  Plate III. (1) DETAIL OF THE ALB OF POPE BONIFACE VIII. Plate IV. THREE PIECES OF NEEDLEWORK FROM EGYPTO-ROMAN OR COPTIC TOMBS OF THE SECOND AND THIRD CENTURIES
Plate V. (1) A PIECE OF BOBBIN-MADE LACE. (2) DARNED WORK WITH WHITE LINEN THREAD. (3) PORTION OF A MUMMY CLOTH
Plate VI. TWO EXAMPLES OF ITALIAN TELA TIRATA AND PUNTO REALE Chosen as showing similarity to the work of the Assisi alb. Together 13 ft. 7 in. long Italian. 16th century Plate VII. AN EXAMPLE OF EARLY LACIS OR SFILATURA Chosen as showing similarity to the work of the alb of Pope Boniface. The square mesh netting has centres worked in matting stitch, punto a stuora; threads radiate from these centres and darning stitch and punto di treccia are both used to form various patterns, some cruciform 7 ft. 9 in. × 10 in. Sicilian, 15th century Plate VIII. SEVEN ENLARGED STITCHES USED IN LACIS AND LINEN LACE
Plate IX. FIVE ENLARGED VARIETIES OF RÉSEAUX
Plate X. SEVEN ENLARGED VARIETIES OF RÉSEAUX
Plate XI. BORDER OF LACIS OR DARNED SQUARE MESH NET. PUNTO A TELA OR LINEN-STITCH With religious inscriptions: a fanciful peacock and the letters I.H.S. surrounded by a glory of flames and by little angular angels 4 ft. 10 in. × 2 ft. 10 in. Italian, 15th century Plate XII. BORDER OF SQUARE MESH LACIS Intended probably for an altar-cloth with a design of ornamental hexagonal compartments worked in linen stitch, in each of which are various devices, I.H.S. in a heart-shape above two heraldic lions, elsewhere a stag, pairs of birds, symmetrical devices of leaf and blossom, etc. 6 ft. × 10 in. French, 15th century Plate XIII. TWO EXAMPLES OF LACIS WORK
Italian, 15th century Plate XIV. PART OF A QUILT Made of squares of lacis work alternating with oblongs of linen in which are squares worked in needle-point called reticello or cut-work. 3 ft. 8 in. × 2 ft. 4 in. Italian, 15th century Plate XV. LACIS TABLE-COVER Of square mesh net worked in linen stitch with bold and graceful scrolls, leaves, etc., amidst which are cartouches of foliated shields bearing a heraldic lion in the centre. The pattern is outlined and enriched with gold thread, and the cartouches have a variety of stitches. It has a bobbin-made vandyke edging of lace (merletti a fuselli) with gold thread introduced into it. 5 ft. 6 in. × 22 in. Italian, 16th century Plate XVI. (1) VANDYKE BORDER OF LACIS. (2) PART OF A QUILT OF SQUARES OF LACIS
Plate XVII. BORDER OF LACIS WITH THE TWISTED MESH CALLED BURATTO The design is worked in punto a rammendo with numerous armed men and animals. 5 ft. 9 in. Italian, 15th century Plate XVIII. TWO BORDERS OF LACIS CALLED BURATTO The darning or punto a rammendo of the edge pattern is in each case worked the reverse way to that employed for the main design. Together 4 ft. 7 in. Italian, 16th century Plate XIX. BAND OF TELA TIRATA OR DRAWN WORK The pattern left in the linen represents a variety of sacred and other subjects. A king and a queen between whom is an angel: St. Michael engaging Satan: St. Rafael holding Tobit by the hand, etc. The photograph shows a portion, representing St. Francis receiving the Stigmata; below are the words: S. Francisca. ora pr., above to his left a church 6 ft. 7 in. × 12½ in. Italian, early 14th century Plate XX. PART OF A COVER OF TELA TIRATA OR DRAWN WORK The pattern left in the linen includes a man in armour, about to slay a curious beast; elsewhere are archaic birds. 3 ft. 2 in. × 21 in. Italian, early 14th century Plate XXI. BAND OR FLOUNCE OF TELA TIRATA OR DRAWN WORK The pattern includes various figures, a wedding-party above two lions flanking a flower-pot: a hawking-party below 6 ft. 1 in. × 14 in. Italian, about 1540 Plate XXII. AN INFANT'S SWADDLING BAND OR "FASCIA" OF TELA TIRATA The pattern is of a conventional stem and leaf design. The edging on the sides is of bobbin-made lace of two patterns 3 ft. × 6 in. Sicilian, 16th century Plate XXIII. BAND OF A VARIETY OF TELA TIRATA With a darned pattern in heavy thread of female figures alternating with birds; the vandyked edging is of punto avorio 10 ft. 6 in. × 5½ in. Sardinia, 16th century Plate XXIV. LINEN CLOTH WITH BORDER Of tela tirata worked with looped and knotted stitches and reticello: the geometrical pattern is repeated without variation 25 in. × 17 in. Italian, 15th century Plate XXV. TWO BANDS
