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DESCRIPTIVE CATALOGUE 
 
 OF 
 
 THE COLLECTION OF LACE 
 
 SOUTH KENSINGTON MUSEUM, 
 
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 CO 
 
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SCIENCE AND ART DEPARTMENT 
 
 OF THE COMMITTEE OF COUNCIL ON EDUCATION, 
 
 SOUTH KENSINGTON MUSEUM. 
 
 A 
 
 DESCRIPTIVE CATALOGUE 
 
 OF 
 
 THE COLLECTION OF LACE 
 
 IN THE 
 
 SOUTH KENSINGTON MUSEUM. 
 
 By the late Mrs. BURY PALLISER. 
 
 WITH NUMEROUS ILLUSTRATIONS. 
 
 THIRD EDITION, REVISED AND ENLARGED, 
 By ALAN S. COLE. 
 
 LONDON : 
 PRINTED BY GEORGE E. EYRE AND WILLIAM S POTTISWOODE, 
 
 PRINTERS TO THE qUEEN's MOST EXCELLENT MAJESTY. 
 
 FOR HER majesty's STATIONERY OFFICE. 
 
 1881. 
 
 Pi-ice Two Shillings. 
 
CONTENTS. 
 
 LIST OF ILLUSTRATIONS - - . , vlf 
 
 NOTE TO THIRD EDITION - - . . viii 
 
 INTRODUCTION - - . . . jx 
 
 CATALOGUE : 
 
 I. Italian - - 1 
 
 II. Belgian - - - - - 30 
 
 III. Flemish - 48 
 
 IV. Dutch - . 53 
 V. French ... ._ r^g 
 
 VI. Spanish and Porttjgdese 80 
 
 VII. English and Ikish - - 82 
 
 VIII. German - - 93 
 
 IX. Danish - 97 
 
 X. Swedish - 99 
 
 XI. Russian - 100 
 
 XII. Cretan ... - 108 
 
 XIII. Maltese - - - - 121 
 
 XIV. Jamaican, Philippine, and Paraguayan - 122 
 
 LIST OF BOOKS ON LACE in the National Art Library, 
 South Kensington Museum - - 123 
 
 PHOTOGRAPHS OF LACE in the National Art 
 Library of the South Kensington Museum - - 130 
 
 TABLE OF REFERENCE from the Register Number 
 of the Specimens to the pages in which they are described - 131 
 
 GENERAL INDEX 133 
 
 Q 3757, 
 
ILLUSTRATIONS. 
 
 Nos. 
 I. Lace Patteens, 1591. Italian 
 II. Lace Pattehn, 1591. Italian 
 
 III. Lace Patieen, 1600. Italian 
 
 IV. Lace Patteen, 1600. Italian 
 V. Needlepoint Lace. Venetian 
 
 VI. Needlepoint Lace. Venetian 
 VII. Needlepoint Lace. Venetian 
 VIII. Lappet op Needlepoint Lace - 
 IX. Twisted and Plaited Theeadwoek. 
 X. Pillow-made "Woek. Italian 
 XI. Pillow-made Lace. Belgian - 
 XII. Pillow-made Lace. Brussels 
 XIII. Pillow-made Lace. Betjssels 
 XIV. Pillow-made Lace. Mechlin 
 XV. Pillow-made Woek. Flemish 
 XVI. Needlepoint Lace. Feench - 
 XVII. Needlepoint Lace. Pkencu 
 XVIII. G-iMP OE G-uiPUEE. Peench 
 XIX. Tape Lace. English 
 XX. Pillow-made Lace 
 XXI. Cut Cambeic, Embeoideeed. Ieish 
 
 Genoese 
 
 Pago 
 xi 
 
 xiii 
 
 XV 
 
 xxxii 
 13 
 
 14 
 15 
 
 Frontispiece 
 20 
 21 
 31 
 34. 
 35 
 45 
 
 69 
 83 
 87 
 91 
 
 DIAGRAMS. 
 
 1. Diageam op Button-hole Stitch 
 
 2. Diageam op Button-hole Stitched " Toile ' 
 
 3. Diagram op Button-hole Stitched " ToiLji' 
 
 4. Diageam OP PiLiow-MADE " ToiLE " 
 
 5. Diageam oe Needle-madb " KisBAU " 
 6, 7, 8. Diagrams op Pillow-made " Ej^seaux " 
 
 xu 
 
 xii 
 
 xii 
 
 xvii 
 
 xvii 
 
 xTii 
 
NOTE TO THIRD EDITION. 
 
 The first Edition of this Catalogue, prepared by 
 Mrs. Bury Palliser at the request of the Lords of the 
 Committee of Council on Education, was issued at the close 
 of the year J870, and was followed in iS73 by a second 
 somewhat enlarged Edition. Materials for a third Edition 
 had been collected at the time of Mrs. Palliser's death in 
 ■1878. 
 
 These materials have by their Lordships' directions been 
 placed in the hands of Mr. Alan S. Cole, who has paid 
 much attention to the history of lace. He has at their 
 request edited the present work, revising and enlarging 
 the former edition, and adding descriptions of the speci- 
 mens acquired since ^873. 
 
 South Kensington Museum, 
 October i88i. 
 
CATALOGUE OF LACE. 
 
 INTEODTJCTION. 
 
 (_By the late Mrs. Bury Palliser, with additions hy Mr. Alan S. Cole.) 
 
 Lace making, as expressed in a primitive arrangement 
 of tlireads plaited, twisted, tied, or looped, is found with 
 nations in their early stages of development, as are 
 the beating of metal, the cutting or shaping of wood, 
 and similar handicrafts. 
 
 But it takes its rank as a production of Fine Art, when 
 the plaiting, twisting, or looping becomes the interpreter of 
 ornamental forms. The collection of Laces of which this 
 Catalogue is descriptive, is restricted chiefly to white thread 
 Laces. Jt illustrates to a large extent the ornamental aspect 
 of lace making. 
 
 In its more delicate and elaborate forms. Lace lias been 
 largely associated with elegancies of costume and decoration, 
 of hangings, &c., curtains, altar cloths, veils, &;c. In secular 
 use it adorned the costumes of both ladies and gallants, 
 and in its earliest days was worn in such profusion as to 
 call down upon it the prohibitions of Venetian councils 
 against its too lavish use. Like many of the arts in which 
 design allied to handicraft plays an important part, such as 
 sculpture, painting, and embroidery, lace making has been 
 and still is nurtured in monastery and convent. For the 
 service of the Church, by whose ministers it has been 
 extensively adopted to embellish the accessories of rich 
 rituals of ecclesiastical devotion, splendid specimens were 
 produced ; works indeed of such exquisite skill and patient 
 toil as could only have been executed by those to whom 
 lace making was a labour of love, and whose dearest office 
 
X INTRODUCTIOlJ. 
 
 was to deck with the choicest productions of their needle 
 or bobbins the shrine of their favourite saint. None the 
 less remarkable are the laces made for secular use. The 
 monuments of the art are now esteemed as objets de vertu 
 in many a private collection, as well as objects worth 
 attentive study in public collections like that with which 
 we are immediately concerned. 
 
 In the 16th century the art of embroidery formed a 
 principal occupation of the Italian and especially the Vene- 
 tian ladies of the day. Needlework was also taught by nuns 
 to the schools of children under their charge. Numerous 
 books of patterns* for all sorts of white thread needlework 
 and early laces were published in Venice first, and then in 
 France and Germany. Among fchem the designs of Cesare 
 Vecellio, Frederic Vinciolo, and Isabetta Catanea Parasole 
 were widely circulated. These books have now become 
 scarce. It is fortunate, however, that by means of a photo- 
 lithographic process. Signer Oncagnia, of Venice, has been 
 able to reproduce most of the important pattern books 
 original!}' published in his city. Many of the originals 
 perished in use, for the pattern was transferred either by 
 tracing with a metal style or by pricking it through and 
 then powdering it with charcoal on to the linen, parch- 
 ment or other stuff upon which the work was made. 
 Patterns were also copied upon -' sam cloths " or samplers 
 for more general use. There are three or four English 
 samplers in the Museum, dated about 1650. They show, 
 to some extent, the character of needlepoint lace work 
 as practised by English school children who, as now-a-days, 
 were encouraged to do all sorts of stitchery. 
 
 Laces may be divided broadly into two classes : (1) Needle- 
 point Lace and (2) Pillow Lace. There are a few specimens 
 of Lace in which Needlepoint and Pillow methods are 
 
 "■ There are several of these pattern books in the National Art Library. See 
 List at end. 
 
To face p. xi. 
 
 I. 
 
 Patterns for Edginga and Insertions of Needlepoint Lace Work, and " Reticella " from 
 Pattern Book by Cesare Vecellio. 1591. 
 
INTRODUCTION, XI 
 
 combined. In the notes to the Catalogue entries, attention 
 is directed to such peculiarities of manufacture. 
 
 From the pattern books we see that the first lace made 
 was somewhat wiry in appearance, adapted chiefly as orna- 
 mental edgings (see Illustration I.) to materials like linen, 
 the use of which for collars, cufis, ruffs, shirts, and such like 
 made strides during the 16th century. The first laces very 
 much partook of the character of linen embroidery, from 
 which it is often difiicult to distinguish tl:em. Cut or 
 drawn work embroidered with button-hole stitches, and 
 simply twisted and plaited threads of fringes and such like 
 were then in vogue. Contemporary with these was another 
 favourite open white thread embroidery, a darning upon 
 nets of square meshes. This was called " punto a maglia," 
 " punto a rete," and in France " Lacis." 
 
 The network of square meshes was called " Rdzeuil," and 
 upon it the pattern might be darned or worked in with tent 
 or cross stitches. This latter sort of work was sometimes 
 termed " Point compte," like the modern " Filet Brod^ ;" 
 sometimes pieces of linen were cut out and sewn on or 
 " applied " to the net, but this sort of work is clearly more 
 remote from lace than the darning or cross stitching upon 
 net. " Lacis " was often worked in coloured silks, and gold 
 threads used to outline the patterns. " Opus Araneum," 
 or " Spiderwork," was perhaps a term applied to filmy 
 embroidery or darning upon net. Embroidery, lacis, and 
 cutwork are often combined in the same piece ; squares of 
 lacis alternate with squares of linen, in which both em- 
 broidery and cutwork are introduced. This style of com- 
 bination was called " Punto Reale," or Royal point. Some 
 examples in the Museum are of fine workmanship. 
 
 In respect of certain cut work a pattern was transferred 
 by pouncing or other means to the linen to be embroidered. 
 Those portions in which open thread work was to appear 
 tvere either cut out and the devices stitched in Upon threads 
 
Xll INTRODUCTION. 
 
 taken, from side to side of the aperture made by the cutting, 
 or else instead of cutting away material, a few threads 
 would be withdrawn and stitches would be cast over the 
 threads which were left. Another method consisted inusino- 
 a network of threads, which was attached or gummed to a 
 piece of cloth called quintin, from the town in Brittany 
 where it was first fabricated. The pattern was formed by 
 sewing round the parts of the cloth that were to remain 
 with button-hole stitch and cutting the rest away. A 
 further method was known under the name of Eeticella. 
 This appears to have consisted of forming a ground, upon 
 which to cast stitches, by means of withdrawing thread. To 
 this class chiefly belong the early laces of Italy, often called 
 " Greek lace."* 
 
 But the time came when no foundation of linen was used 
 at all. Threads were stitched upon a pattern, and th en were 
 overcast with button-hole stitches (see fijure 1). When 
 a close part of the pattern was to be done, then arrange- 
 ments of close-lying threads overcast with loops, as shown 
 in figures 2 and 3, were used. In the open parts all sorts 
 of little devices might be worked, such as threads made to 
 radiate from one common centre. This kind of work was 
 the " punto in aria," or work without ostensible foundation. 
 Fig. 1. Fig. 2. Fig. 3. 
 
 The points of ReticeJla, Punto in Aria from Italy were, 
 with those imitated by Flemish needleworkers, in general 
 request to ornament ruffs like those worn by Queen Eliza- 
 
 * The Greek lace is so called from its having been brought from the Ionian 
 Is'ands, where it has been taken principally from the tombs, having adorned 
 the grave clothes of the dead. Hunting the catacombs for this funeral Iac« 
 has become a regular trade. 
 
Tufiicep. xiii. 
 
 II. 
 
 Pattern for either " Reticella " or " Punt in Aria ' from Book of Patterns by Cesare 
 
 Vecellio. 1591. 
 
