in due form in a silver box as a mark of esteem for her great charities and constant care of the foundling children in the city workhouse."--_dublin freeman's journal_, july 30th, 1765. [1226] _gentleman's and citizen's almanack_, by samuel watson. 1773. [1227] "the lady arabella denny died 1792, aged 85; she was second daughter of thomas fitzmaurice, earl of kerry. the irish academy, in acknowledgment of her patriotic exertions, offered a prize of 100 guineas for the best monody on her death. it was gained by john macaulay, esq."--_dublin freeman's journal_, july 20th, 1766. [1228] wakefield writes in 1812: "lace is not manufactured to a large extent in ireland. i saw some poor children who were taught weaving by the daughters of a clergyman, and mr. tighe mentions a school in kilkenny where twelve girls were instructed in the art. at abbey-leix there is a lace manufacture, but the quantity made is not of any importance."--_account of ireland. statistical and political._ edw. wakefield. 1812. [1229] _pall mall gazette_, may 8th, 1897. [1230] walker was a man of literary and artistic tastes, and educated for the church, but, marrying the daughter of a lace-manufacturer, he set up in that business in essex, working for the london wholesale trade. he removed next to limerick, where he continued till 1841, when he sold the business, but his successor becoming bankrupt, he never received the purchase money, and died 1842, his ingenuity and industry ill-rewarded. in some work (we have lost the reference) it is stated that "coggeshall, in essex, made a tambour lace, a sort of medium between lace and embroidery." could this be walker's manufacture? [1231] in 1855 the number of workers employed numbered 1,500. in 1869 there were less than 500. in 1869 mrs. palliser writes of the tambour lace industry: "the existing depression of the trade has been partly caused by the emigration of girls to america and the colonies, while glove-making and army clothing employ the rest; and indeed the manufacture aiming only at cheapness had produced a lace of inferior quality, without either novelty or beauty of design, from which cause limerick lace has fallen into disrepute." [1232] no account of limerick lace would be complete which does not make some reference to the work of the sisters of mercy at kinsale, co. cork, where so much is now being done to revive those industries which were originally started with the object of coping with the famine of 1846. this revival is largely due to mr. a. s. cole, who originally suggested the establishment of an art class in connection with south kensington, with mr. brennar, of the cork school of art, as its master. the studio is in connection with the workroom, which secures constant touch between the designing, alteration, and adaptation of patterns and their execution. (_pall mall gazette_, may 8th, 1897.) [1233] various schools have been established throughout ireland. lady de vere taught the mistress of a school on her own demesne at curragh, co. limerick, the art of making application flowers, giving her own brussels lace as patterns. the work was so good as soon to command a high price, and the late queen of the belgians actually purchased a dress of it at harding's, and took it back with her to brussels, the fabric is known by the name of "irish" or "curragh point." the school set up at belfast by the late jane clarke exhibited in 1851 beautiful imitations of the old spanish and italian points; amongst others a specimen of the fine raised venetian point, which can scarcely be distinguished from the original. it is now in the vict. and albert museum (1869). [1234] from the tradition that a jesuit procured the first venetian lace pattern used in ireland. [1235] it was in the famine period that the rector of headford, co. galway, brought about a revival of the pillow lace, which was known to a few women in the county--taught, according to the tradition, by a soldier from foreign parts at some unknown date. this work is now reviving, thanks to the energetic care of mrs. dawson. [1236] mr. a. s. cole gives the following classification of irish laces:- there are seven sorts of irish lace. 1. flat needle-point lace. 2. raised needle-point lace. 3. embroidery on net, either darning or chain-stitch. 