Plate XXVI. PYX VEIL OF TELA TIRATA, OR DRAWN THREAD WORK This interesting piece is a survival from pre-reformation times. It is 2 ft. 4 in. square and has no cut threads in it. The pattern is made by drawing 12 threads both of warp and woof and leaving small squares of 12 threads. The loose threads are then most ingeniously whipped over, forming a star-like pattern between the squares. The worker has passed her needle behind the squares 8 times so as to form a star at the back of each square, the corners have wooden balls gilt: and a silk fringe surrounds the whole Plate XXVIII. THREE CLOTHS, FRINGED
Plate XXIX. TWO BORDERS
Plate XXX. TWO BORDERS Of needle-point on linen, called reticello or cut-work. The pointed edgings of both pieces are bobbin-made lace, sometimes called plaited lace Together 9 ft. 2 in. × 4 in. Italian, 16th century Plate XXXI. TWO EXAMPLES Of dentated or vandyke edgings of needle-point called punto in aria, because it is made independently of any foundation. Together 4 ft. 8 in. Italian, about 1550 Plate XXXII. CHALICE COVER OF RETICELLO AND PUNTO IN ARIA In the centre is the figure of St. Peter with the Bible in his right hand and the Keys in his left. Two winged cherubs hold portions of a long chain pattern which encircles the details of conventional foliage and flowers. A lattice of reticello work supports the punto in aria devices. The linen can be seen at the sides, which have an edge of punto in aria. 13½ in. × 7½ in. 17th century Plate XXXIII. A RETICELLO PATTERN WORKED IN VERY FINE PUNTO IN ARIA AND PUNTO AVORIO A pointed edge is also finely worked in punto avorio. 5 ft. 8 in. Italian, 17th century Plate XXXIV. SCALLOPED BORDER OF A CORPORAL OF FLAT NEEDLE-POINT LACE, CALLED PUNTO IN ARIA In which the repeating conventional semi-floral forms are connected by small brides. 6 ft. German, early 17th century Plate XXXV. A CLOTH WITH INSERTION AND BORDER OF PUNTO IN ARIA The border has a figure in each vandyke, either a lady with two birds or a siren; the insertion has strange winged and tailed animals supporting vases of flowers: all the figures, birds and animals have tiny black beads for eyes. 6 ft. 4 in. × 3 ft. Italian, 16th century Plate XXXVI. NEEDLE-POINT BORDER OF FLAT NEEDLE-POINT LACE, CALLED PUNTO IN ARIA The design of open scrolling and continuous floral stems is arranged to form points alternately of carnations and hyacinths and includes stags, hounds, peacocks and other animals: the Visconti crest—a crowned serpent—is introduced, and the stems sometimes twist into true lovers' knots. This piece was probably made for a wedding. 4 ft. 3 in. × 5½ in. Venetian, 16th century Plate XXXVII. ORNAMENT FOR THE NECK OF AN ALB OF PUNTO IN ARIA The Madonna, in a robe sprinkled with stars and crowned, is seated on clouds, her foot resting on the head of a cherub. The three persons of the Trinity are above. Cherubs and conventional flowers are introduced into the background: the robes are worked apart from the figures in a lacis stitch called mezza mandolina. Small glass beads are added to the eyes. 18 in. × 6½ in. 16th century Plate XXXVIII. BORDER AND EDGING