INTRODUCTION, XUl 
 
 beth. The falling collar of Charles I, and the " Whisk " or 
 Medicean ruff of his Queen Henrietta Maria were similarly 
 trimmed, though by this time pillow lace making had made 
 progress, and the lace now used was often made from the 
 same pattern either on the pillow or with the needle. As 
 skill advanced, so lace came to be worn in the greatest 
 extragavance at the Courts of England and France, and not 
 only were the ruffs, cuffs, caps, collars, handkerchiefs, and 
 aprons of lace, but even the tops of boots were trimmed 
 with the same costly material. In under clothing the 
 linen breadths were united by a narrow insertion called 
 " Seaming " lace, and sheets, pillow-cases, and bed curtains 
 were joined in the same manner. Much of the lace of this 
 period is of geometric design, in squares or circles variously 
 combined (see Illustration II.) The square forms, as 
 examination of the specimens in the Collection will show, 
 were the foundation lines of early white thread needlework 
 like Reticella. 
 
 The finer and more delicate needlepoint laces which were 
 so considerably produced in the I7th century, may virtually 
 be all comprised under the general name of "punt in 
 aria," though the constant variety of pattern conferred 
 upon each novelty in form some new name. The usual 
 generic name for these laces is " Venetian point ; " " Rose 
 point," " Point de neige," " Gros point de Venise,'' " Point 
 plat de Venise," are all in truth "punt in aria." As a 
 rule, the designs are in all the exuberant richness of the 
 Italian style of scroll-work, and this elaborated " Punto in 
 aria " is one of the most splendid products of the great art 
 school of lace at Venice. 
 
 The expression of the Italian poet Firenzuola of the 
 16th century, that it was carved in relief, "scolpito in 
 relievo," has been thought to apply perhaps to such lace. 
 But it is clear that the kind of lace he probably saw could 
 not have been anything more than some fine piece of 
 Q 3787. c 
 
XIV INTRODUCTION. 
 
 geometric " reticella " work or elementary form of " punto 
 in aria." 
 
 The raised Venetian point is as a rule elaborated with 
 enrichments carried out in delicate woi-kmanship. Large 
 scallops composed of fine threads closely overcast in button- 
 hole stitches upon some foundation of numerous threads 
 would be edged with thick outlines, which again would be 
 fringed with most delicate loops, " pearls," or " picots." 
 The flowers were worked in the richest detail in this way, 
 and the " brides " which connect them are sometimes plain, 
 " picote," and decorated with small stars or roses. Much of 
 this extraordinary lace was probably made in convents. 
 And to the intercommunication of Roman Catholic com- 
 munities in these establishments we may seem to see reason 
 for supposing that the work was learnt from the Italian 
 convents and so spread itself amongst Flemish, French, and 
 Spanish convents. Certain, however, is it that Venice was 
 the chief centre where this lace was made, not solely for 
 the delight of its inhabitants, whose use of it as above-men- 
 tioned was frequently restricted by oft-recuiTent sumptuary 
 laws, but also for the noble and wealthy of other lands, 
 as paintings and medals bear evidence. Fine examples of 
 this lace are a collar of a Venetian senator preserved in 
 the Mus^e de Cluny at Paris, and collar No. 599.-75, in the 
 South Kensington collection (see Illustration Y . p. 13). 
 Private collectors, however, possess marvellous specimens, 
 whole altar cloths complete of such work ; probabty most 
 lace amateurs arc well acquainted with the extraordinary 
 example measuring many feet in length by over two feet 
 wide, belonging to His Grace the Duke of Devonshire (see 
 Photo. VI., Ancient Needle-point and Pillow Lace). In the 
 time of our James the Second, and in the latter years of 
 Louis XIV. this point was in request for the ends of the 
 lono- cravats or jabots which, since the introduction of 
 wigs, had replaced the falling collars. 
 
To face p. XV. 
 
 III. 
 
 Pattern for Needlepoint Lace. " Lavoro a Fnnto in Aria," also of tlie class of 
 " Funto tagliato a foliami " from Pattern Book by Isabetta C. Farasole. 1600. 
 
INTRODUCTION. XV 
 
 Thus by the middle of the l7th century the geometric 
 forms were replaced by the flowing lines of the Louis XIV. 
 style. The making of needle-point lace, as may be seen, 
 had considerably developed. A stuff of linen was no longer 
 needed. Lace makers had learnt the " punto in aria," and 
 had developed the working of free threads stitched to a 
 parchment pattern. The square and geometric conven- 
 tionality of the Keticella and early " punto in aria " work 
 could be dispensed with, and all sorts of flowers, and scrolls, 
 &c. were represented in lace (see Illustration III.) 
 
 A prominent feature of a piece of lace produced by the 
 needlepoint or pillow method is the ornament or pattern. 
 This ornament is usually of a closer material than the groimd 
 upon which it rests. It is sometimes outlined with a little 
 raised thread or border. Sometimes, within this outline of the 
 ornament, there are insertions of minute work. The pat- 
 tern or ornament is called the Gimp — in French, toil^ — or 
 linen ; the ground upon which it rests is sometimes a,reseau 
 or ground work of meshes ; sometimes the main design is 
 held together by small bars which are called brides, pearl 
 ties, or legs. The outline to the ornament in a piece of lace 
 is called cordonnet. 
 
 The following are explanations of some of the terms used 
 in describing lace : — 
 
 Bkide. — A small strip or connexion (1) of threads over-cast 
 with button-hole stitches, or (2) of twisted or plaited threads. It 
 is used instead of a ground-work of net ; the word is French, its 
 English equivalent being pearl-tie. The French work is chiefly 
 employed. 
 
 CoBDONNET. — The outline to ornamental forms. This word is 
 French, and is commonly used in preference to an English sub- 
 stitute. The cordonnet consists of (1) a single thread, or (2) of 
 several threads worked together to give the appearance of one 
 large thread, or (3) of a thread or horsehair overcast with button- 
 hole stitches. 
 
 c2 
 
XVI INTEODUCTION. 
 
 Gimp. — The pattern wliicli rests on the ground or is held to- 
 gether by brides. This word should not, however, be confounded 
 with the material gimp, which was formerly called guipure. 
 
 Modes. — Ornamental devices occurring in various parts of a 
 piece of lace. The earliest forms of modes may be seen in 
 Venetian point lace, where they are introduced into the centre of 
 a flower or other such device. Modes were extensively used in 
 Point d'Alenjon lace and Flemish pillow lace. 
 
 Pillow Lace. — Lace made on the pilloiv, by twisting and 
 plaiting threads. The French term is dentelle aufuscau. 
 
 PicoTS. — Minute loops, worked on to the edge of a bride or 
 cordonnet, or added as an enrichment to a flower — as in the case 
 of "rose point," in which picots play an important part. Probably 
 the minutest picots were used in " Point d'Alen9on." 
 
 Point Lace. — Lace made with the point of the needle. The 
 French is point a V aiguille. The term "point " has been misused 
 to describe varieties of lace — such as " point d'Angleterre," " point 
 de Malines," &c. ; these laces are made on the pillow, and not 
 with the point of the needle. 
 
 Keseatj. — Ground of small regular meshes made on the pillow 
 in various manners, and made by the point of the needle in fewer 
 and less elaborate manners. The French term, as here given, is 
 generally used in preference to any English equivalent. 
 
 The terms above given apply both to Needlepoint and 
 Pillow Lace. In looking at a jjiece of Lace^ the first step 
 is to examine it vpitli a view of knowing whether it be 
 Needlepoint or Pillow-made Lace. A sure test by which 
 one can decide such a question in the case of Needlepoint 
 Lace, is that the gimp or toile is, when looked at through 
 a strong magnifying glass, made up of looped threads 
 {see figures 2 and 3), and in the case of Pillow Lace, 
 that the gfiivijj or toile is plaited ; thus (see figure 4). A 
 further test will be supplied by a close examination'of the 
 net- work or reseau. This (see figure 5) is a diagram of a 
 Needlepoint reseau. The loops in it should be noted. 
 These are Diagrams of Pillow-made reseaux {see figures 0, 7, 
 a/iul 8). In these latter the continuous flow or plaiting of 
 
INTRODtrCTION. 
 
 XVU 
 
 the threads should be noted in contradistinction to the 
 lo(ypings-up of the threads when worked with needle. 
 
 Fig. 4. 
 
 Fig. 5. 
 
 Fig. 6. 
 
 Fig. 7. 
 
 Fig. 8. 
 
 Of those early Italian needleworks which are the veritable 
 prototypes of Needlepoint Lace, we have : — 
 
 1. PuNTO A Reticblla. Italian. 
 
 2. Pdnto a Maglia or Lacis. Italian. 
 
 3. PuNTO IN Aria. Italian. 
 
 Then come the Punto Tagliato a Foliami, which is a fanciful 
 name strictly applicable to cut work. Under it, however, it is 
 the fashion to include all the fine points known as : — 
 
 (a.) Venetian Point. 
 
 (b.) Eose Point. 
 
 (c.) Spanish Point. 
 
Xvill INTRODUCTION. 
 
 These points are, technically speaking, enriched developments 
 of "Punto in aria.'' After them come : — 
 Venetian Point a Reseau. 
 BuKANO PonjT. Italian. 
 Point d'Alenqon, which includes : — 
 
 (a.) Point ue Fkance. 
 
 (i3.) Point d'Abgentan (so-called). 
 
 (c.) Aegentella (so-called). 
 Brussels Point. 
 
 Of principal Pillow Laces, we have : — 
 
 1 . Italian : — 
 
 Punto a Gkoppo. Knotted threads. 
 
 Merletti a Fusi, or a Pio.mi;ini. A lace of plaited 
 and twisted threads, probably worked ou a pillow, with 
 primitive bobbins, and often probably with bone pins. 
 
 Genoese. 
 
 Milanese. 
 
 2. Flemish : — 
 
 (a.) Mechlin. 
 
 (b.) Brussels. 
 
 (c; Provincial Laces from Bruges and elsewhere. 
 ,"?. French : — 
 
 Valenciennes. 
 4. English. 
 
 Pillow Laces from Saxon}' , and from Russia, have little 
 artistic importance at present. Those from Candia or Crete 
 are works at least a hundred and fifty or two hundred years 
 old ; perhaps older. They are related to Italian peasant 
 lace, and were perhaps made with bone pins or pegs in 
 place of common pins. 
 
 In making a catalogue of laces, it is to be borne in mind 
 that many of the early laces were the produce of private 
 industry or of the convent, and similar designs were often 
 interchanged. On the whole then there are not much more 
 tlian conjectiirn,] grounds fo]- assigning the country of its 
 origin to a]iy particular specimens of the 16th and early 
 l7th century. This is especially the case, as regards much 
 
INTEODUCTION. XIX 
 
 of that raised needle-point lace, undoubtedly Venetian in 
 origin, which many have considered to be Spanish and even 
 French. Later on lace patterns are rather more distinctive, 
 and characteristics of workmanship aid one in saying if a 
 piece of lace be point d'Alen9on, Brussels, Mechlin, Valen- 
 ciennes, &c. Laces of small artistic pretence and of similar 
 appearance were made soon after the middle of the l7th 
 century in many countries in Europe. It is now almost 
 conclusively established that to Venice and North Italian 
 convents belongs the honour of developing the art of lace 
 making in the 16th century and during a hundi-ed years of 
 raising it to such excellence as to incite other countries, like 
 Flanders — the home almost of linen weaving — and France 
 the focussing point of fashion in rich costume during the 
 reign of Louis XIV. (under whose auspices centres for 
 the practice of the art were established by State aid) to 
 foUow in the art. 
 
 The short notes compiled by the late Mrs. Bury Palliser 
 upon the origin of lace making in various countries were 
 distributed formerly throughout the Catalogue. It has 
 seemed advisable to bring all these together, since the 
 history of lace making like that of other arts is in truth 
 a cosmopolitan history, each country merely furnishing 
 incidents concerning the imitation of previous existing 
 arts or new departures from them. Mrs. Palliser's notes on 
 lace making in Italy are incorporated in the preceding pages. 
 
 FLANDERS AND BELGIUM. 
 