4. cut cambric or linen work in the style of guipure or appliqué lace. 5. drawn thread-work in the style of reticella, and italian cut points. 6. pillow lace in imitation of devon lace. 7. crochet. [1237] _history of machine-wrought hosiery and lace manufacture._ w. felkin. london, 1867. [1238] see germany. [1239] an open stitch on stockings, called the "derby rib," had been invented by jedediah strutt, in 1758. [1240] by rev. william lee, of calverton (nottinghamshire). the romantic story is well known; but whether actuated, as usually stated, by pique at the absorbing attention paid to her knitting by a lady, when he was urging his suit--or, as others more amiably affirm, by a desire to lighten the labour of his wife, who was obliged to contribute to their joint support by knitting stockings--certain it is that it was he who first conceived the idea of the stocking-frame, and completed it about 1589. his invention met with no support from queen elizabeth, so lee went to france, where he was well received by henry iv.; but the same year henry was assassinated, and the regent withdrawing her protection, lee died of grief and disappointment. the arms of the framework knitters' company (fig. 162) are a stocking-frame, having for supporters william lee in full canonicals and a female holding in her hand thread and a knitting-needle. after lee's death his brother returned to england, where lee's invention was then appreciated. stocking-making became the fashion, everyone tried, it, and people had their portraits taken with gold and silver needles suspended round their necks. [1241] vandyke had also appended the chain to his stocking-frame, and the zigzags formed by the ribs of his stockings were called "vandyke," hence the term now generally applied to all indented edges. [1242] mechlin net was disused in 1819 from its too great elasticity. [1243] the "bobbins" on which the thread is wound for the weft consist of two circular copper plates riveted together, and fixed upon a small carriage or frame which moves backwards and forwards like a weaver's shuttle. [1244] the old loughboro' employed sixty movements to form one mesh--a result now obtained by twelve. it produced 1,000 meshes a minute--then thought a wonderful achievement, as by the pillow only five or six can be obtained. a good circular machine now produces 30,000 in the same time. the quality of bobbin net depends upon the smallness of the meshes, their equality in size, and the regularity of the hexagons. [1245] bobbin net is measured by the "rack," which consists of 240 meshes. this mode of counting was adopted to avoid the frequent disagreements about measure which arose between the master and the workmen in consequence of the elasticity of the net. the exchange of linen to cotton thread was the source of great regret to the roman catholic clergy, who by ecclesiastical law can only wear albs of flax. [1246] this association was formed by ludlam, or general ludd, as he was called, a stocking-frame worker at nottingham in 1811, when prices had fallen. the luddites, their faces covered with a black veil, armed with swords and pistols, paraded the streets at night, entered the workshops, and broke the machines with hammers. a thousand machines were thus destroyed. soon the net-workers joined them and made a similar destruction of the bobbin net machines. although many were punished, it was only with the return of work that the society disappeared in 1817. [1247] heathcoat represented tiverton from 1834 to 1859, colleague of lord palmerston. steam power was first introduced by mr. j. lindley in 1815-16, but did not come into active operation