Plate XXXIX. A LADY'S CAMISIA OR SHIRT The back and front are in one piece with a square opening for the head: this is worked all round with a fine insertion and vandyked edge of punto in aria: the sleeves have oblique insertions of reticello work. In the cuffs bobbin-made lace has replaced the original work Italian, 16th century Plate XL. BED-COVER OF CUT LINEN LACE (TELA TAGLIATA A FOLIAMI AND PUNTO A FESTONE) The pattern is of bold flowing scrolls, cut in linen, edged by buttonhole stitch, and joined by brides: a few modes are introduced into the blossom forms, the edging is of bobbin-made lace (merletto a fuselli). 7 ft. 6 in. × 4 ft. 8 in. Venetian, 17th century Plate XLI. RABAT OF FLAT NEEDLE-POINT LACE À BRIDES The pattern is of well-balanced scrolls and conventional flowers enriched with a few simple modes and joined by brides variously picotÉes 11½ in. × 7½ in. Venetian, about 1640 Plate XLII. PART OF A DRESS TRIMMING OF VERY FINE NEEDLE-POINT, CALLED ROSE-POINT (PUNTO TAGLIATO A FOLIAMI) The pattern wrought chiefly in close toilÉ consists of scrolls and conventional flowers joined by very few brides. Intermixed with the toilÉ are variations of simple modes. 31 in. × 10 in. Venetian, about 1640 Plate XLIII. PARTS OF A COLLAR OF NEEDLE-POINT, CALLED ROSE-POINT, OR POINT DE VENISE (PUNTO TAGLIATO A FOLIAMI) Pattern of continuous scrolls and conventional flowers frequently enriched on their raised cordonnets with picots and joined by brides picotÉes 5 ft. 9 in. × 3½ in. Venetian, 17th century Plate XLIV. STOMACHER (FOR A DRESS) OF NEEDLE-POINT, CALLED ROSE-POINT, OR POINT DE VENISE (PUNTO TAGLIATO A FOLIAMI) Pattern of conventional flowers joined by brides picotÉes: the clothing or toilÉ of these flowers is of very close work 10 in. long. Venetian, 17th century Plate XLV. PART OF A FLOUNCE OF NEEDLE-POINT, CALLED ROSE-POINT, OR POINT DE VENISE (PUNTO TAGLIATO A FOLIAMI) A splendid scroll occurs in the pattern here shown which is rich with conventional flowers and double brides picotÉes 17 in. × 9½ in. Venetian, 17th century Plate XLVI. PART OF A BEAUTIFUL FLOUNCE OF DELICATE NEEDLE-POINT OF RAISED OR ROSE-POINT LACE, KNOWN AS POINT DE VENISE The pattern consists of well-balanced elegantly scrolling devices, terminating in conventional leaves and flowers with occasional raised work on them, and is set in a ground of brides picotÉes arranged in hexagons. The style of many features in the design is French (Louis XIV.) and the specimen seems to be of Franco-Venetian origin 17½ in. × 19½ in. Venice, 17th century Plate XLVIII. PATEN COVER OF NEEDLE-POINT RAISED, OR ROSE-POINT LACE, VERY SIMILAR IN STYLE AND GRACEFULNESS TO THAT OF No. XXXIII. The pattern consists of slender scrolls, with flowers enriched with massings or galleries of picots surrounding the letters I.H.S. at the centre 6½ in. square. Venetian, about 1670 Plate L. THREE BORDERS OF DELICATE NEEDLE-POINT RAISED OR ROSE-POINT LACE Sometimes called point de neige on account of the massings or galleries of picots on the raised rosettes. It is also called rosaline in Italy. Some authorities claim this style as French, and it is one that may be fairly termed Franco-Venetian, about 1670-80 Together 4 ft. 8 in. × 2 in. Plate LI. DEEP FLOUNCE OF NEEDLE-POINT LACE À BRIDES PICOTÉES, USUALLY CALLED POINT DE FRANCE This handsome design, in the rendering of which the play of contrast as between toilÉ and simple modes is a salient feature, is composed of semi-realistic leaf, fruit and flower forms arranged symmetrically in groups which are repeated alternately through the whole length of the flounce. Accentuations of raised cordonnet are occasionally introduced. 