 From early Middle Ages Flanders has been notable for 
 its employment of flax, which has for centuries been 
 abundantly cultivated in the northern countries of Europe. 
 Spinning flax threads and weaving fine textiles with them 
 are closely associated with the early commercial history 
 of Flanders. They have been almost chief of the industries 
 of this country, and sources of much of its national 
 
XX INTRODUCTION. 
 
 wealth. The constant relations of the Netherlands with 
 Venice, carried on by means of historical " Flanders 
 galleys/' as well as the high repute for making linen, 
 which Flanders enjoyed from the Middle Ages, all point to 
 the probability that the art of lace making in imitation 
 of Italian work was soon adopted here. When the progress 
 of manufactures was endangered by the religious perse- 
 cutions of the 16th century, the linen trade alone is 
 said to have upheld itself and to have saved the country 
 from ruin. Every country of Northern Europe is to a 
 considerable extent indebted to the Netherlands for its 
 adoption of and development of the art of lace making. 
 It is recorded that the Emperor Charles V. ordered it to 
 be taught in the schools, but this is rather misleading, 
 since in the early 16th century, the sort of white thread 
 ornamental work which was common, was the darning 
 on net or embroidery on cut linen. Pins were not 'in 
 common use, and any sort of plaited or twisted thread 
 work which Flemisli children might have been taught 
 may have been of a primitive character of twisting and 
 plaiting, and hardly such as we should now recognise as 
 pillow lace. From darned nets, embroidered linen, and 
 • twisted thread.s, eventually developed the fine Flemish 
 laces of the I7th century, that is, at a time when the 
 conditions of lace manufacture had been favoured and 
 modified Ijy improvements in spinning threads, in making 
 pins, and in the application of special designs adapted 
 to this class of handicraft. Lace-making, of simple cha- 
 racter, now forms part of the education of the people. 
 There are nearly a thousand schools in Belgium devoted 
 to teaching this work, where the children at a very 
 eai'ly age learn to twist the bobbins with wonderful dex- 
 terity.* The pillow laces of Brussels and Mechlin, which 
 appear to be certainly anteeodent in their origin to the 
 
 * Belgium produces imitation Valeucieuues, Brussels, Point gaze, MechliD, 
 Grammout (black lace), and Guipure ilc Bruges. 
 
INTRODUCTION. Xxi 
 
 needle-points of Alen§on of France (about the I7th century), 
 ■were almost the first of Flemish laces to be distinguished 
 by their special names ; all other fabrics of the Netherlands 
 "were known under the general designation of " Flanders " 
 lace. The description in which the flowers join or are united 
 by " brides," usually but erroneously called " guipure/' was in 
 general use for the lace cravats of the I7th century, and the 
 bold flowing scroll patterns in the purest style of the period 
 are pillow-made renderings of Italian needle-point lace, 
 " a brides," " punto tagliato a foliami." 
 
 Brussels. 
 
 Brussels lace is distinguished for the beauty of its ground, 
 the perfection of its flowers, and the elegance of its 
 patterns. The thread is of extraordinary fineness, made of 
 the flax of Brabant. It is spun underground, for contact 
 with the air during the spinning would cause it to break, 
 and it is so fine as almost to escape the sight, — the 
 lace spinner is guided only by touch. Handspun thread 
 costs sometimes as high as 240Z. the lb., and is consequently 
 now but little used. Hand spun flax thread is made at 
 Alost. Thread spun by machine in England from Belgian 
 flax is much used in Belgium. It has, however, never 
 arrived at the fineness of that made by hand, and frequently 
 in it there are traces of cotton admixture which depreciates 
 its quality. 
 
 The ground used in Brussels lace is of two kinds, needle- 
 point and pillow. The needle-point ground or " rdseau" is 
 made in small segments of an inch wide, and united by 
 a stitch called "fine joining." It is stronger, but three 
 times more expensive than the pillow, and is rarely used 
 except for royal orders. In the pillow-made Brussels 
 ground two sides of each hexagonal mesh are formed by 
 four threads plaited, and the other four by threads twisted 
 together, but these beautiful and costly grounds are often 
 
XXI 1 INTEODUCTION. 
 
 for ordinary purposes now replaced by a fine machine- 
 made net. 
 
 The Brussels flowers are of two kinds, those made with 
 the needle and those on the pillow ; both are made sepa- 
 rately from the grounds. In old Brussels lace the flowers 
 were worked on the pillow into the ground ; later, and at 
 the present time, the flowers are applied to or sewn into 
 the ground. Sometimes they are sewn on to the ground. 
 The " modes " or " fillings " of Brussels lace are various in 
 design and elaborate in workmanship. Relief is given to 
 outlines of flowers and fibres of leaves by a raised plaited 
 cordonnet in the pillow-made lace. In the needle-point 
 lace the cordonnet is sometimes only a thread, sometimes 
 it is covered with button-hole stitches, as in Point d'Alencon. 
 The making of this Brussels lace is divided into sections. 
 Each process now is assigned to a separate hand, who works 
 only at her own department, knowing nothing of the general 
 eflect to be produced by the whole, the sole responsibility 
 of which rests with the head of the establishment. 
 
 Brussels lace is still called in France by its old appel- 
 lation of " point d'Angleterre," or " English point," a name 
 to be explained by history. In 1662 the Eaglish Parlia- 
 ment, alarmed at the sums of money sent out of the 
 country for the purchase of foreign lace, prohibited its 
 importation. The English lace merchants, at a loss how to 
 supply the Brussels lace required at the Court of King 
 Charles the Second, and possessed of large funds, bought 
 up all the choicest lace in Brussels and smuggled it over to 
 England, where they produced it as " English point." To 
 such an extent was this traffic carried on, that the name of 
 " Brussels " lace became every day less known, and was at 
 last entirely usurped by that of " point d'Angleterre," 
 which it retains even at the present time. At the same 
 time it shoiild be remai'ked that the style of the lacs made 
 in and previously to 1602 was very difierent from that of 
 
INTRODUCTION. XXIU 
 
 the elaborate designs displayed in Court lappets of " point 
 d'Angleterre " of the ISth century. 
 
 Mechlin. 
 
 Mechlin is made in one piece on the pillow. The ground 
 is similar to that of the Brussels pillow -made ground, the 
 chief difference being that the plaited sides of each mesh 
 are shorter than those of the Brussels mesh, consequently 
 each Mechlin mesh is smaller than a Brussels mesh. A 
 further characteristic of Mechlin is the thread which out- 
 lines the pattern. The manufacture has nearly died out. 
 In England, Mechlin lace has always been held in the 
 highest favour. Poets in the late l7th century called it the 
 " Queen of Laces." 
 
 Ypres. 
 
 West and East Flanders are the chief seats of the manu- 
 facture of Valenciennes lace, the art having been imported 
 thither in the 17th century. Lace making has attained 
 perfection at Ypres (West Flanders), where it is made, and 
 is remarkable for the clear, closely plaited ground, the 
 meshes of which are of diamond shape, the even tissue of 
 its flowers, improvements introduced into its manufacture 
 in 1833 by M. Duhayon Brunfaut, of Ypres. Ypres makes 
 the widest imitation Valenciennes known ; it is very costly, 
 as high as 801. the metre, but the making of such lace is 
 very laborious ; a lace-maker working 12 hours a day could 
 scarcely produce one third of an inch a week, and as 
 many as 1,200 bobbins are sometimes employed upon one 
 pillow. 
 
 HOLLA.ND. 
 
 The lace of Holland is little known, as distinguished 
 from the others of the Netherlands, except as regards a 
 strong sort of pillow-made lace, like No. 861-53, wliich is 
 generally thought to be Dutch lace. No special circum- 
 
XXIV INTRODUCTION. 
 
 stances combined to promote lace-making in Holland. With 
 accomplished lace makers, such as those of Brussels and 
 Mechlin close at hand, it would seem that the chief towns 
 of Holland were more engrossed in the pursuit of wealth- 
 making commerce rather than in so slight a revenue- 
 producing industry as lace-making, 
 
 FEANCE. 
 
 After Italy, France is entitled to claim a foremost 
 position in countries noted for the production of lace 
 of rich desiga and of varied methods of manufacture. 
 More is probably worn there (at this time, 1881) than in 
 all the rest of the world put together, aud, of the lace- 
 makers throughout Europe, one half are estimated as 
 belonging to France alone. Celebrated needle-made lace 
 came from Alen9on, and Argentan, both towns in the depart- 
 ment of the Orne. The principal pillow-made are those of 
 Valenciennes, Lille, and Arras, with others from Normandy, 
 Auvergne, and Lorraine. The art of lace-making, much 
 patronized by the Com-t by means of extensive importations 
 of Italian laces, was afterwards directly fostered by Govern- 
 ment. A Royal edict dated 1665 ordered the founding of 
 establishments in favourable districts where it should be 
 practised. These establishments were at Sedan, Loudun, 
 Chateau Thierry, Reims, Arras, Alengon, and elsewhere. At 
 these places, many of which were close lying to Flanders, 
 ■whose laces were so famous, workers under the instruction 
 of Venetians were taught to produce lace directly in imita- 
 tion of the jjrohibited Italian and Flemish laces. These 
 imitations were, by decree, to be called '' Points de France." 
 
 Alenron. 
 
 The manufacture of Alen9on needle-point lace was espe- 
 cially favoured by Colbert. As an organised lace-making 
 contvr, it began its work aljout 1679. Colbert intrjo-ued 
 
TNTEODUCTION. XXV 
 
 for some time to tempt Venetian lace workers to France, 
 and it seems not unlikely that some of the best of them 
 he placed in the Chateau de I'Onray, near Alen§on, of 
 which his son, the Marquis de Seignelay, became pro- 
 prietor upon his marriage with Mademoiselle de Matignon. 
 The Venetian instructors found intelligent pupils in 
 the French lace makers, who for some years previously 
 had been acquainted with methods of twisting and plaiting 
 threads and of imitating to some extent [Italian-cut 
 works, Reticella, Punto in aria, &c. Their labours, now 
 supervised, soon produced a needle-point lace having marked 
 characteristics of its own, though bearing strong evidences 
 of Venetian influence, especially in all sorts of delicate 
 devices invented for enriching the pattern of the work 
 generally. The lace was adopted by Louis XIV. and his 
 Court, its adoption being due as mtich to its novelty as to 
 the fact that the new establishment was virtually a State 
 institution ; and, as has been above remarked, the most 
 favoured by Colbert. 
 
 Alen9on point is made entirely by hand with a needle 
 on a parchment pattern, in small segments, each part 
 executed by a different workwoman. So elaborate is lis 
 workmanship that a piece of lace formerly passed through 
 18 different hands before it was completed; the number is 
 now reduced to 12. The lace is thus made. The pattern is 
 printed off on pieces of green parchment, about ten inches 
 long, each segment numbered in its order ; the pattern is 
 then pricked through upon the parchment, which is next 
 stitched to a piece of coaxse linen folded double. The out- 
 line of the pattern is traced out by single or double threads 
 fixed by small stitches, passed through the parchment and 
 its linen lining. The outline is then overcast with button- 
 hole stitches, and when finished, the piece is given over to 
 another worker to make the ground of meshes, which is 
 worked backwards and forwards at right angles to the 
 border. The flowers are next worked in, then follow the 
 
XXVI INTRODUCTION. 
 
 " modes " or " fillings," and other different operations. 
 When completed, the threads which unite lace, parchment, 
 and linen together are cut by passing a razor between the 
 parchment and the linen, and there remains only the great 
 work of uniting the different segments together. This pro- 
 cess devolves upon the head of the fabric, and is effected by 
 the stitch called " assemblage,'' by us termed " fine joining." 
 Point d'Alen^on is the only lace in which horsehair has 
 been sometimes introduced along the edge, to give firmness 
 and consistency to the '' cordonnet." 
 
 From the labour expended in producing it, point d'Alen- 
 9on is a costly lace. Fabulous are the sums that wei'e 
 lavished upon it in the last century, and a wedding order 
 will, it is said, even now amount to 6,000^. 
 
 Argentan. 
 Argentan, near Alen9on in the department of the Orne, 
 is also celebrated for its needle-made lace. Argentan ap- 
 pears to have been a succursale of Alen9on. The com- 
 munications between the two towns were constant. Indeed, 
 a directress of the Alencjon factory was also directress of 
 similar work-rooms at Argentan. The lace called point 
 d' Argentan is made precisely as is point d'Alen9on. A 
 characteristic of point d'Argentan, however, has been 
 held to be a ground of large hexagonal meshes, each 
 side of whicli is worked over with the button-hole stitch, 
 giving it extraordinary strength and solidity. The 
 pattern is effective on this clear large-meshed ground, 
 which is called a " bride " ground. There are many speci- 
 mens, however, in which this "bride" ground is found in 
 combination with the lighter ground of small meshes 
 or " r^seau," which is said to be a distinguishing mark of 
 point d'Alen9on. Some such may be seen in the Museum 
 collections, and are worthy of attention and study, since 
 misunderstanding has been allowed to arise and exist 
 about points d'Argentan and points d'Alen9on. Demands 
 
INTBODUCTION. XXVU 
 
 for lighter work than that which had been the specialty 
 of point d'Argentan were no doubt the cause of the decrease 
 in the quantity supplied to the market of the compactly 
 worked " bride " ground. Fashions in taste changed, and 
 with these, lace makers like other producers had to comply. 
 The late Mrs. Bury PaUiser related, how ignorant people 
 have been of the amount of ingenious labour expended in 
 making the " bride " ground of point d'Argentan, and how 
 she once saw some magnificent flowers of point d'Argentan 
 which had been transferred to bobbin net, in order to get 
 rid of its " ugly coarse ground." The revolution of 1793 
 interfered with the existence of the lace manufactories at 
 Alen§on and Argentan, and since then machinery has gone 
 far to entirely supersede hand labour in the production of 
 lace generally. Hence we hear little now-a-days of hand- 
 made laces, either from Alen^on or elsewhere, unless, indeed, 
 some special piece of lace be made for an order or an 
 International Exhibition, 
 
 Valenciennes. 
 