till 1820; it became general 1822-23. [1248] mcculloch. [1249] the most extraordinary changes took place in the price of the finished articles. lace which was sold by heathcoat for 5 guineas a yard soon after the taking out of his patent can now be equalled at eighteenpence a yard; quillings, as made by a newly-constructed machine in 1810, and sold at 4s. 6d., can now be equalled and excelled at 1½d. a yard; while a certain width of net which brought £17 per piece 20 years ago is now sold for 7s. (1843). progressive value of a square yard of plain cotton bobbin net: £ s. s. d. 1809 5 0 1830 2 0 1813 2 0 1833 1 4 1815 1 10 1836 0 10 1818 1 0 1842 0 6 1821 0 12 1850 0 4 1824 0 8 1856 0 3 1827 0 4 1862 0 3 _histoire du tulle et des dentelles mécaniques en angleterre et en france_, par s. ferguson fils. paris, 1862. "bobbin net and lace are cleaned from the loose fibres of the cotton by the ingenious process of gassing, as it is called, invented by the late mr. samuel hall, of nottingham. a flame of gas is drawn through the lace by means of a vacuum above. the sheet of lace passes to the flame opaque and obscured by loose fibre, and issues from it bright and clear, not to be distinguished from lace made of the purest linen thread, and perfectly uninjured by the flame."--_journal of the society of arts._ jan., 1864. [1250] in 1826 mr. huskisson's reduction of the duty on french tulle caused so much distress in leicester and nottingham, that ladies were desired to wear only english tulle at court; and in 1831 queen adelaide appeared at one of her balls in a dress of english silk net. [1251] john hindres, in 1656, first established a stocking-frame in france. [1252] the net produced was called "tulle simple et double de lyon et de vienne." the net was single loops, hence the name of "single press," given to these primitive frames. [1253] in 1801 george armitage took a "point net" machine to antwerp, and made several after the same model, thus introducing the manufacture into belgium. he next went to paris, but the wholesale contraband trade of hayne left him no hope of success. he afterwards went to prussia to set up net and stocking machines. at the age of eighty-two he started for australia, where he died, in 1857, aged eighty-nine. [1254] the great difficulty encountered by the french manufacturers consisted in the cotton. france did not furnish cotton higher than no. 70; the english ranges from 160 to 200. the prohibition of english cotton obliged them to obtain it by smuggling until 1834, when it was admitted on paying a duty. now they make their own, and are able to rival nottingham in the prices of their productions. a great number of nottingham lace-makers have emigrated to calais. [1255] the caen blond first suggested the idea. [1256] the first net frame was set up at brussels in 1801. others followed at termonde, 1817; ghent, 1828; sainte fosse, etc. [1257] d. wyatt. [1258] mr. ferguson, the inventor of the bullet-hole, square net (tulle carré), and wire-ground (point de champ ou de paris), had transferred his manufacture, in 1838, from nottingham to cambrai, where, in partnership with m. jourdan, he made the "dentelle de cambrai," and in 1852 the "lama" lace, which differs from the cambrai inasmuch as the weft (_trame_) is made of mohair instead of silk. mr. ferguson next established himself at amiens, where he brought out the yak, another mixed lace. [1259] the first patents were:- 1836. hind and draper took out one in france, and 1837 in england. 1838. ferguson takes a patent at cambrai under the name of his partner jourdan. 1839. crofton. 1841. houston and deverill, for the application of the jacquard to the leaver machine. the great manufactures of nottingham and calais are made on the leaver jacquard frame. the first patterned net was produced, 1780, by e. frost, the embroidery made by hand. [1260] cantor lectures on the art of lace-making. a. s. cole. 1880. [1261] "the machines now in use are the circular, leaver, transverse warp and pusher. out of 3,552 machines computed to be in england in 1862 2,448 were at nottingham."