9 ft. 2 in. × 13½ in. French (AlenÇon or Sedan), about 1690 Plate LIII. BORDER OF NEEDLE-POINT RAISED LACE, CALLED SPANISH ROSE-POINT The fond or toilÉ of this lace is partly made of bobbin-made tape; on this is raised work, and gimps as well as buttonhole-stitched cordonnets of different dimensions outline and accentuate the rounded serrations and inner portions of the conventional foliage forms, into which are introduced many varieties of modes. 4 ft. 6½ in. Spanish, 17th century Plate LIV. TWO SPECIMENS OF NEEDLE-POINT RAISED LACE, CALLED SPANISH ROSE-POINT (SLIGHTLY REDUCED IN SIZE) This fond is partly of bobbin-made tape: on this is raised work of gimp and various cordonnets buttonhole stitched and edged with loops. These latter, from their sort of caterpillar effect, originate the fanciful name sometimes given of caterpillar point Spanish, 17th century Plate LV. TWO EXAMPLES OF NEEDLE-POINT LACE
Plate LVI. CAP OF NEEDLE-POINT LACE À RÉSEAU The design consists of a waved open ornamental riband device crossing a spray of conventional flowers. This lace may be distinguished from AlenÇon by the use of a single thread instead of a buttonholed stitch in the cordonnet as well as by the make and lay of the meshed ground, point de Venise À rÉseau. The style of the design is borrowed from the French of the latter part of the 17th century. 2 ft. 8 in. × 6 in. Venetian, late 17th century Plate LVII. A BORDER OF NEEDLE-POINT LACE, VENETIAN POINT À RÉSEAU The leading masses of the pattern undulate, and between the undulations are either conventional leaves or flowers filled in with simple diaper modes and more openly arranged brides picotÉes. 3 ft. 5 in. Venetian, late 17th century Plate LVIII. TWO EXAMPLES OF VENETIAN POINT À RÉSEAU
Plate LIX. A BORDER OF NEEDLE-POINT LACE, POSSIBLY VENETIAN, THOUGH THE STYLE IS FRENCH The pattern is of leafy scrolls and conventional flowers well marked, enriched with light fillings and outlined with cordonnet of fine buttonhole stitching. The ground is of buttonholed brides arranged into hexagons strongly suggestive of Point d'Argentan. 6 ft. 6 in. (French (?) AlenÇon or Sedan) late 17th century Plate LX. TWO PATTERNS NEEDLE-POINT LACE À RÉSEAU, CALLED POINT D'ALENÇON In No. 1 the pattern is Venetian in style and the fillings and rÉseau also mark it as from Burano. In No. 2 the style is more French and it may be from AlenÇon: every detail of the patterns is outlined with a buttonhole-stitch cordonnet. Together 9 ft. 6 in. Late 17th century Plate LXI. TWO BORDERS OF NEEDLE-POINT LACE A RÉSEAU, CALLED POINT D'ALENÇON In the border small compartments are treated with modes or À jours and occasional brides picotÉes: a buttonhole-stitch cordonnet outlines every detail of the pattern. 4 ft. 8 in. AlenÇon, about 1710 Plate LXII. FOUR BORDERS OF NEEDLE-POINT LACE À RÉSEAU, CALLED POINT D'ALENÇON Together 13 ft. 6 in. AlenÇon, about 1740 Plate LXIII. CAP-BORDER OF NEEDLE-POINT LACE À RÉSEAU, CALLED POINT D'ALENÇON The pattern consists of a waved stem serrated, from which spring small sprays of flowers. The width is graduated and the length is without a join. The modes or fillings, at intervals along the edge, are of dainty star and other geometric devices and all particularly characteristic of French (AlenÇon) lace. 3 ft. 4 in. AlenÇon, middle 18th century Plate LXIV. BEAUTIFUL LAPPET OF NEEDLE-POINT LACE À RÉSEAU, CALLED POINT D'ALENÇON The pattern is of tiny wavy stems, having little leaves and peapods, which recur in the design of the outer border with lattice and honeycomb fillings enriched with minute picots. 