 Valenciennes, when lace was first made there, formed part 
 of the ancient province of Hainault, and was only trans- 
 ferred to France by conquest and treaty at the end of the 
 l7th century. 
 
 Its more artistic productions were forthcoming under 
 Louis XIV., and the centre reached the climax of its fame 
 from 1725 to 1780, after which the art fell with the 
 Monarchy, and efforts to revive the manufacture more or 
 less failed. This industry is now more extensively followed 
 in Belgium than in France. Valenciennes lace is made 
 entirely on the pillow, the same thread being used for both 
 pattern and ground. In the ground all the sides of the mesh 
 are plaited (see figure 8), which renders it the strongest and 
 most durable of laces. Hence it was styled " eternal Valen- 
 ciennes." So great was the labour of making it, that where 
 a Lille lace-maker could produce three to five ells a day, 
 
XXVm INTRODUCTION. 
 
 a Valenciennes worker could not accomplish more than an 
 inch and a half. It took two months, working fifteen hours 
 a day, to complete a pair of ruffles. Valenciennes lace was 
 therefore costly. The city-made lace was called by some 
 " real Valenciennes " (vraie Valenciennes), and was remark- 
 able for the beauty of its ground, the richness of its 
 design, and the evenness of its tissue. Valenciennes lace 
 made outside the city has been called "fausse Valen- 
 ciennes." In these, a variety of grounds takes the place of 
 the regular diamond-meshed r6seau. 
 
 No. 550-68 is a fine specimen of Valencienneslace, of 
 the period of Louis XIV. The ground is regular and com- 
 pact, the texture of the flower resembles cambric ; the design 
 is bold and florid. 
 
 Lille and Arras. 
 
 Lille lace co-existed with other laces of the Netherlands, 
 of which country Lille, as Valenciennes, was ancientlj^ a 
 part. Both these cities belong to France by virtue of the 
 treaties of Aix-la-Chapelle (1668) and Nimeguen (1678) 
 A specialty of Lille lace is its ground. Instead of the sidea 
 of the meshes being plaited either partly, as in Brussels and 
 Mechlin, or wholly as in Valenciennes, four of the sides are 
 formed by twisting two threads round each other, and the 
 remaining two sides by the simple crossing of the threads 
 over each other, see fig'ure 6. A thread cordonnet marks 
 the pattern. The edges of the old Lille lace are generally 
 straight. The black lace was much worn for mantles, but 
 it is now no longer made, and little is produced of the 
 white. The lace of Ai-ras closely resembles that of Lille in 
 workmanship and style of pattern. 
 
 Chantilly, &c, 
 Chantilly, in the department of Oise, is the centre of a 
 district long celebrated for its black and white silk laces, a 
 manufacture having been established in the I7th century by 
 
INfeoDUCTION. xxix 
 
 the Duchesse de Longueville. The flower and ground 
 are of similar quality of silk. Its productions being 
 exclusively for the use of the higher classes, its lace-makers 
 were many of them victims of the Kevolution. Under 
 the First Empire, silk lace again was worn, and Chantilly 
 recovered its prosperity, and exported extensively to 
 Spain and her American colonies, mantillas, scarfs, and 
 other large pieces, in the making of which she had no 
 competitor. Later she has had to contend with the fabric 
 of Normandy, and her manufacture has succumbed in the 
 contest. Chantilly at present fabricates no silk lace ; she 
 has been supplanted by the productions of Calvados, which 
 are similar in material and in the mode of fabrication. 
 
 Normandy, Auvergne, and Lorraine. 
 
 The making of imitation Valenciennes, silk and other 
 laces extends from Cherbourg to Dieppe. From the absence 
 of brilliancy in the " grenadine " silk it is often called " black 
 thread." Machine-made lace of low price is often made of 
 black cotton, which is rarely if ever used for hand-made lace 
 The black-white silk lace, nearly identical with Chantilly 
 laces, has its centre of manufacture by hand at Bayeux, 
 which town has arrived in its products to the highest point 
 of artistic excellence. 
 
 Auvergne is one of the most ancient sites of the lace 
 manufacture in France, and employs almost the whole 
 female population of the district. Every kind of lace, black 
 and white, thread, cotton, silk, poil de chevre, and woollen, 
 the white thread like the old Lille and Arras, is here pro- 
 duced. Formerly Auvergne exported largely to Spain and 
 its colonies. Le Puy and Cr^ponne (D^pt. Haute Loire), 
 established in 1836, are the principal places of manufacture. 
 
 Lorraine, since the beginning of the last century, has 
 carried on an extensive lace trade, but her productions have 
 no special character of their own, and, moreover, have now 
 become German laces. 
 
 Q 3787. (1 
 
XXX INTBODUCTION. 
 
 It is well, however, to bear in mind that the foregoing 
 laces of Normandy, Auvergae, and Lorraine, do not as a 
 rule possess much celebrity as works of fine art. The 
 patterns of them are easily reproduced by machinery, and 
 machine lace has now very considerably superseded hand- 
 made laces. Some excellent machine-made laces are pro- 
 duced at Calais. A revival of handwork occurs sometimes, 
 as is shown by the productions of Messrs. Assimon & Cie., 
 a note as to which is given in the body of the Catalogue. 
 Mention may also here be made of some exceptionally fine 
 handwork produced under the direction of Messrs. Lefebure, 
 whose laces are made by bodies of French and Belgian 
 workers. They are, however, often of a character far superior 
 to that of the ordinary lace market, and the finesse of early 
 work is to a largo extent perpetuated in them. Simple 
 white thread embroidery, darning on net or lacls, is worked 
 at some convents in the north of France. 
 
 ENGLAND AND IRELAND. 
 
 The introduction of a sort of lace making into England 
 is assigned to Netherlanders, who in the middle of the 
 IGth century fled from the persecutions of Alva, and sought 
 an asylum in this country. The principal centres of lace 
 making by hand are in Buckinghamshire and the adjacent 
 counties, at Honiton, and in Devonshire. 
 
 The laces of Buckinghamshire and the adjacent coimties 
 of Bedfordshire and Northampton are celebrated for their 
 grounds, rivalling those of Lille, whose patterns the lace 
 makers very much copied ; hence these laces have been called 
 " English Lille." A principal branch of the trade was the 
 making of those narrow laces specially employed for trimming 
 infants' caps, called in the county where they are made 
 " baby lace," but the discontinuance of the wearing of such 
 caps by infants, and the increase of machine-made lace, have 
 caused the demand for these laces to decline. The itinerant 
 
INTRODUCTION. XXXI 
 
 lace maker one meets in the country with her pillow and 
 bobbins chiefly makes lace with a ground of meshes. The 
 twisted plaits used for such grounds are generally of the 
 "Lille" type, sometimes they resemble the Valenciennes 
 model. 
 
 The lace manufacture of Devonshire extends along the 
 seacoast from Seaton, by Beer, Branseombe, and Sidmoutb, 
 to Exmouth, including the Vale of Honiton, which is its 
 chief centre. The Honiton lace resembles the Brussels in 
 manufacture. The old ground was made of thread pro- 
 cured at Antwerp, where its market price in 1790 was 
 701. the lb., as high as a hundred guineas having been paid 
 for it to smugglers during the war ; and the lace-makers 
 would receive as much as 18s. the yard for making the 
 ground of border lace, not two inches wide. But it is to 
 its sprigs that Honiton owes its great reputation. They 
 are made separately on the pillow, and like those of 
 Brussels were at first worked in, and afterwards " applied " 
 or sewn on the ground. Honiton lace was costly. Honiton 
 workers still retain celebrity for the excellence of their work. 
 The style of design is generally floral, and fine ground with 
 delicate sprigs which made their reputation, has been 
 chiefly replaced by a lace with " brides " or ties. A fine 
 flounce of Honiton pillow-made lace was exhibited by 
 Messrs. Howell and James in the Paris Exhibition of 1878. 
 A photograph of it may be seen in the National Art Library. 
 
 To summarize the history of lace-making in England one 
 may say that in the loth century such plaited threads as 
 were called " lace " were of the character of boot-laces, or 
 plaited cord for girdles, or narrow bands for hats or for 
 "purlings." In the 16th century, Venetian fashions in 
 linen needleworks and cut works penetrated to England, 
 Thus an artistic use of linen threads and kindred materials 
 began to prevail, which may have been assisted in develop- 
 ment here and there, by Flemish lace-makers, who were 
 driven out of their own country about the middle of the 
 
 d2 
 
XXXll INTRODUCTION. 
 
 16th century as .above stated, as well as by importation of 
 foreign laces. A sort of work called bone lace came into 
 vogue. It was apparently an ornamental arrangement of 
 plaited threads, made for borders to collars and cuffs, and in 
 character like the contemporary " merletti a piombini " of 
 Italy, and the " passements aux fuseaux " of France {see 
 Illustration IV.) In the I7th century the art of lace- 
 making in Europe received an impulse from the patronage 
 accorded to it by Colbert. Variety of lace patterns was 
 encouraged ; elaborate works were produced. The influence 
 of this naturally extended, through the fashions of the 
 wealthy, in some degree to England. PiJlow lace-making 
 appears to have been much more widely practised than 
 needle-point lace-making. In the pair of scallops (numbered 
 730.-68.) we have an instance of English needle-point lace- 
 making of tha early 17th century, of the character of the 
 " punt in aria " of the Italians. Insertions of open work in 
 the samplers of the l7th century (numbers 323.-72. and 
 747.-'75.) are somewhat similar to the Italian Eeticella, &c. 
 From Belgium — chiefly perhaps from Brussels — English 
 lace-makers in the late I7th century received their ideas. 
 Whatever individuality there is in the floral designs of 
 the laces of Devonshire, a relationship is clearly traceable 
 between them and the more marked characteristics of 
 Brussels lace of the same period. Throughout the 18th 
 century Belgian pillow lace-makers seem to have vied, in 
 respect of design, with needle-point lace-makers at A.len90]i. 
 England, however, appears tc have taken as manj' sug- 
 gestions as she could from Belgium and France, but was 
 unable, failing the incentive of powerful State aid such as 
 had been accorded to lace-making in France, to attain to 
 such completeness of artistic production as either of lier two 
 instructors. 
 
 An attempt was made to instruct the Irish in lace-making. 
 It was through the exertions of the Lady Arabella Denny, 
 in the middle of the last century, that tl)0 art was taught 
 
 Vj']0 
 
To face p. Tixjiii. 
 
 IV. 
 
 Pattern to be worked in Keedlepoint Lace, Cnt Linen, or as a "passement anx 
 fnseanx " from Pattern Book of Cesare Vecellio. 1600. 
 
INTRODUCTION. XXXlll 
 
 to children in tlio workhouse at Dublin. Later on, after 
 the great famine o? 1846, various lace schools were set up 
 in different parts of Ireland, where lace and a sort of 
 imitation of it were made with success. Lady de Vere 
 taught the art of making application flowers like Brussels, 
 and the work was called from her demesne in the county of 
 Limerick " Curragh point." Cut cambric to imitate lace 
 with " brides " or ties is made at Carrickmacross, county of 
 Monaghan; imitations of Venetian rose point have been 
 made at Miss Jane Clarke's school at Belfast ; of tatting, at 
 Lady Erne's, county Fermanagh, with " Lacet " and various 
 other descriptions of imitation lace. Many of the Irish 
 (so-called) laces consist of embroidery upon net. Eeal 
 needle-point laces are made at Youghal and in Catholic 
 schools. The provincial laces are generally made in 
 cottages and cabins, and there are district offices belonging 
 to dealers, where they are collected for distribution through 
 the market. There is, however, a lack of designing power ; 
 since workers go on, more or less, in fixed grooves, imitating 
 or altering old patterns, which originally even could claim 
 to have no high pretence to artistic design. In previous 
 editions of this Catalogue, specimens, which were purchased 
 from the Irish Normal Lace School, a school at Dublin, in 
 1855 (about which time this school closed), appeared as 
 " Irish " hand-made laces. Upon examination, howevei', 
 the majority of them are found to be modern French laces. 
 They were specimens purchased, no doubt, for the study 
 of the Irish students. Irish laces, as a rule, do not take 
 high rank either for design or for workmanship. On the 
 other hand, pieces of exceptional design are occasionally 
 made to special ofder in convents, and are scarcely distin- 
 guishable from original needle-point laces. 
 