--_international exhibition, juror's report._ [1262] _daphne lagetta._ [1263] he makes a paste of the plant which is the usual food of the caterpillar, and spreads it thinly over a stone or other flat substance; then with a camel's-hair pencil dipped in olive oil he draws upon the coating of paste the pattern he wishes the insects to leave open. the stone being placed in an inclined position, the caterpillars* are laid at the bottom, and the animals eat and spin their way up to the top, carefully avoiding every part touched by the oil, but devouring the rest of the paste.--_encyclopædia britannica._ * _phalæna pandilla._ [1264] two interesting papers were published in the _gazette des beaux arts_ for 1863 and 1864, entitled, "essai bibliographique sur les anciens dessins de dentelles, modèles de tapisseries, patrons de broderies et publiés le xvi. et le xvii. siècle," &c, by the marquis girolamo d'addo, of milan. [1265] cambridge university library. [1266] paris, bibliothèque nat. gravures, l. h. 13 d.* [1267] bib. nat. v. 1897.*--genoa. cav. merli, 1528 (?). [1268] paris, bib. de l'arsenal. 11,952.* [1269] oxford, bib. bodleian. [1270] milan, cavaliere bertini. [1271] venice, library of st. mark. [1272] bib. nat. grav. l. h. 13. e.* [1273] bib. de l'arsenal. 11,951.* [1274] silvestre, _marques typographiques des imprimeurs en france, depuis 1470_. paris, 1853-61. [1275] quoted in cat. cappi, of bologna, 1829. [1276] quoted in cat. cappi, of bologna, 1829. [1277] _ibid._ [1278] _ibid._ [1279] cat. bib. heber., part vi., p. 258. no. 3,514. [1280] paris, bib. sainte-geneviève. v. 634.* bound in one volume with the three following. (nos. 16, 17, and 18.)--catalogue de livres provenant de la bibliothèque de m. l. d. d. l. v. (duke de la vallière). paris, 1763. t. xi., no. 2,204. [1281] bib. ste. geneviève. v. 634.*--bib. de l'arsenal. no. 11,953.*--cat. d'estrées. paris, 1740-46. no. 8,843.3. [1282] bib. ste. geneviève. v. 634.*--bib. de l'arsenal. no. 11,953.*--cat. d'estrées. no. 8,843. 1. [1283] bib. ste. geneviève. v. 634.*--bib. de l'arsenal. no. 11.953.* [1284] paris, bib. baron jérôme pichon.* [1285] bib. nat. grav. l. h. 4.* [1286] bib. nat. grav. l. h. 4. a.*--catalogo ragionato dei libri posseduti dal conte di cicognara. pisa, 1821. no. 1,818. [1287] library v. and a. museum.--venice, lib. st. mark,--milan, bib. marquis d'adda. [1288] milan, bib. marquis g. d'adda. [1289] rome, bib. prince massimo. [1290] bib. de l'arsenal. 11,954 (with d. de sera).* [1291] genoa, cav. merli. [1292] quoted by cav. merli. [1293] florence. m. bigazzi. [1294] paris, bib. nat. milan, bib. belgiosa and marquis d'adda. [1295] bib. de l'arsenal. 11,953.*--bologna, bib. comm.--cat. d'estrées. 8843. no. 2. [1296] mr. e. arnold. [1297] royal library, munich. [1298] cat. cicognara. 1583. no. 4. [1299] bib. de l'arsenal. no. 11,953.*--mr. e. arnold. [1300] florence, m. bigazzi. [1301] cat. cicognara. 1583. no. 1. bound in one volume, with six others. [1302] _ibid._ 1583. no. 5. [1303] cat. cicognara. 1583. no. 6. [1304] _ibid._ 1583. no. 7. [1305] cat. cicognara. no. 17 [1306] _ibid._ 1583. no. 3. [1307] bib. de l'arsenal. 11,953.* [1308] bib. de l'arsenal. 11,953.*--mrs. stisted. bagni di lucca. [1309] bib. nat. v. 1901.*--bib. de l'arsenal. 11,973.*--cat. d'estrées. [1310] bib. nat. v. 1901.*--bib. de l'arsenal. 11,973.*--cat. d'estrées. [1311] trezola, in the riviera dialect, signifies a plait-tresse. "porta i capei in trezola." ("she wears her hair plaited.") [1312] bib. de l'arsenal. 11,955 _bis_,* with _vera perfettione_ and _fiori_ of f. franceschi, and _corona_ of vecellio. [1313] quoted by willemin. [1314] quoted in art. "tricot et travaux des dames." [1315] bib. m. d'adda. [1316] dresden, new museum for art and industry. communicated by mr. gruner. [1317] bib. de l'arsenal. 11,954.