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 passed between the two pieces of linen at the back of the parchment, cutting the stitches which have passed through the parchment and linen, and so releasing the lace itself from its pattern parchment. In the earlier stages, the lace was made in lengths to serve as insertions (passements) and also in vandykes (dentelles) to serve as edgings. Later on insertions and vandykes were made in one piece. All of such were at first of a geometric style of pattern (Pl. figs. 3-5 and 6).

Following closely upon them came the freer style of design already mentioned, without and then with links or ties—brides—interspersed between the various details of the patterns (Pl. II. fig. 7), which were of flat tapelike texture. In elaborate specimens of this flat point lace some lace workers occasionally used gold thread with the white thread. These flat laces (“Punto in Aria”) are also called “flat Venetian point.” About 1640 “rose (raised) point” laces began to be made (Pl. III. fig. 12). They were done in relief and those of bold design with stronger reliefs are called “gros point de Venise.” Lace of this latter class was used for altar cloths, flounces, jabots or neckcloths which hung beneath the chin over the breast (Pl. III. fig. 11), as well as for trimming the turned-over tops of jack boots. Tabliers and ladies’ aprons were also made of such lace. In these no regular ground was introduced. All sorts of minute embellishments, like little knots, stars and loops or picots, were worked on to the irregularly arranged brides or ties holding the main patterns together, and the more dainty of these raised laces (Pl. fig. 17) exemplify the most subtle uses to which the buttonhole stitch appears capable of being put in making ornaments. But about 1660 came laces with brides or ties arranged in a honeycomb reticulation or regular ground. To them succeeded lace in which the compact relief gave place to daintier and lighter material combined with a ground of meshes or réseau. The needle-made meshes were sometimes of single and sometimes of double threads. A diagram is given of an ordinary method of making such meshes (fig. 31). At the end of the 17th century the lightest of the Venetian needlepoint laces were made; and this class which was of the filmiest texture is usually known as “point de Venise à réseau” (Pl. V. fig. 20a). It was contemporary with the needle-made French laces of Alençon and Argentan that became famous towards the latter part of the 17th century (Pl. V. fig. 20b). “Point d’Argentan” has been thought to be especially distinguished on account of its delicate honeycomb ground of hexagonally arranged brides (fig. 32), a peculiarity already referred to in certain antecedent Venetian point laces. Often intermixed with this hexagonal brides ground is the fine-meshed ground or réseau (fig. 20b), which has been held to be distinctive of “point d’Alençon.” But the styles of patterns and the methods of working them, with rich variety of insertions or modes, with the brodé or cordonnet of raised buttonhole stitched edging, are alike in Argentan and Alençon needle-made laces (Pl. V. fig. 20b and fig. 32). Besides the hexagonal brides ground and the ground of meshes another variety of grounding (réseau rosacé) was used in certain Alençon designs. This ground consisted of buttonhole-stitched skeleton hexagons within each of which was worked a small hexagon of toilé connected with the outer surrounding hexagon by means of six little ties or brides (Pl. V. fig. 21). Lace with this particular ground has been called “Argentella,” and some writers have thought that it was a specialty of Genoese or Venetian work. But the character of the work and the style of the floral patterns are those of Alençon laces. The industry at Argentan was virtually an offshoot of that nurtured at Alençon, where “lacis,” “cut work” and “vélin” (work on parchment) had been made for years before the well-developed needle-made “point d’Alençon” came into vogue under the favouring patronage of the state-aided lace company mentioned as having been formed in 1665. Madame Despierre in her Histoire du point d’Alençon gives an interesting and trustworthy account of the industry.

In Belgium, Brussels has acquired some celebrity for needle-made laces. These, however, are chiefly in imitation of those made at Alençon, but the toilé is of less compact texture and sharpness in definition of pattern. Brussels needlepoint lace is often worked with meshed grounds made on a pillow, and a plain thread is used as a cordonnet for their patterns instead of a thread overcast with buttonhole stitches as in the French needlepoint laces. Note the bright sharp outline to the various ornamental details in Pl. V. fig. 20b.

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