 England is now celebrated chiefly for her machine-made 
 laces. Patterns of Mechlin, Valenciennes pillow laces are 
 considerably imitated by the machine, as well as patterns 
 
XXXIV INTRODUCTION. 
 
 of AleiKjon and Point de Venise a iv'seau. Occasionally 
 skilful lace-makers in Exeter and Leamington and else- 
 where produce needle-point laces in imitation of the heavy 
 raised Venetian points of the 17th century. Pillow-lace 
 making is carried on in Devonshire, and by itinerant lace- 
 makers. Traditional patterns, of no high quality in design 
 are generally used. Fine linen thread is rarely used, and 
 so cotton thread, or flax thread made with a strong ad- 
 mixture of cotton, is adopted. The soft quality of 18th 
 century laces made with fine Brussels handspun flax thread 
 is rarely reproduced. 
 
 SPAIN AND PORTUGAL. 
 
 In the 17th and 18th centuries Spain a,nd Portugal 
 appear to have been consumers of much foreign lace. No 
 mention of lace-making as an industry in Spain has been 
 traced by Senor Riaiio in ordinances relating to industries 
 published at Toledo in the 15th and 16th centuries, and at 
 Granada in the 16th and I7th centuries. A friar, Marcos 
 Antonio da Campos, in 1592, condemned the loss of time in 
 the manufacture of cadenetas. But cadenetas does not 
 mean lace onty. Its first meaning appears to be chain 
 stitch, and in the 1 6th century when Vandykes and inser- 
 tions of lace-work were in use the Spanish names for 
 them seem to have been _23 !(,)!/,« s and entredos. The friar 
 may then have been condemning a class of embroidery and 
 not lace at all. In the 16th century, Flanders was part 
 of the Spanish dominions, and there are several records of 
 the importation of Flemish lace into Spain. In Mrs. Bury 
 Palliser's " History of Lace," mention is made of a lace 
 alb, presented by Ferdinand and Isabella (15th century) 
 to the Cathedral at Granada. Senor Riauo has seen this 
 alb, and finds that it is Flemish lace of the I7th century. 
 The famous "Point d'Espagne" seems to have been a gold 
 or silver lace made in France, and a few remarks about it 
 
INTRODUCTION. XXXV 
 
 occur in. the section relating to gold and silver lace. 
 Sen or Riano is of opinion that -white thread lace of a very 
 fine or artistic kind was not ever made in Spain, or 
 exported as an article of commerce during early times. 
 
 The few specimens of so-called Spanish lace in the 
 Museum are of little artistic interest. Foremost amongst 
 them are one or two specimens of the black silk Mantilla 
 lace of Barcelona, the manufacture of which was perhaps 
 borrowed from France. Of Portuguese lace there is little 
 information. The so-called Portuguese point resembles flat 
 Venetian needle-point lace. A most interesting specimen 
 of such work with a Portuguese inscription was recently 
 shown at the Museum. It consisted of bands of insertion 
 for a pillow case reputed to have belonged to Cardinal 
 Wolsey. The subjects of the designs were incidents from 
 the Bible, such as Jtidith and Holofernes ; and the draw- 
 ing of the figures was archaic. From indications of long 
 trunkhose, and rosettes upon shoes, the work appeared 
 to be rather later than Cardinal Wolsey's time, and the 
 character of the arrangement of the figures was some- 
 what similar to that often adopted by Vinciolo, whose 
 designs appeared in 1580, and were republished and in 
 use for some forty years later. Although the Portuguese 
 inscription upon this pillow cover might suggest a Portuguese 
 origin for this work, there is no reason, on the other hand, 
 why it should not have been made in Italy and sent over 
 as a present to some Portuguese person of consideration. 
 
 GERMANY. 
 
 A traditional claim is made that the art of making lace 
 upon the pillow was first introduced into Germany by 
 Barbara Etterlein, of Nuremberg parents, who removed to 
 the raining district of the Harfcz Mountains. Here she 
 married a rich mining master, Christopher Uttmann, of 
 Annaberg. Observing the girls were mostly employed in 
 
XXXVl INTRODUCTION. 
 
 making net caps for the miners to confine their hair in, 
 Barbara, who is said to have learned the art of lace-making 
 from a Brabant refugee, introduced the pillow and taught 
 them to make a i)]ain lace ground, whence she proceeded to 
 set up a workshop at A.nnaberg, and began making lace of 
 various patterns. Thence tradition has it that the art 
 spread over Germany. Barbara Uttmann died at Annaberg. 
 and on lier tomb is inscribed, "Here lies Barbara Uttman, 
 " died 14 Jan. 1575, whose invention of lace in the year 
 " 1561, made her the benefactress of theHartz Mountains." 
 Remembering, however, that German pattern books of this 
 period contain no patterns for lace except those scantily 
 copied from Italian books, and that such simple pillow laces 
 as were then in general circulation consisted of little narrow 
 edgings, or at best of small vandyked work like the 
 " merletti a piombini," it does not seem probable that the 
 German laces, if they existed at all, were other than imita- 
 tions of the comparatively insignificant edging laces in 
 vogue at the time. History does not tell us whether the 
 art was much developed, or whether it attained to any rank 
 of importance in respect of beauty or intricacy of design. 
 No lace of notable design is now known as being of German 
 origin. Neither refined workmanship nor fine design appears 
 to have been a characteristic of German lace. The late Mrs. 
 Bury Palliser stated that this brand i of industry, in which 
 above 60,000 people were employed at the beginning of the 
 j)resent century, has greatly declined in the mountain 
 district of the Erzgebirge, both on the Saxon and Bohemian 
 sides, the peasants only making the coarse " torchon " lace 
 similar to the piece No. 758-68. Machine-made lace has 
 to a great extent supplanted the hand-made, but efforts 
 have lately been made to revive the latter industry. 
 
 DENMARK. 
 
 The art of laee-making is said to have been introduced 
 into Denmark by Queen Elizahetli, sister of the Emperor 
 
INTRODUCTION. XXXVU 
 
 Charles V., and wife of Christian II., but it is more likely 
 that simple needlework was the sort of art encouraged at 
 this time. Lace-making haa never been established as a 
 manufacture except, judging from the character of work, 
 about the late l7th or early 18th century, at Tonder in 
 North Schleswig, whence lace was distributed over Scandi- 
 navia, by " lace postmen," as they were called. The old 
 Tonder laces imitate the fabrics of the Netherlands, while 
 the modern were copied from the French, but. the art has 
 nearly died out. In the Museum Collection, Denmark is 
 represented by a few clever embroideries done on and with 
 fine linen, muslin, and such like, which are somewhat 
 similar in appearance to lace fabrics of Mechlin design. 
 
 SWEDEN. 
 
 The only manufactory of lace in Sweden is at the Con- 
 vent of Wadstena, founded, according to a legend, probably 
 of no historic value, by St, Bridget ; and its products are 
 carried to every part of the country by " colporteurs,'' or 
 hawkers. The making of coarse pillow lace is a favourite 
 occupation with the women of Scania, and in Dalecarlia the 
 same patterns are used as were fabricated by peasant lace- 
 makers in other parts of Europe two centuries back. No 
 improvement takes place in the designs, as the Dalecarlian 
 women make only for their own consumption. The making 
 of "Holesom" or- outwork is a favourite occupation of the 
 women in Sweden. Of this work the napkin, 234. -'69, is 
 an example. 
 
 RUSSIA. 
 
 Pillow lace has been made by peasants in districts of 
 Russia for over a hundred years. Much now of simple 
 design and coarse texture is made in the following dis- 
 tricts : — Belev, Vologda, Riazan, Mzensk. The art was 
 probably introduced into Russia through commercial and 
 other intercourse with Germany and the Nethei-lands during 
 
XXXVlll INTRODUCTION. 
 
 the 18 th century. After the visit of Peter the Great to 
 Paris, in the early days of the 18th century, eEforts were 
 made to induce Russian women to malce lace. Half a 
 century later there was an establishment of twelve gold- 
 lace makers, which it is said was scarcely able to supply the 
 demand. 
 
 ISLANDS IN THE MEDITERRANEAN. 
 
 " Punto Cypriote," or Cyprus Point occurs in Venetian 
 pattern books of the middle of the 16th century. It was, 
 howevei-, an embroidery stitch and not a lace. Cyprus was 
 celebrated from Medifeval times for its gold embroidery and 
 costly tissues. Candia or Crete obtained a slight celebrity 
 for its lace making. 
 
 In 1875, the Museum acquired a collection of embroideries 
 and laces made at least one hundred years previously in 
 Crete. Whilst some of these white thread laces bear 
 distinct traces of Venetian influence, like those in which 
 costumed figures are introduced, others have an archaic 
 characteristic of pattern, such as appears in variety of form 
 in the designs of nationalities whose incUnations towards 
 decoration have not been cultivated. As a rale the motives 
 of the Cretan patterns are traced to orderly arrangement 
 and balance of simple symmetrical and geometric details, 
 such as diamonds, triangles, and quaint polygonal figures 
 which are displayed upon groundworks of small meshes. 
 Sometimes the patterns owe their origin to untutored 
 imitation of a blossom or leaf. The workmanship is some- 
 what remarkable, especially that displayed in the making 
 of the meshes for the grounds. Here we have an evidence 
 of ability to twist and plait threads, as marked, almost as 
 that shown by the cultivated lace makers of Brussels and 
 Mechlin. Wliethe]- the twisting and plaiting of threads to 
 form th« meshes in this Cretan lace was done with the help 
 cif pins or fine pointed bones, may be a question difficult to 
 solve. Crete has been intimately connected with Venetian 
 
INTRODUCTION. XXXIX 
 
 history and since indications of lace-making such as we trace 
 it from Venice over Europe, are not forthcoming from the 
 countries near Crete, it is perhaps fair to assume that the 
 Venetians selected the peasants of Crete as suitable means 
 for developing a rude sort of lace. It is also to be 
 remarked that lace made by peasants of South Italy of 
 which the Museum has one or two specimens, has a like- 
 ness to some of the Cretan specimens. Such a likeness 
 may be due to the common resemblance which appears 
 to exist between the work of different peoples undertaken 
 at similar periods of their progress towards civilization. 
 
 The Cretan laces are chiefly of silk, which seems to point 
 to a cultivation of silk in the Island, as well as to its im- 
 portation from neighbouring districts of Asia Minor at the 
 time (at least one hundred years ago) when the laces were 
 last made. The patterns in the majority of the specimens 
 are outlined with one, two, or three bright coloured silken 
 threads., which may have been worked in with the other 
 threads as the cordonnet in Mechlin lace. The numerous 
 interlacements which this cordonnet makes with the lace, 
 point also to the outline having perhaps been run in with 
 a needle. 
 
 In the islands of the Grecian Arcbipelago, the Ionian 
 islands, and other adjacent places, many of which were 
 in some way commercial, political, or otherwise, under 
 Venetian influence in the 16th and 17th centuries, lace has 
 been found. Much of that lace which is often called Greek 
 lace is of the same character as the Venetian " Eeticella " 
 and "Punto in aria" of the 16th century. But neither for 
 execution nor for design are those Greek laces as remark- 
 able as similar Italian laces. " Point de Kaguse " is the 
 title of a lace named in the " Revolte des Passements," 
 published in Paris in 1661. It was probably a ..class of 
 vandyked edging identical with Venetian edgings of the 
 16th century. 
 
xl INTllODUCTION. 
 
 Malta i.s celebrated for its black aad white pillow laces; 
 the patteiii, always of the same character, is derived in 
 a measure from the geometric lace of the 17th century, 
 much of which is reputed to have been made at Genoa. 
 Points of Genoa, '• Points de Genes," seem to have ob- 
 tained their name as points on account of their pointed or 
 dentated shape. The term point used in this sense should 
 not be confounded with " Needle-point lace."' " Genoese 
 point " shared public favour, in the 17tli century, with 
 points of Venice and Flanders, and was extensively em- 
 ployed for trimming collars, handkerchiefs, and aprons. 
 The Genoa lace was chiefly made or plaited on the pillow, 
 of fine tliread imported from other countries, Genoa pro- 
 ducing none of her own. A characteristic of Genoese lace 
 is a pattern of wheels or circles formed by small designs 
 (resembluig grains of wheat), radiating from one common 
 centre. 
 
 GOLD AND SILVER THREAD LACE. 
 
