The idea of giving, by means of photography, full-sized reproductions of my specimens of ancient needle and bobbin-made lace, originated from a desire to avoid unfolding these delicate fabrics when my friends wished to see them. By arranging carefully that several of the photographs should give the exact size of each stitch of the work, seeing and handling the originals have been rendered practically unnecessary. Though many books on lace exist giving most valuable historic, artistic and technical data, none with which I am acquainted give the practical information I have found most desired, that is to say, full-sized representations of the pieces of lace. I therefore think that such reproductions of my specimens may have a wider interest than I had originally imagined, and accordingly I have now prepared them for general publication.

It is impossible to judge of lace from a mere picture of pretty and artistic drapery, or from portraits of great personages wearing lace collars or dress trimmings. Lace in pictures has, in the first place, been interpreted by the painter, and no pencil or brush can show more than the general effect. The stitches in the toilÉ, or ground of needle-point lace, amount sometimes to several thousand in every square inch; and the almost incredible fineness of the twists in the rÉseau of pillow laces makes identification very difficult, unless it is founded on observation of actual portions of the fabric. It can hardly be contested that, apart from some generally accepted deductions as to design and time of execution, the chief means of judging lace correctly lies in studying the toilÉ or clothing, and the groundwork of meshes or rÉseau. To assist in this, many of the examples of my lace in their actual size, and in some cases greatly enlarged photographs, are given.

I have illustrated and described only fabrics which, if not in my possession, have actually come under my observation, such as the two ancient albs of Eastern design, which, although hitherto unnoticed by Italian writers on lace, may, I think, claim to have formed a very interesting link between the Coptic or Egypto-Roman design, and that of the early Italian lace. To aid in a judgment on this point, I also illustrate some designs from early Coptic tombs.

The pre-Reformation "Pyx Veil" of needle-point linen work or tela tirata remains the property of the parish of Hessett in Suffolk. It is a supremely interesting object and unique, as far as I know, in the way it is worked. I therefore give two illustrations of it among the early sixteenth-century linen laces.

The period to which I confine my treatment of this art prevents my giving any account of the very successful and extensive revival of lace-making which has taken place all over Europe during the last sixty years. Italy, France, and Great Britain have already some hundreds of lace centres, while, from Denmark to Madagascar, Sweden to Ceylon, I have specimens of most excellent and praiseworthy industries. That these, as well as the very beautiful fabrics made now by lace machines, may prosper, must be the wish of all—and I believe that to study more and more carefully the models of the past will be the secret of success.

I classify lace as needle-point and bobbin-point. Numerous varieties occur in each, but I will only mention the three chief divisions I make in each class.

The three chief kinds of needle-point, "Trine ad Ago," are:

1. Lacis (or Modano) and Buratto work. (See Plates 8, 11, 17.) I include also under Lacis those varieties which are called in Italy Sfilature, as the ancient specimens are, I find, usually worked on a foundation of knotted lacis. See Plate 7.

2. Linen lace, comprising reticello work and tela tirata. See Plates 14, 19, 25.

3. Punto in aria—of which all later needle-point laces are varieties. See Plates 31 and 32.

The three chief ways of making bobbin-lace, "Trine a fuselli," are:

1. A tape, sometimes plain, sometimes ornamented, is made on the pillow. This tape is placed and arranged as wished and joined up on the pillow, but it is not cut or finished off, but continues to form the pattern until the lace is completed. See Plates 83 and 84.

2. Complete sprays or patterns are made on the pillow and finished off; these are afterwards joined by brides or by a rÉseau. See Plates 90 and 91.

3. The bobbins first used, continue and complete both pattern and ground of the whole length of the lace. See Plate 97.

I here give a Glossary, the result of inquiries tabulated during a stay in Italy some years ago. I cannot find any authoritative translation of the technical terms used to describe ancient lace, so I give my interpretations for what they are worth.