* [1318] milan. bib. marquis girolamo d'adda. [1319] bib. rouen. no. 1313. both parts in one vol.* [1320] we have received notice of there being a copy of the original edition at turin, in the library of the university. [1321] bib. nat. grav. l. h. 2.* (with part i.): "ex bibliotheca illustrissimi johannis d'estrées cameracensis archiepiscopi designati quam monasterio st. germani à pratis legavit. anno 1718." [1322] brussels, bib. roy. m. alvin, conservateur en chef. [1323] bib. ste. geneviève. v. 634.*--bib. nat. grav. l. h. 2. b.* [1324] bib. ste. geneviève (with 1st part).*--bib. nat. grav. l. h. 2. b. (with 1st part).* [1325] bib. de l'arsenal. 11,954 _bis._* [1326] british museum. grenville lib. 2584.* [1327] bib. nat. grav. l. h. 1. a.* [1328] brussels, bib. roy.--cat. cicognara. no. 1822. [1329] quoted in watt's bibliographia britannica. [1330] bib. de l'arsenal. no. 11,954 _ter._* [1331] bib. de l'arsenal. 11,955 _bis._*--bib. bodleian. [1332] _ibid._ [1333] bib. de l'arsenal. 11,955* (with books 2 and 3). _mazzette_ means detached bouquets--sprigs. [1334] rouen, bib. bound in one vol. with the three parts of the _corona_.* [1335] communicated by mr. gruner. [1336] note of m. leber, who gives the dates of the dedication of the rouen copy as follows:--b. 1, 20 jan.; b. 2, 24 jan.; b. 3, 15 june, all 1591. the _gioiello_, 10 nov., 1592. the vol. containing the two works has 101 plates, in addition to 10 leaves of titles, dedications, etc. [1337] victoria and albert museum. [1338] brussels, bib. royale. jean de glen is also author of a work entitled _des habits, moeurs, ceremonies, façons de faire, anciennes & modernes du monde, par j. de glen, linger_. liége. j. de glen. 1601. in-8. [1339] lyon. m. yemenis. [1340] turin, count manzoni. [1341] berlin, royal library. [1342] dresden, new museum of art and industry. [1343] bib. nat. v. 1902,* and grav. l. h. 3.*--bib. de l'arsenal. 11,956.*--bib. ste. geneviève.* [1344] victoria and albert museum. [1345] bib. nat. grav. b. c. 22. vinciolo.* [1346] catalogue des livres de feu m. picard. 1780. no. 455. [1347] brussels, bib. royale. [1348] nuremberg, german museum. [1349] jew's stitch is given both by sibmacher and latomus. (no. 95.) we do not know what it is. [1350] cited by cav. merli, in his _origine delle trine_. [1351] cat. evans, strand. [1352] paris, musée de cluny.* [1353] bib. nat. grav. l. h. 4. b*.--nuremberg, german museum. [1354] stockholm. royal library. (communicated by the librarian, mr. h. wieselgren.) in the same library is a work, without title-page or date, for "broderies et de tous autres besongnant à l'aiguille," by hieronymus cock, containing, with designs of every description, a few patterns for spanish point of great beauty. [1355] bib. baron j. pichon, 2 copies.*--cat. d'estrées.--bib. nat. grav. b. c. 22.* (title-page wanting.) [1356] bib. rouen. no. 1,314.*--bib. baron j. pichon.* [1357] florence, bib. prof. santerelli.--rome, bib. prince massimo. [1358] cat. evans, strand. [1359] hesse-cassel, public library. communicated by mr. n. r. bernhardi, the head librarian. [1360] lowndes, _bibliographer's manual_. new edit. by henry bohn. [1361] victoria and albert museum. [1362] vienna, imperial library. [1363] brussels, bib. roy. [1364] bib. imp. grav. l. h. 2. a.*--brussels, bib. roy.--cat. d'estrées 8847. [1365] in the possession of mrs. marryat. "maes y dderwen."--bib. bodleian. [1366] quoted by mr. douce (_illustrations of shakspeare_). [1367] s. marino. m. p. bonella. [1368] berlin, roy. library. [1369] bib. de l'arsenal. 11,956 _bis_.* [1370] victoria and albert museum. [1371] victoria and albert museum. [1372] _ibid._ [1373] _a history of hand-made lace._ mrs. nevill jackson and e. jesurum, 1900. [1374] _a history of hand-made lace._ mrs. nevill jackson and e. jesurum. 1900. [1375] _a history of hand-made lace._ mrs. nevill jackson and e. jesurum. 1900. [1376] _a history of hand-made lace._ mrs. nevill jackson and e. jesurum. 1900.