 The making of gold thread dates from pre-historic times. 
 Without venturing into its Oriental or pre-Christian origin, 
 it may be mentioned that Nero is said to have worn a net 
 or head covering of gold threads. From Anglo-Saxon 
 times gold thread was in use for embroidering and weaving 
 ecclesiastical and other vestments. In the 15th century 
 we have mention of " frenge of gold of Venys," and about 
 the same time of gold thread from Cyprus. Somewhat 
 later mention occurs of gold and silver threads from Genoa 
 and Lucca. In Italian, Venetian, and Flemish paintings 
 from the 15th century onwards we may notice little open- 
 work borders of gold threads, evidently twisted and 
 plaited together. Sumptuary edicts respecting costume, &c., 
 passed in Venice, Italy, Spain, France, and England, contain 
 mention of such borderings and fringings. Laws were also 
 passed for the protection of the consumers of such materials. 
 In fact the history of gold and silver threads opens up 
 
INTRODUCTION. xli 
 
 n 
 a long vista, and the telling of it would require con- 
 siderable space. It appears to be evident that the use of 
 stiffened threads, like gold and silver strips wound upon a 
 foundation of silks or flax to make threads, and "gimps " 
 or " guipure " preceded the use of fine linen threads for 
 ornamental openwork or lace. The variety of pattern, 
 however, worked in these stiffer materials does not seem 
 to have become considerable. The metallic threads more 
 difficult to loop and twist together than flax threads, 
 almost imposed the necessity of comparative simplicity of 
 pattern, and certainly prevented the production with them 
 of minute, delicate, and elaborate work, such as was 
 obtainable with linen threads. At the same time charac- 
 teristic geometric patterns were twisted and plaited with 
 gold and silver threads about the end of the 16th 
 century, if one may so judge from the likeness in pattern 
 which exists between them and certain designs in con- 
 temporary books. 
 
 It may have been then that " Point d'Espagne " was be- 
 coming fashionable, though the zenith of its success seems to 
 be towards the end of the 1 7th century. There appears to 
 be comparatively little manufacture of gold and silver threads 
 in Spain at that' time. Not far from Spain, and in the 
 south of France, centres for manufacture of gold and silver 
 thread existed, as at Aurillac and Lyons. The Spanish 
 grandees were large purchasers of all sorts of articles of 
 finery from those centres as well as from Paris, which was 
 noted for its gold and silver laces. . It has been surmised 
 that the name " Point d'Espagne " -arose more from the 
 compliance of Italian and French manufacturers with the 
 demands of Spanish customers, than from any remarkable 
 manufacture in Spain itself of a certain "Point." Later 
 on, when the prosperity of Spain was waning, through the 
 17th and 18th centuries, attempts were made to develope 
 Spanish manufactures, and in the 18th century the 
 
xlii INTRODUCTION. 
 
 manufacture of tapestries and gold threads, &c. was 
 specially encouraged in Madrid. 
 
 The authentic hand-painted engravings in the Museum 
 collection, Nos. 1197.-75 and 1196.-75, representing ladies 
 in costumes of the late 17th or early 18th century, ave 
 ornamented with gold and silver lace. These quaint 
 relics were procurable at Paris, " chez J. Mariette, 
 " Rue St. Jacques, aux Colonnes d'Hercules/' and " chez 
 " Trouvain, Rue St. Jacques, aux grand Monarque, avec 
 '■ privilege." The gold and silver laces shown on them are 
 of two sorts, the one a small bordering of little fan-shaped 
 motives through the edge of v/hich a twisted double thread 
 passes ; the other a broader sort of lace with a pattern 
 traced in thick double lines of gold or silver gimp passing 
 through the meshes of a "ri^seau" group, with close work 
 here and there of twisting, and close-lying. double threads. 
 Monsieur Seguin attributes the use of the " rdseau " in gold 
 threads to the time of Louis XV. 
 
 No doubt the making of " r^seaux " in gold and silver 
 threads, like those made in linen threads, grew with im- 
 provements in pin manufacture, whereby pins, so necessary 
 in pillow-made lace at least, were obtainable in quantities 
 and cheaply. It may be weU to note that in England in 
 the 1 6th century pins cost, or rather it was ruled by law 
 that they should not cost more than 6s. 8d. a thousand. 
 In modern money this means about 4Z. 10s. to 51. a thousand. 
 Or looking at in another way what now costs a few 
 pence 300 years ago cost a hundred shillings. As the 
 production of pins was facilitated the inventiveness of lace- 
 workers became stimulated. Pins enabled them to make 
 grounds of meshes, and so laces with grounds of meshes, or 
 as they are called " dentelles a r&eaux," came into being. 
 This period in lace making I think may be placed at 
 about the middle of the l7th century. Gold and silver 
 laces, and indeed all laces having a groundwork of fine 
 
INTEODUCTION. xliii 
 
 meslies, date, therefore, from about the middie of the l7th 
 century. The manufacture of drawn metallic threads or 
 wires and gimps was carried on in Germany, especially in 
 South Germany, at Nurnberg, and neighbouring towns, 
 from the 15th century at least, also in Holland. It may 
 be fair to suppose that at these places borders and fringes 
 were made, although of no sufficient artistic design to give 
 them a name, such as that which the gold and silver points 
 of Venice, of Lyons, of AurUlac, of Paris, and the " Points 
 d'Espagne " obtained for themselves. 
 
 In the preparation of this edition of the Catalogue it has 
 been thought desirable, while adhering to the original 
 arrangement under countries, to indicate by marginal notes 
 the various classes of workmanship. An observation of the 
 development of work and pattern seems to convey a more 
 connected knowledge of the art of lace making than can 
 be gathered from the too often conjectural ascription of 
 country and period. The workmanship of each specimen 
 is mentioned in the Catalogue description, and cross 
 references are frequently given, calling tlie attention of 
 the student to points of resemblance in styles of design and 
 methods of working which occur in specimens of laces 
 presumably originating in different countries. 
 
 Alan S. Cole. 
 
 October 1881. 
 
CATALOGUE. 
 
 ITALIAN. 
 
 Cushion Cover of " lacis " or darned netting, with little DABHiira ok 
 
 IiET OB JJACIS 
 
 squares of cutwork. Portions of the linen between the 
 cutwork are embroidered. The edging is of Vandykes of 
 button-hole stitched work. Italian. 16th centy. 19 in. 
 square. Bought, 11. 600.-64. 
 
 Table Cover. Centre of green silk, with wide border of 
 thread " lacis " or darned netting of large foliage scroll 
 pattern. Venetian. Italian. Middle of 16th cent?. L. 
 5 ft. 6 in., W. 3 ft. 4 in. Bought, 15s. 4218.-'57' 
 
 Border of " lacis " or darned netting of vine-leaf pattern, 
 with an edging of pillow-made lace. Italian. 16th centy. 
 L. 5 ft. 4 in., W. 7i in. Bought, 14s. 4220.-'57. 
 
 Border of " lacis " or purple net, embroidered with large 
 flowers in coloured floss silks, with scrolls and foliage. 
 Italian. 18th centy. L. 8 ft. 3 in., W. 11 in. Bought, 
 8s. 624.-64. 
 
 Cushion Cover. Centre of cherry coloured silk, with 
 border of " lacis " or purple net embroidered with floss silks 
 of various colours. Italian. 18th centy. L. 2 ft. 6 in., 
 W. 2 ft. Bought, 12s. 625.-'64. 
 
 Table Cover. Centre of blue silk, with wide border of 
 thread " lacis " or darned netting of large foliage scroll 
 pattern, and horns of plenty. Venetian. ItaUan. Middle 
 of 16th centy. L. 6 ft. 5 in., W. 3 ft. 7 in. Bought, 15s. 
 
 4219.-67. 
 
 Band of " lacis " or darned netting ; vine pattern. Italian. 
 16th centy. L. 7 ft. 1 in., W. 5i in. Bought (with 546 
 to 576, 150?.) 545.-75. 
 
 Q 3787. A 
 
2 LACE. 
 
 nbt'ok lioia Oelijng Piece of " lacis " or darned netting. Pattern of 
 birds and beasts among trees ; a representation of the 
 Creation, from a pattern book. Italian. 16th centy. 
 20 in. by 8 in. Bought Cwith 545 to 576, 150Z.) 
 
 547.-75. 
 
 Boeder of "lacis" or darned netting, with portions of 
 outline done in threads run into the netting. The pattern 
 consists of an angular and foliated scroll. Neapolitan. 
 Italian. 16th centy. L. 2 ft. 6^ in., W. 9 in. Given 
 by Mrs. Bury Palliser. 724.-75. 
 
 Band or BoRDEfi, of " lacis " or darned netting done in 
 slight threads, with repeating zig-zag pattern decorated 
 with conventional-squared fruits or leaves. Italian. 
 17th cenfy. lOj in. by 3^ in. Given by Mrs. Bury 
 Palliser. " 1132.-75. 
 
 Squares, twelve, of " lacis " or darned netting. Animals, 
 birds, and figures are represented in a style similar to 
 that of those shown in the designs by F. Vinciolo {see 3rd 
 edition of his pattern book, 1599). Italian. i6th centy. 
 Each square is about 3^ in., square. Given by Mrs. Bury 
 PaUiscr. 1144 to 1144A-.-75. 
 
 Piece of " lacis " or darned netting, with pattern of flowers, 
 stags, and other animals, and human figures. Italian. 
 16th centy. 21 in. by lU in. Bought, II. 1309.-77. 
 
 Vandyked Border of "lacis" or darned netting, with 
 patterns of griffins and cocks in pairs. Italian. 16th 
 centy. 3 ft. 1 in. by 5^ in. Bought, 15s. 1311.-77. 
 
 Border of " lacis " or darned netting, with a design of 
 figures offering sacrifice (?) outlined in red silk. Italian. 
 Late 16th centy. 3 ft. 2^ in. by 6 in. Bought, 11. 5s. 
 
 1312.-77. 
 
 Table Cloth of linen, with border composed of squares of 
 '' lacis " or darned netting, in which are represented birds, 
 animals, zodiacal signs, &c., of little oblongs of linen cut 
 and embroidered, and of squares of cut work " retieella." 
 The border is edged with needle-point Vandykes. 
 Italian. 16th centy. 2 ft. Ih in. by 16 in. Bought, 
 11. OS. ' 1313.-77. 
 
 In the pattern-book by Parasole of 1616, designs for this sort of mixed 
 work are entitled" Punto reale a Eeticella." 
 
 Border of " lacis " or darned netting. Pattern of two 
 heraldic lions one on each side of a double griffin -headed 
 fountain. Border of flower and leaf. Italian. 16th 
 centy. 3 ft. by ]6 in. Bought, 11. 5s. 1314.-77. 
 
ITALIAN. 3 
 
 Band of " lacis " or darned netting, with ornamental scrolls nei'o™ lacis. 
 crossed with sprays of conventional flowers. Italian. 
 Late 16th centy. 3 ft. 7 in. by 4^ in. Bought (Robinson 
 Collii). 149.-80. 
 
 Band of "lacis" or darned netting. The net is of un- 
 bleached thread. The darning is done in white thread, 
 with scroll of conventional vine leaves and grapes. 
 Italian. Late ] 6th cent?. 2 ft. 5| in. by 3^ in. Bought 
 (Robinson Coll'i). 150.-80. 
 
 Band of " lacis " or darned netting of square acanthus 
 leaf and conventional pattern. Italian. Late 1 6th 
 centy. 2 ft. 6-|- in. by Q\ in. Bought (Robinson Coll"). 
 
 151.-'80. 
 
 Part of a Band of " lacis " or darned netting of squared 
 designs, symetrically distributed. The forms represented 
 include, quaint animals like stags and dogs, double-headed 
 snakes, blossoms, &c. Italian. Late 16th centy. 2 ft. 
 11 in. by 12 in. Bought (Robinson Colli). 152.-80. 
 
 Part of a Band of "lacis" or darned netting of squared 
 designs similar to those of 152.-80. Italian. Late 
 16th centy. 20 in. by 7i in. Bought (Robinson Coll"). 
 
 153.-'80. 
 
 Coverlet, consisting of vertical columns of coarse " lacis " or 
 darned netting, joined by narrow strips of linen. Italian. 
 17th centy. L. 8 ft,, W. 5 ft. 3 in. Bought, \l. 2s. 
 
 1035.-55. 
 
 Boeder of " lacis " or darned netting, and run white thread 
 embroidery on unbleached thread netting. Pattern of 
 acorns and oak leaves. Italian. 17th centy. L. 3 ft. 
 10 in., W. 41 in. Bought, 4s. 2d 1040.-55. 
 
 Band of " lacis " or darned netting, with run embroidery 
 done in thread ; white thread pattern on yellow net 
 ground. Italian. I7th cent?. L. 23 ft., W. 4^ in. 
 Bought, 11. 8s. 619.-'64, 
 
 Border of " lacis " or darned netting, with foliated pattei'n 
 and birds, in light gray and white threads on dark gray 
 ground ; outline in dark brown. Italian. I7th centy. 
 L. 14 ft., W. 13 in. Bought, 11. 2s. 4d 620.-'64. 
 
 a2 
 
* LACE. 
 
 Net ok'lacis ^^^'^ 0^ •*■ CuRTAiN of " lacis " or darned netting. Portions 
 done in coarse thread and displaying a variety of crossed 
 darning. Neapolitan. Italian. 17th cent?. L. 9 in., 
 W. 1 1 in. Given by Mrs. Bury Palliser. 759.-'68. 
 
