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Figs. 60 and 61 give some idea of the high quality to which this admirable counterfeit has been brought.

Collections of hand-made lace chiefly exist in museums and technical institutions, as for instance the Victoria and Albert Museum in London, the Musée des Arts Décoratifs in Paris, and museums at Lyons, Nuremberg, Berlin, Turin and elsewhere. In such places the opportunity is presented of tracing in chronological sequence the stages of pattern and texture development.

Literature.—The literature of the art of lace-making is considerable. The series of 16th- and 17th-century lace pattern-books, of which the more important are perhaps those by F. Vinciolo (Paris, 1587), Cesare Vecellio (Venice, 1592), and Isabetta Catanea Parasole (Venice, 1600), not to mention several kindred works of earlier and later date published in Germany and the Netherlands, supplies a large field for exploration. Signor Ongania of Venice published a limited number of facsimiles of the majority of such works. M. Alvin of Brussels issued a brochure in 1863 upon these patterns, and in the same year the marquis Girolamo d’Adda contributed two bibliographical essays upon the same subject to the Gazette des Beaux-Arts (vol. xv. p. 342 seq., and vol. xvii. p. 421 seq.). In 1864 Cavaliere A. Merli wrote a pamphlet (with illustrations) entitled Origine ed uso delle trine a filo di rete; Mons F. de Fertiault compiled a brief and rather fanciful Histoire de la dentelle in 1843, in which he reproduced statements to be found in Diderot’s Encyclopédie, subsequently quoted by Roland de la Platière. The first Report of the Department of Practical Art (1853) contains a “Report on Cotton Print Works and Lace-Making” by Octavius Hudson, and in the first Report of the Department of Science and Art are some “Observations on Lace.” Reports upon the International Exhibitions of 1851 (London) and 1867 (Paris), by M. Aubry, Mrs Palliser and others contain information concerning lace-making. The most important work first issued upon the history of lace-making is that by Mrs Bury Palliser (History of Lace, 1869). In this work the history is treated rather from an antiquarian than a technical point of view; and wardrobe accounts, inventories, state papers, fashionable journals, diaries, plays, poems, have been laid under contribution with surprising diligence. A new edition published in 1902 presents the work as entirely revised, rewritten and enlarged under the editorship of M. Jourdain and Alice Dryden. In 1875 the Arundel Society brought out Ancient Needlepoint and Pillow Lace, a folio volume of permanently printed photographs taken from some of the finest specimens of ancient lace collected for the International Exhibition of 1874. These were accompanied by a brief history of lace, written from the technical aspect of the art, by Alan S. Cole. At the same time appeared a bulky imperial 4to volume by Seguin, entitled La Dentelle, illustrated with wood-cuts and fifty photo-typographical plates. Seguin divides his work into four sections. The first is devoted to a sketch of the origin of laces; the second deals with pillow laces, bibliography of lace and a review of sumptuary edicts; the third relates to needle-made lace; and the fourth contains an account of places where lace has been and is made, remarks upon commerce in lace, and upon the industry of lace makers. Without sufficient conclusive evidence Seguin accords to France the palm for having excelled in producing practically all the richer sorts of laces, notwithstanding that both before and since the publication of his otherwise valuable work, many types of them have been identified as being Italian in origin. Descriptive catalogues are issued of the lace collections at South Kensington Museum, at the Science and Art Museum, Dublin, and at the Industrial Museum, Nuremberg. In 1881 a series of four Cantor Lectures on the art of lace-making were delivered before the Society of Arts by Alan S. Cole.

A Technical History of the Manufacture of Venetian Laces, by G. M. Urbani de Gheltof, with plates, was translated by Lady Layard, and published at Venice by Signor Ongania. The History of Machine-wrought Hosiery and Lace Manufacture (London, 1867), by Felkin, has already been referred to. There is also a technological essay upon lace made by machinery, with diagrams of lace stitches and patterns (Technologische Studien im sächsischen Erzgebirge, Leipzig, 1878), by Hugo Fischer. In 1886 the Libraire Renouard, Paris, published a History of Point d’Alençon, written by Madame G. Despierres, which gives a close and interesting account of the industry, together with a list, compiled from local records, of makers and dealers from 1602 onwards.—Embroidery and Lace: their manufacture and history from the remotest antiquity to the present day, by Ernest Lefebure, lace-maker and administrator of the École des Arts Décoratifs, translated and enlarged with notes by Alan S. Cole, was published in London in 1888. It is a well-illustrated handbook for amateurs, collectors and general readers.—Irish laces made from modern designs are illustrated in a Renascence of the Irish Art of Lace-making, published in 1888 (London).—Anciennes Dentelles belges formant la collection de feue madame Augusta Baronne Liedts et données au Musée de Grunthuis à Bruges, published at Antwerp in 1889, consists of a folio volume containing upwards of 181 phototypes—many full size—of fine specimens of lace. The ascriptions of country and date of origin are occasionally inaccurate, on account of a too obvious desire to credit Bruges with being the birthplace of all sorts of lace-work, much of which shown in this work is distinctly Italian in style.—The Encyclopaedia of Needlework, by Thérèse de Dillmont-Dornach (Alsace, 1891), is a detailed guide to several kinds of embroidery, knitting, crochet, tatting, netting and most of the essential stitches for needlepoint lace. It is well illustrated with wood-cuts and process blocks.—An exhaustive history of Russian lace-making is given in La Dentelle russe, by Madame Sophie Davidoff, published at Leipzig, 1895. Russian lace is principally pillow-work with rather heavy thread, and upwards of eighty specimens are reproduced by photo-lithography in this book.

A short account of the best-known varieties of Point and Pillow Lace, by A. M. S. (London, 1899), is illustrated with typical specimens of Italian, Flemish, French and English laces, as well as with magnified details of lace, enabling any one to identify the plaits, the twists and loops of threads in the actual making of the fabric.—L’Industrie