4 ft. AlenÇon, late 18th century Plate LXV. THREE PATTERNS OF NEEDLE-POINT LACE À RÉSEAU, CALLED POINT D'ALENÇON The ornamental design is mainly confined to the border, the rÉseau being sprinkled with dots, called pois or sometimes larmes (hence the expression semÉ de larmes). Together 7 ft. 6 in. AlenÇon, late 18th century Plate LXVI. TWO PATTERNS OF NEEDLE-POINT LACE À RÉSEAU, CALLED POINT D'ALENÇON The main ornamentation is along the border. The ground is semÉ de pois and little sprays, after the style of other such small devices, some of which gave rise to the term semÉ de larmes. Together 9 ft. 10 in. AlenÇon, late 18th century Plate LXVII. CAPE OF NEEDLE-POINT CALLED POINT D'ALENÇON This piece shows two sizes of mesh in the rÉseaux: the large forms the main ground, semÉ de larmes, whilst the finer is introduced as a mode in the border of pointed leafy forms. 5 ft. 3 in. × 5½ in. Plate LXVIII. TWO BORDERS OF NEEDLE-POINT LACE Called point d'Argentan, on account of the make of the big mesh ground. The pattern of the first is similar to that of No. LXIII.; in the waved garland is a filling of very fine mesh (the AlenÇon ground). The pattern of the second is of the semÉ de pois or de larmes style and in the edge is a recurrent filling of fine AlenÇon ground. The main ground of both pieces is composed of hexagonal meshes worked over in buttonhole stitch, as in Argentan lace. Together 4 ft. 10 in. Argentan. No. 1 about 1750. No. 2 about 1780 Plate LXIX. LAPPET OF NEEDLE-POINT LACE, CALLED POINT D'ARGENTAN The edge is formed by repeated curved sprays enclosing small spaces which are filled by a fine AlenÇon rÉseau: sprays of flowers also occur at intervals along the lace. The ground is entirely composed of hexagonal meshes worked over in button-hole stitch of Point d'Argentan. 4 ft. 2 in. × 7 in. Argentan, late 18th century Plate LXX. THREE SPECIMENS OF NEEDLE-POINT LACE
Plate LXXI. LAPPET OF NEEDLE-POINT LACE Called point de gaze on account of the delicacy of the rÉseau. The design of scrolls and flowers is chiefly worked in a rather loose toilÉ, outlined with a stout thread cordonnet and enriched with various open modes or fillings. 3 ft. 3 in. × 4½ in. Brussels, 1830 Plate LXXII. PART OF A SCARF Or veil of light needle-point fine stem floral pattern worked on a foundation of machine-made net 6 ft. × 2 ft. Brussels, 1840 Plate LXXIII. FLOUNCE OF MACHINE-MADE NET WITH PATTERN DARNED ON IT This class of work is now usually called Limerick lace, but it was often made in England and in many places abroad 3 ft. × 7 in. Italian, about 1830 Plate LXXIV. PART OF FULL-SIZE COTTA OF NET WITH LARGE FLOWER PATTERN DARNED IN SILK INTO IT The work is very evenly done French, about 1839 Plate LXXV. A SPECIMEN OF THE EMBROIDERED MUSLIN WORK CALLED TÖNDER LACE This is formed of two thicknesses of muslin sewn in different patterns by the needle: in places the second thickness of muslin is cut away when the needlework is completed. The design is composed of leaf and floral ornaments gracefully shaped and somewhat French in style 12 in. × 8 in. Danish, 18th century Plate LXXVI. TWO SPECIMENS OF THE EMBROIDERED MUSLIN WORK, CALLED TÖNDER LACE
Plate LXXVII. THREE PATTERNS OF MUSLIN LACE From German Bohemia. Two thicknesses of muslin are used. Together 7 ft. 18th century Plate LXXVIII. FOUR PATTERNS OF DUTCH LINEN LACE The outlines of conventional floral patterns are in chain stitch, and the fillings very various and finely executed Together 8 ft. 9 in. Gouda, 18th century. Plate LXXIX. (1) MANILA LACE. (2 AND 3) LACE WORKED IN NEEDLE-POINT
Plate LXXX. (1) INFANT'S BAPTISM CAP. (2) A CAP BORDER