 Altar Cloth of linen, with deep border of " lacis " ; em- 
 broidered with unbleached thread, in feather and satin 
 stitches. A narrow insertion of outwork "Reticella" 
 runs along each side of the border of net embroideded. 
 Beyond this is a band of linen embroidery with a scal- 
 loped edging of plaited and twisted threads, " Merletti a 
 piombini." Italian. Early I7th cent?. L. 5 ft. 7 in., 
 W. 3 ft. 6| in. Bought, 3Z. 3s. 1041.-71. 
 
 Altar Cloth of linen, ornamented with outwork and 
 embroidery in feather-stitch of foliage pattern, enclosed 
 with " lacis " border, edged with Italian point. ? Italian. 
 17th centy. L. 4 ft. 8 in., W. 4 ft. 10 in. Bought (Bock 
 Colin), i3i. 2s, U. 1604.-72. 
 
 Band of '' lacis " or darned netting ; running acanthus 
 pattern outlined with gold thread. Along the lower 
 border are Vandykes of early white and gold thread 
 tvidsted pillow lace called " Merletti a piombini." Italiam. 
 I7th centr. L. 2 ft., W. 5^ in. Bought fwith 54-5 to 
 576, ] 50?.) 546.-7 .i. 
 
 Part of a Curtain of " lacis " or darned netting, with 
 portions done in coarse threads. Bold leaf pattern. 
 South Italian. I7th centy. 1.5 in. by 13J in. Given 
 by Mrs. Bury Palliser. 1135.-75. 
 
 Part of a Curtain Border of " lacis " or darned netting 
 (partly in unbleached thread). Portions done in coarse 
 thread. Bold leaf pattern, with a bird introduced. 
 South Italian. I7th centy. 9,^ in. by 8j in. Given by 
 Mrs. Bury Palliser. 1136.-75. 
 
 Border of "lacis'' or darned netting, of conventional 
 angular, small scroll, and floral patterns. .? Italian or 
 German. ? I7th centy. 23 in. by 15 in. Bought, 16s. 
 
 1307.-77. 
 
 This specimen closely resembles in its design and workmanship modern 
 French imitations of this sort of embroidery on net. 
 
 Border of " lacis '' or darned nettino-, of fantastic conven- 
 tional pattern, done in white and unbleached thread. 
 .?/taim?i. ? 17th centy. 3 ft. li in. by 10 in. Bought, 1/. 
 
 1308.-77. 
 
 This, like 1307,-77, closely resembles in its design and workmanship 
 modern French imitations of this sort of embroidery on net. The design 
 especially seems to have no place in designs Italian or German of the 17th 
 or 18th centuries. 
 
ITALIAN. 
 
 Insertion of cut work with ueedle-point stitches. " Reti- cut woek asd 
 cella." Italian. 16th centy. L. 19 in., W. 2| in. laoe.^^'^°"'^ 
 Bought, 12s. 6d. 608.-53. 
 
 Keticella. 
 
 Border. With vandj'kes of cut or drawn linen work. 
 Over the threads forming the main constructive lines of 
 the pattern have been cast button-hole stitches. Some 
 of the details are worked in in needle-point stitches. 
 "Reticella." Venetian. Italian. 16th cent^. L. 15 in., 
 W. 7 in. Bought, lis. 4d. 844.-'53. 
 
 Border or Insertion of point lace or button-hole stitches 
 worked upon the threads of a piece of linen, portions of 
 which were cut to admit the open point-lace work devices. 
 " Reticella.'' Pattern of geometric forms, circles and 
 triangles, &c., set in squares embellished with little loops 
 or " picots " upon the edges of the outlines. Italian . 
 16th centy. L. 2 ft. 5 in., W. 3 in. Bought, 6s. 8d. 
 
 85].-'j3. 
 
 Fragment. Needle-point lace work. "ReticeUa," with needle-point 
 silver thread and spangles introduced. Italian. 16th 
 centy. 6^ in. by 3| in. Given by Mrs. Bury Palliser. 
 
 725.-'55. 
 
 Toilet Cover, composed of stitches of cut linen work cdtWoek. 
 
 " Reticella," and edged with Vandykes of needle-point 
 
 work. Italian. 16th centy. 3 ft. 4 in. square. Bought, 
 
 SI. 4s. 1366.-'55. 
 
 This specimen contains a variety of geometrical patterns, and is thus valuable 
 as a sort of sampler for reference. 
 
 Border of Linen, embroidered in feather, satin, button- ^fifEN'"^"'^" 
 hole and knotted stitches, with cutwork and insertion of 
 point-lace stitches. Italian. 16th centy. L. 3 ft. 11 in., 
 W. 41 in. Bought, 4s. Id. 1041 .-'55. 
 
 Border. Embroidery with cutwork introduced. Italian. 
 1 6 centy. L. 3 ft. 10 in., W. 4| in. Bought, 4s. Id. 
 
 1042.-'55. 
 
 Border of point lace or button-hole stitches worked upon needle-poist 
 the threads of a piece of linen, portions of which have *'^^' 
 been cut to admit of the open-work devices. The pattern 
 is geometric in style. Along the lower part and at 
 end is an edging of plaited and looped thread. " Reticella." 
 Italian. 16th centy. L. ITf in., W. 4 in. Bought, 
 6s. 8d. 7504.-'61. 
 
LACE. 
 
 cutoeDeawn Inseetiok of cut Or drawn workj with edging of plaited 
 
 Embhoidebed 
 
 LiNEIf. 
 
 threads (see 7504.-'61) 
 L. I7i iD.,W. 4 in. ~ 
 
 Italian. 16th or 17th centy. 
 8(i. 750O.-61. 
 
 Bought; 6f 
 
 Piece of work similar to 851. -'53. " ReticeUa." Trimmed 
 with Vandyke edging of plaited threads " Merletti a 
 piombini." The central pattern is of star forms set in 
 
 circles. Italian. 
 Bought, Qs. 8d. 
 
 16th centy. L. 3. ft. 2^ in. W. 6i m. 
 
 7506.-61, 
 
 Border with scallops, perhaps for the falling collar, such as 
 was worn in the I7th century. Needle-point work done 
 on threads of linen, " ReticeJla." Italian. 16th centy. 
 L. ] ft. ] 1 in., W. 4J in. Bought, 6s. 8d. 7507.-'61. 
 
 Boeder with deep scallops. " Reticella." In the upper 
 band of open work from which the scallops hang may be 
 noticed the device of the double-headed eagle. Italian. 
 16th centy. L. of border, 3 ft. 4 in., W. 4 in., L. of upper 
 edging, 4 ft. 9 in., W. 1 in. Bought, 6s. 8c^. 7508.-'61. 
 
 Insertion of cut oi drawn work. " 
 16th centy. L. 3 ft. 1 in., W. 3 in. 
 
 Reticella." Italian. 
 Bought, 6s. 8d. 
 
 7509.-'61. 
 
 Border of cut or drawn work with needle-point stitches. 
 "Reticella." Italian. 16th centy. L. 5 ft. 8 in., W. Sin. 
 
 Bought, 1?. 10s. 
 
 7510.-'61. 
 
 Border of work similar to 851.-'53. "Reticella." Geo- 
 metric pattern of stars and double circles set upon 
 diagonals of squares which form a sort of trellis pattern. 
 Italian. 16th centy. L. 3 ft. 8 in., W. 7| in. Bought, 
 6s. 8d. 7516.-61. 
 
 Piece of Linen Embroidery. 
 pattern, with small insertions 
 Italian. 16th centy. L. 
 (Bock Colin). 
 
 lOJ 
 
 Rectangular geometric 
 
 of outwork "Reticella." 
 
 in., W. gi in. Bought 
 
 1354.-64. 
 
 Part of a Border of cambric embroidered in satin stitch, 
 with details of outwork filled in with point-lace stitches, 
 and of drawn work. The pattern is geometric, consisting 
 mainly of a series of squares, with which are open inser- 
 tions done in four small squares arranged to form a cross. 
 The specimen came from the cathedral at Prague, worked 
 according to tradition, by Anne of Bohemia, Queen of 
 Richard IT. of England. Compared, however, with 
 similar work, it is evidently of later date, and 
 
ITALIAN. 7 
 
 rather of Italian or German work of the middle of the bmbembeeed 
 16th century, than English of the late 14th century, as ^™''''' 
 has been supposed. L. 9 in., W. 3|- in. Given by Mrs. 
 Bury Palliser. S-i^e.-'eS. 
 
 This specimen of needlework is part of an ecclesiastical vestment, preserved 
 under glass in the treasury of the cathedral of Prague, nominally as the gift 
 of the " Good Queen Anne," as the wife of Richard II. was called. Some 
 years since a piece was taken off the original garment to form the horder of 
 an altar-cloth. When washed, it fell into holes and was cast aside. The 
 above specimen is a portion of the washed horder. 
 
 Border of work similar to 851.-'53, but with whiter thread, 
 " Reticella." /taKaw. 16th centy. L.4ft. lOin., W. 4iin. 
 Bought, 11. 15s. 314.-69. 
 
 Band of linen, with fringe of crimson silk. Drawn work, deawhWoik. 
 with embroidery in crimson silk. The pattern, angular 
 and repeating in style, is shown by the white linen being 
 left upon the ground of linen threads, round which the 
 crimson silk is twisted to form a net work, " Punto 
 tirato." Italian. i6th centy. L. 28 in., W. 3| in. 
 Bought, 11. 5s. 505.-72. 
 
 Border of work similar to 851.-53. "Reticella." Geo- 
 metric pattern. Italian. 16th centy. L. 18 in.,W. 6f in. 
 Bought, 15s. 506.-72 
 
 Border of close point-lace stitches worked with unbleached cot Woek. 
 thread, upon the threads of a piece of fine linen, portions 
 of which have been cut to admit of the insertions. 
 The pattern of this piece is composed of a series of open 
 double-lined scallops, in which are set triangles and 
 bunches of loops, like billet ornament, which runs along 
 the border of squares, in which are S. shapes. " Reticella." 
 Italian. 16th or 17th centy. L. 3 ft., W. 2 in. Bought, 
 8s. 852.-53. 
 
 Shirt of coarse linen, with insertions of lacis or darned deawitWoek. 
 netting of embroidered drawn work, " Punto tirato," and i»ace. 
 of pillow-made lace, Merletti a piombini, with edgings 
 also of pillow-made lace. Italian, late 16th or early 
 17th centy. L. 3 ft. 6 in. Bought (Robinson CoU"). 
 
 139.-'80. 
 This specimen of costume is interesting not only on account of the laces 
 
 displayed, but also on account of its showing how such articles of dress were 
 
 trimmed and decorated with lace. 
 
 Child's Linen Cap, with insertion of cut or drawn work. 
 Italian. I7th centy. L. 9 in.,W. 11 in. Bought, 6s. 8c?. 
 
 7521.-61. 
 
 The work of the geometric patterns in this and the five following 
 specimens is minute in execution. It is cut or drawn work, " Reticella." 
 In Westminster Abbey representations of this sort of lace may be seen 
 on the marble sculptured monuments to the children of James I., dated 
 1606 and 1607. 
 
8 
 
 LACE. 
 
 Cut okDkiwn 
 
 UOEK. 
 
 Child's Linen Cap, with insertion of cut or drawn work 
 with border of embroidered and cut linen. " Reticella." 
 Itolian. 17th centy. L., including strings, 2 ft. 6 in., 
 W. 7 in. Bought, 6s. U. 7522.-'61. 
 
 Child's Fine Linen Cap, with insertion of cut or drawn 
 work of minute execution. " Reticella." Italian. 
 17th centy. L., including strings, 2 ft. 3 in., W. 5 in. 
 Bought, 6s. M. 7523.-61. 
 
 Child's Linen Cap, with insertion of cut or drawn work 
 of minute execution. " Reticella." Italian. 17th centy. 
 L., including strings, 2 ft. 2^ in., W. 6 in. Bought, 68. 8d. 
 
 7524.-61. 
 
 Muslin Cap, with insertion of fine drawn or cut needle- 
 point work. "Reticella," and bordered with Fausse. 
 Valenciennes pillow lace. Italian. 17th and 18th 
 centuries. 8 in. by 12 in. Bought, 6s. Sd. 7525.-61. 
 
 Cap^ with insertion of drawn or cut needle-point work. 
 " Reticella," Italian, with border and strings of Valen- 
 ciennes pillow lace. Italian. I7th and 18th centuries. 
 L., including string.s, 2 ft. 9 in., W. 6^ in. Bought, 6s. 8d. 
 
 7526.-61. 
 
