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 a.s.syrian and Egyptian monuments this is noted again and again.

[Ill.u.s.tration: 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 coa.r.s.e 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.

[Ill.u.s.tration: MILANESE LACE.

(_Author's Collection._)]

V

THE LACES OF FRANCE

[Ill.u.s.tration: "CUT-WORKE."]

[Ill.u.s.tration: LACIS.]

[Ill.u.s.tration: 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'Alencon"--"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 Alencon. 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 Alencon 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 ill.u.s.tration, 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.

[Ill.u.s.tration: "POINT DE FRANCE."

(_The property of Lady Kenmare._)]

[Ill.u.s.tration: POINT D'ALENcON.

(_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 surpa.s.s the earliest Venetian Point laces, but certainly the next lace in order of merit, "Point d'Alencon." 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 Alencon is the only one which has horsehair for its foundation. A strand of hair is carefully st.i.tched down to the edges and is b.u.t.tonholed 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 st.i.tched together in what is known as "fine joining." So elaborate was the original Point d'Alencon 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 Alencon 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 Alencon lace, as of all fine art work in France. An attempt was made by Napoleon I. to revive it, but its glories had pa.s.sed, 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 coa.r.s.e of execution.

"_Point d'Argentan._"

This lace is practically the same as Alencon with a variation of ground, which, to the uninitiated, appears coa.r.s.e. A magnifying gla.s.s, 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 b.u.t.tonhole st.i.tches. Very frequently a mixed lace of Alencon and Argentan is found, the result being very fine.

[Ill.u.s.tration: "POINT DE FRANCE."

(_Author's Collection._)]

[Ill.u.s.tration: 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'Alencon 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 ill.u.s.trated 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 coa.r.s.e Italian lace formerly made there has been entirely superseded. It strongly imitates Alencon and Argentan lace, but is without the raised cord which is so typical of these, having the pattern outlined with flat b.u.t.tonhole st.i.tches 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, Alencon, ever produced, the prices comparing very favourably with the old work, though still very costly.

[Ill.u.s.tration: POINT D'ARGENTAN WITH POINT D'ALENcON BORDER.

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

[Ill.u.s.tration: ARGENTELLA LACE, SHOWING THE "PARTRIDGE-EYE" GROUND.

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

VI

THE PILLOW LACES OF FRANCE

[Ill.u.s.tration: EARLY VALENCIENNES.

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