Plate LXXXI. THREE SPECIMENS OF EARLY IRISH NEEDLE-POINT LACE No. 1 has a tape introduced. No. 3 is the so-called Carrickmacross lace (first made about 1848) Together 6 ft. About 1848 Plate LXXXII. SPECIMEN OF KNOTTED AND TWISTED STRING OR THREAD WORK, CALLED MACRAMÉ This sort of work is often made by knotting the frayed ends on the edge of a woven material, or else separately by knotting strings of cords of linen or silk, the ends of which are fastened to a small cushion or pillow, but bobbins are not used in this work. 10 in. × 12 in. Italian, 18th century Plate LXXXIII. FLOUNCE For an alb of bobbin-made lace, in the making of which a continuous braid is used to form the pattern. The lace is shaped on its lower edge into flatly curving scallops or mitres. 9 ft. 4 in. × 10½ in. Maltese, early 16th century Plate LXXXIV. TWO PATTERNS OF BOBBIN-MADE LACE No. 1 a design decidedly Eastern. No. 2 has a floral design. Both are made in the first manner, the pattern entirely carried out with the tape it was begun with, no brides or rÉseau being added Together 4 ft. 7 in. Venetian, 16th century Plate LXXXV. FOUR BOBBIN-MADE LACES (REDUCED IN SIZE)
Plate LXXXVI. FOUR BOBBIN-MADE LACES (REDUCED IN SIZE)
Plate LXXXVII. BOBBIN-MADE LACE
Plate LXXXVIII. FIVE BOBBIN-MADE LACES
Plate LXXXIX. SIX SPECIMENS OF LACE MADE BEFORE 1850 One each in Russia, Madeira, Portugal, and Ceylon, and two from Le Puy in France Together 14 ft. Plate XC. TWO BORDERS OF BOBBIN-MADE LACE À BRIDES The pattern of scrolls and leaves is made separately and joined on the pillow by single and knotted brides in the smaller piece and by double and knotted brides in the larger one. Together, 8 ft. 7 in. × 5 in. Genoese, 17th century Plate XCI. FLOUNCE OF BOBBIN-MADE LACE À BRIDES IN WHICH THE TOILÉ IS WELL DEVELOPED The pattern is of large conventional sprays made separately on the pillow and afterwards joined by bobbin-made knotted brides. 5 ft. 7 in. × 6 in. Italian, early 17th century Plate XCII. FLOUNCE OF BOBBIN-MADE LACE The pattern includes birds (an eagle, a peacock, a parrot, a crow, etc.) set amidst conventional scrolls and flowers. These are all made separately and joined on the pillow by double and knotted brides 9 ft. 11 in. × 9 in. Plate XCIV. FLOUNCE OF BOBBIN-MADE LACE The pattern of beautifully arranged scrolls and flowers includes an eagle with a "marquis" coronet and other small birds: a rÉseau connects the whole. 3 ft. × 12 in. Milanese, 18th century Plate XCV. PART OF A FLOUNCE FOR AN ALB, OF BOBBIN-MADE LACE À RÉSEAU The pattern is made separately and arranged to form conventional scrolls and flowers: a rÉseau unites the whole. 16 in. × 8 in. Milanese, 17th century Plate XCVI. FLOUNCE FOR AN ALB OF BOBBIN-MADE LACE À RÉSEAU The pattern is of graceful conventional floral and other forms arranged symmetrically in groups repeating one another. A variety of noticeable fillings is introduced. This specimen is reduced in size. 9 ft. 8 in. × 14½ in. Milanese, 18th century Plate XCVII. TWO BORDERS OF BOBBIN-MADE LACE
Plate XCVIII. THREE BORDERS OF BOBBIN-MADE EDGING Together 10 ft. 7 in. Maltese, 18th century Plate XCIX. BOBBIN-MADE LACE À RÉSEAU No. 1 is made up of three lengths of lace sewn together. The straight edge indicates perhaps an earlier date for this interesting specimen than that of the narrower piece. Together 5 ft. Flanders, 17th century Plate C. CAP OF BOBBIN-MADE LACE, CALLED POINT DE FLANDRE À BRIDES PICOTÉES The ornamental details were made separately and then joined by bobbin-made brides: the modes or fillings are in the style of the cinq trous rÉseau. 12 in. long Flanders, late 17th century Plate CI. THREE PATTERNS OF BOBBIN-MADE MECHLIN LACE The patterns are in the style of the Point d'Angleterre, but the toilÉ is outlined with a thread cordonnet: the same quality of thread is used for both toilÉ, rÉseau and fillings: the rÉseau is peculiar to this beautiful lace. Together 6 ft. Mechlin, early 18th century Plate CII. THREE BORDERS OF BOBBIN-MADE MECHLIN LACE The patterns of the later style of lace are much lighter in effect and gradually become merely a border of small floral ornament. Together 9 ft. 8 in. Mechlin, late 18th century Plate CIII. FOUR SPECIMENS OF BOBBIN-MADE LACE, CALLED BINCHE LACE The same threads