Page:EB1911 - Volume 16.djvu/63

 England. Whilst the character of its design in the early 17th century was rather more primitive, as a rule, than that of the contemporary Italian, the method of its workmanship is virtually the same and an interesting specimen of English needle-made lace inset into an early 17th-century shirt is illustrated in fig. 33. Specimens of needle-made work done by English school children may be met with in samplers of the 17th and 18th centuries. Needlepoint lace is successfully made at Youghal, Kenmare and New Ross in Ireland, where of late years attention has been given to the study of designs for it. The lace-making school at Burano near Venice produces hand-made laces which are, to a great extent, careful reproductions of the more celebrated classes of point laces, such as “punto in aria,” “rose point de Venise,” “point de Venise à réseau,” “point d’Alençon,” “point d’Argentan” and others. Some good needlepoint lace is made in Bohemia and elsewhere in the Austrian empire.

Pillow-made Lace.—Pillow-made lace is built upon no substructure corresponding with a skeleton thread pattern such as is used for needlepoint lace, but is the representation of a pattern obtained by twisting and plaiting threads.

These patterns were never so strictly geometric in style as those adopted for the earliest point lace making from the antecedent cut linen and drawn thread embroideries. Curved forms, almost at the outset of pillow lace, seem to have been found easy of execution (see lower border, Pl. II. fig. 3); its texture was more lissom and less crisp and wiry in appearance than that of contemporary needle-made lace. The early twisted and plaited thread laces, which had the appearance of small cords merging into one another, were soon succeeded by laces of similar make but with flattened and broader lines more like fine braids or tapes (Pl. I. fig. 2, and Pl. fig. 10). But pillow laces of this tapey character must not be confused with laces in which actual tape or braid is used. That peculiar class of lace-work does not arise until after the beginning of the 17th century when the weaving of tape is said to have commenced in Flanders. In England this sort of tape-lace dates no farther back than 1747, when two Dutchmen named Lanfort were invited by an English firm to set up tape looms in Manchester.

The process by which lace is made on the pillow is roughly and briefly as follows. A pattern is first drawn upon a piece of paper or parchment. It is then pricked with holes by a skilled “pattern pricker,” who determines where the principal pins shall be stuck for guiding the threads. This pricked pattern is then fastened to the pillow. The pillow or cushion varies in shape in different countries. Some lace-makers use a circular pad, backed with a flat board, in order that it may be placed upon a table and easily moved. Other lace-workers use a well-stuffed round pillow or short bolster, flattened at the two ends, so that they may hold it conveniently on their laps. From the upper part of pillow with the pattern fastened on it hang the threads from the bobbins. The bobbin threads thus hang across the pattern. Fig. 34 shows the commencement, for instance, of a double set of three-thread plaitings. The compact portion in a pillow lace has a woven appearance (fig. 35).

About the middle of the 17th century pillow lace of formal scroll patterns somewhat in imitation of those for point lace was made, chiefly in Flanders. The earlier of these had grounds of ties or brides and was often called “point de Flandres” (Pl. fig. 14) in contradistinction to scroll patterns with a mesh ground, which were called “point d’Angleterre” (Pl. fig. 16). Into Spain and France much lace from Venice and Flanders was imported as well as into England, where from the 16th century the manufacture of the simple pattern “bone lace” by peasants in the midland and southern counties was still being carried on. In Charles II.’s time its manufacture was threatened with extinction by the preference given to the more artistic and finer Flemish laces. The importation of the latter was accordingly prohibited. Dealers in Flemish lace sought to evade the prohibitions by calling certain of their laces “point d’Angleterre,” and smuggling them into England. But smuggling was made so difficult that English dealers were glad to obtain the services of Flemish lace-makers and to induce them to settle in England. It is from some such cause that the better 17th- and 18th-century English pillow laces bear resemblance to pillow laces of Brussels, of Mechlin and of Valenciennes.

As skill in the European lace-making developed soon after the middle of the 17th century, patterns and particular plaitings came to be identified with certain localities. Mechlin, for instance, enjoyed a high reputation for her productions. The chief technical features of this pillow lace lie in the plaiting of the meshes, and the outlining of the clothing or toilé with a thread cordonnet. The ordinary Mechlin mesh is hexagonal in shape. Four of the sides are of double twisted threads, two are of four threads plaited three times (fig. 39).

In Brussels pillow lace, which has greater variety of design, the mesh is also hexagonal; but in contrast with the Mechlin mesh whilst four of its sides are of double-twisted threads the other two are of four threads plaited four times (fig. 41). The finer specimens of Brussels lace are remarkable for the fidelity and grace with which the botanical forms in many of its patterns are rendered (Pl. VI. fig. 23). These are mainly reproductions or adaptations of designs for point d’Alençon, and the soft quality imparted to them in the texture of pillow-made lace contrasts with the harder and more crisp appearance in needlepoint