are used for the whole width of the lace. Together 6 ft. 6 in. Binche, late 17th century Plate CIV. THREE BORDERS OF BOBBIN-MADE LACE, À VRAI RÉSEAU DE BRUXELLES, CALLED POINT D'ANGLETERRE. The toilÉ details were made separately and joined on the pillow by a rÉseau. The fillings are very varied and beautiful. These borders are worked from Louis XV. designs. Together 8 ft. 8 in. Brussels, 17th century Plate CV. LAPPET OF BOBBIN-MADE LACE, CALLED POINT D'ANGLETERRE Leafy, blossom and other shapes in toilÉ are arranged to form the outer waved edges between which are baskets of flowers, etc. The toilÉ forms are partially accentuated with a plaited cordonnet. The details of the pattern are made separately on the pillow, and then joined by a fine rÉseau, called vrai rÉseau de Bruxelles. The fillings are wonderfully fine. 4 ft. 10 in. × 3 in. Brussels, 18th century Plate CVI. TWO PARTS OF A BORDER OF BOBBIN-MADE LACE, CALLED BRUSSELS POINT The flowers made separately and almost entirely of a plaited cordonnet are joined on the pillow by a fine vrai rÉseau de Bruxelles. The design is in the style of Louis XVI. point d'AlenÇon. The reverse of the lace is shown in No. 2. The thread of the rÉseau can be seen passing behind the patterns. 5 ft. 3 in. × 5 in. Brussels, 18th century Plate CVII. (1) A SCARF. (2) A CAP
Plate CVIII. THREE BORDERS OF BOBBIN-MADE LACE, CALLED VALENCIENNES POINT This early Valenciennes has a round plaited mesh, in distinction to that of the later Valenciennes lace, which has a square mesh Together 8 ft. 5 in. Valenciennes, 18th century Plate CIX. FOUR BORDERS OF BOBBIN-MADE LACE, CALLED VALENCIENNES LACE, WITH SQUARE MESH RÉSEAU Together 7 ft. YprÈs, 19th century Plate CX. BORDER OF BOBBIN-MADE LACE, WITH A POINT DE PARIS RÉSEAU An eagle, with shield, dogs and stags are repeated in the pattern. The rÉseau and the toilÉ are both made with the same thread. 4 ft. 10 in. × 3 in. Paris, late 17th century Plate CXI. FLOUNCE FOR A DRESS, OF BOBBIN-MADE SILK LACE Pattern of repeated heavy flowers in sprays, forming a waved edge Made at Chantilly, 1820-30 Plate CXII. THREE BORDERS OF BOBBIN-MADE LACE WITH A RÉSEAU OF MAGLIA DI SPAGNA
Plate CXIII. MANTILLA OR SCARF OF BOBBIN-MADE BLACK SILK LACE Some of the fillings are of the point de Paris rÉseau, also called fond chant from Chantilly, where much of the so-called Spanish silk lace was made 9 ft. × 30 in. Bought in Madrid in 1840 Plate CXIV. TWO EXAMPLES OF BOBBIN-MADE INSERTION
Plate CXV. FOUR PATTERNS OF ITALIAN GOLD AND SILVER BOBBIN-MADE LACE Probably made at Lucca. Together 11 ft. 6 in. 17th century Plate CXVI. TWO LAPPETS OF BOBBIN-MADE BLACK
Plate CXVII. TWO BORDERS OF BOBBIN-MADE LACE
Plate CXVIII. BORDER AND CAP CROWN OF BOBBIN-MADE LACE Of Devonshire make in the style of Point d'Angleterre or Brussels lace. The toilÉ details are made separately and joined partly by rÉseau and partly by brides picotÉes. The upper piece shows the back of the lace, with the threads from the rÉseau carried across the toilÉ of the pattern. The convolutions of the toilÉ in the blossoms are considered to be characteristic of Honiton lace. 3 ft. 4 in. Honiton, 18th century Plate CXIX. LAPPET OF BOBBIN-MADE LACE The toilÉ flowers and leaves, chiefly rose, shamrock and thistle, are joined by an irregular mesh simple rÉseau made by hand. The original design was perhaps to celebrate the Union. 5 ft. × 5½ in. Honiton, about 1840 Plate CXX.TWO BORDERS OF APPLIQUÉ LACE, ONE WITH A VANDYKE EDGE AND ONE WITH A MITRED OR SCALLOPED EDGE The flowers are of bobbin-made lace with accentuations of plaited cordonnet as in Point d'Angleterre, and then applied and sewn to machine-made net. Together 4 ft. 5 in. Devonshire (Honiton) |
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