 Border, vandyked. The main portion of this specimen is 
 of cut linen, with insertions of plaited thread tape edged 
 with a " cordonnet " of button-hole stitches, on to which 
 are worked the tyes or " brides." The Vandykes, on the 
 other hand, are entirely of needle-point lace work. 
 Italian. I7th centy. L. 33 in., W. 4| in. Bought, 15s. 
 
 313.-69. 
 
 Strip or Band of linen, with ground of drawn thread 
 twisted with yellow silks, the floriated repeating pattern 
 of white linen. Italian. 1 7th centy. L. 3 ft. 7 in., W. 
 3|in. Bought, 2?. 1321.-71. 
 
 Border of cut work with point-lace stitch insertions. Along 
 the border is an edging of twisted threads. " Merletti 
 a Piombini" Pattern of lozenges enclosed in lattice- 
 work of similar form. Italian. 17th centy. L. 1 ft. 
 11 in., W. 2i in. Bought (Bock Coll^i), i7s. 1592.-72. 
 
 linbn"'™^'' Part of an Altar Cloth of linen, embroidered with 
 satin-stitch and cutwork. Lozenge pattern, enclosing 
 quatrefoils with open-leaf borders. Italian. I7th centy. 
 L. 13 in., W. 7i in. Bought (Bock Coll"), IL 7s. 
 
 1601.-'72. 
 
 Ubawn WoKir. 
 
 Cut Woek. 
 
ITALIAN. 9 
 
 Part of an Altar Cloth of linen cut and drawn work; cdtoedeawn 
 embroidered also in satin-stitch. Geometric pattern of ^°'"'' 
 squares and triangle, edged with scalloped pillow-made 
 lace. Italian. 17tli centy. L. 1 ft. Of in., W. 5^ in. 
 Bought (Bock Colin), i;. 55. Qd. 1602,-72. 
 
 Strip of Parchment, with needle-point lace in progress, neebie-point 
 Italian. 17th cent?. L. 14^ in., W. 3 in. Bought, pkogiSbs. 
 8s. 9d 2458.-'55. 
 
 Strip of Parchment, with needle-point lace in progress. 
 Italian. 17th centy. L. 13 in., W. 2 in. Bought, 8s. 9d. 
 
 2459.-55. 
 
 Piece of Green Parchment, with pattern for making a 
 piece of needle-point lace. The pattern has been com- 
 menced in outline of double threads stitched to the 
 surface of the parchment. ? Italian. ? 17th centy. L. 
 18 in., W. 3i in. Bought, 8s. 9cZ. 2460.'55. 
 
 Piece of White Parchment, with pattern for making a 
 piece of needle-point lace. A very small portion of the 
 pattern has been commenced. ? Italian. ? I7th centy. 
 L. lOi in., W. 3| in, Bought, 8s. 9c?. 2461.-55. 
 
 Piece of needle-point of somewhat similar pattern to that 
 (316.-69) in progress of being made. Venetian. Italian. 
 I7th centy. 4 in. by 3| in. Given by the late Mrs. 
 Bury Palliser. 731.-68. 
 
 - Piece of needle-point lace " a brides picotdes " in progress 
 of being worked on the parchment pattern. Italian. 
 I7th centy. L. 15 in., W. 11 in. Bought, U. 10s. 
 
 316.-69. 
 The linen to which the parchment is sewn served as a backing into which 
 stitches holding the lace work upon the parchment weie worked. When the 
 lace was completed theselstitches between the linen and the parchment were cut, 
 and the lace was thus released both from parchment and linen. This specimen 
 came from -a. convent in Genoa. 
 
 seetion of needle-point lace. Much of the pattern is needle-point 
 
 embellished with little loops or " picots " along the edges ^'^^' 
 
 of the outlines. The outer borders of alternate crosses 
 
 and wheels to the main central ornament are similar 
 
 to those of 606 and 607.-53. Italian. 16th or 17th centy. 
 
 L. 18 in., W. 2| in. Bought, IZ. 605.-53. 
 
 Insertion of needle-point lace, " Punto in Ai-ia," of geo- 
 metric pattern set in squares. Along each side of the 
 main ornament are small bordres of alternate crosses 
 and wheels. Italian. 16th centy. L. 18 in., W. 2f in. 
 Bought, 15s. 606.-58. 
 
10 LACE. 
 
 neeble-point Insertion of needle-point lace. " Punto in Aria." Italian. 
 leth centy. L. ] 9 in, W. 2| in. Bought, 15s. 607.-'.53. 
 
 Insertion of needle-point lace. Italian ? 16th or I7th 
 ceuty. L. 19 in., W. | in. Bought, 4s. 609.-'5.3. 
 
 V^ANDYKED EDGING of needle-point lace. " Punto in Aria." 
 Italian. 16th cent?. L. 19 in., W. | in. Bought, 5s. 
 
 610.-53. 
 
 Border, scalloped, of needle-point lace " Punto in Aria.'' 
 for the falling collar. Italian. 16th eenty. L. 22 in., 
 W. 5i in. Bought, II. 1371.-55. 
 
 The falling collar was sometimes made entirely of lace or cut Tvork, but 
 more generally the middle part was of plain linen, bordered with insertion, 
 like Nos. 605, 606, 607, and 608, and finished with a pointed edging, like 
 Nos. 610, 1362, 1363, 1364, and 1365, or with the richer scallops of Nos. 7507, 
 7508, and 1371. 
 
 Border of coarse Point. Italian. 16th or 17th 
 eenty. L. 5 ft. 8 in., W. 8i in. Bought, 6s. 8d. 
 
 7515.-'61. 
 
 Border of needle point lace. " Punto in Aria." The design 
 consists of curious figures of a man, woman, and stags, 
 with devices intended to represent acorns and pome- 
 granates. Italian. 16th eenty. L. 14-i- in., W. 2-i- in. 
 Bought, 11. 315.-69. 
 
 Patterns for the Punto in Aria were first published about 1550. The 
 work differed in method of production from that of the " Eeticella." The 
 pattern of a piece of "Punto in Aria" would be first outlined, upon the 
 paper, in single or double threads. Over these threads were cast button-hole 
 stitches. When the work was completed it was detached from the paper 
 pattern. This is the earliest known form of pure needle-point lace. 
 
 Boeder of needle-point lace, with vandyked edge of con- 
 ventional floral patterns repeated. ? Italian or English. 
 16th or 17th eenty. L. 22 in., W. 5 in. Bought, II. 5s. 
 
 508.-72. 
 
 Part of a Bordf.i; of Insertion of needle-point lace for 
 a linen cloth. Kepeating rose and star pattern, within 
 narroA\- borders. Italian. 16th eenty. L. 1ft. 7 in., 
 W. 1ft. 2^ in. Bought (Bock Colin), i^. Qg. 1600.-72. 
 
 Boeder, scalloped, of needle-point lace. "Punto in Aria." 
 Venetian. Italian. 16th eenty. L. 2 ft. 4iin.,W. 4i in. 
 Bought, 11. 10s. 274.-75. 
 
 This kind of workmanship is apparently antecedent to that shown in 
 7503.-61, and in design is closely allied to the " Eeticella " work, 
 
ITALIAN. 11 
 
 Border, scalloped. This specimen is entirely of needle- Needie-point 
 point or button-hole stitched work. The various parts 
 are held together by tyes or "brides," some of which have 
 a little "picot" worked on them. Venetian. Italiom. 
 17th centy. L. 3 ft.,W. 6 in. Bought, 6s. 8i. 7503.-'61. 
 
 A specimen of graceful design. This style of ■workmanship, called "Flat 
 Venetian," is an early form of needle-point lace, and a development of the 
 stiffly designed " Punto in Aria," ■which ■was antecedent to the elaborate flori- 
 ated scroll patterns delicately •worked -which rank foremost amongst Venetian 
 needle-point laces. 
 
 Border of scallops of needle-point lace. A kind of " Punto 
 in Aria.'' The ornamental tyes between the main stems 
 of the pattern are to be noted as showing a developed 
 use of the insertion devices of similar forms seen in 
 earlier cut linen works. Italian. 17th centy. L. 6 ft., 
 W. 5 in. Bought (with 545 to 576, 150Z.) 563.-75. 
 
 Border of needle-point lace "a brides." Venetian. Italian. 
 17th centy. L. 3 ft., W. 4 in. Bought, 11. 603.-'54. 
 
 Band or Strip of needle-point lace " a brides " irregularly 
 worked, giving the effect of their being two patterns in 
 this piece. Venetian. Italian. 17th centy. L. 8 ft., 
 W. 3 in. Given by the Eev. E. Brooke. 584.-'64. 
 
 Band or Strip of needle-point lace " a brides." Venetian. 
 Italian. I7th centy. L. 5 ft., W. 2| in. Given by the 
 Eev. E. Brooke. 585.-64. 
 
 Head-dress or Oape, with long ends of needle-point lace 
 " a brides." This sort of lace is ranked amongst the 
 early Venetian points, the flat points, " points plats." On 
 the tyes or brides may be noticed variously arranged 
 little bunches of "picots" or loops. The pattern is 
 of a conventional floral character. Venetian. Italian. 
 17th centy. L. 8 ft. 8 in., W. 11 in. Given by the Eev. 
 E. Brooke. 970.-'64. 
 
 Border of needle-point lace "a brides,'" similar to 970.-'64. 
 Venetian. Italian. I7th centy. L. 1 ft. 9i in.,W 3^ in. 
 Given by the Eev. E. Brooke. 971.6 4. 
 
 Piece of needle-point lace " k brides." This kind of work 
 belongs to the class of so-caUed " Points Plats de Venise." 
 Venetian. Italian. I7th centy. L. 25 in., W. 16 in. 
 Bought, 10s 845.-'53, 
 
12 LACE. 
 
 JjEEDLE-poiNT BoiiDER of needle-poiiit lace " a brides." " Punto tagliato 
 a foliami," done in floral scroll pattern. ? Italian. ? l7th 
 centy. L. 2 ft. 7 in., W. 7 in. Bought (with 54.5 to 570, 
 150/.) 550.-75. 
 
 rrom the comparatively rough app:;arance of the work and disjointed- 
 ness and stiffness of the scroll pattern, as well as from the character of the 
 thread, this piece may be a piece of imitation Venetian lace. 
 
 Border of scallops of needle-point lace. Figures and 
 animids (? lions) are introduced among the scrolls. "Point 
 Plat de Venise," or Flat Venetian point. Italian. 1 7th 
 centy. L. 3 ft. 7 in., W. 'I\ in. Bought (with 54-5 to 
 576, 150^.) 561.-75. 
 
 Border of needle point lace, of coarse thread. Archaic 
 Horal pattern. Tiie forms marked with a button-hole 
 stitched outline or " cordonnet ; " the lower border is 
 scalloped. ? Venetian. ? I7th centy. 7i in. by 
 3| in. Bought (with-545 to 576, loOl.) " 571.-75. 
 
 This specimen strongly resembles modern needle-point lace, or according 
 to Mons, Seguin, it may be n French imitation of Venetian point. 
 
 Border of needle-point lace " a brides " of fine workman- 
 .ship. This is one of the less elaborate formi of the class 
 of " Punto tagliato a foliami." The main stems of the 
 pattern consist of a central thick thread with two rows, 
 one on each side of it, of loose button-hole stitche?, cast 
 through it on to a finer outside thread. Venetian. 
 Italinii. ]7th centy. L. 16^ in., W. 2^ in. Bought 
 (with 545 to 576, 150?.) 572.-75. 
 
 Border of needle-point lace. This belongs to the class of 
 so called "Points plats de Venise." It is also fancifully 
 called caterpillar-point. The "cordonnet" on the edges 
 of the scroll forms is of button-hole stitched work. See 
 alsii 558.-75. Venetian. liaJian. J 7th centy. L. 
 I7iin., W. 4 in. Bought (with 545 to 570, 150?.) 
 
 573.-75. 
 
 Border of needle-point lace. The pattern is of scrolls and 
 lilnssonis, held together liy t3'es of button-hole stitches 
 cnst over threads. This piece, from the irregular drawin^f 
 of the pattern, seems to be an imitation i.if the " Point jilat 
 de Venise." ? French, or Italiav. 17th centy. L. 2 ft. 
 8 in., W. 7 in. Bought (with 545 to 576, 150/.) 
 
 574.-75. 
 
To face p. 13. 
 
 V. 
 
 Linen Collar with Border and Broad Ends of Keedlepoint Lace. Venetian. 17th 
 
 Century. 
 No. 599.-'76, page 13. 
 
ITALIAN. 13 
 
 Boeder or Trimming to a cloth. Needle-point lace. NEEDLB-poufi 
 " Punto tagliato a foliami." This is somewhat less 
 ornamented than Rose point, and comes more into the 
 class of " Gros point de Venise." The blossoms of the 
 conventional scroll pattern are considerably marked with 
 raised portions of button-hole stitched work. Venetian. 
 Italian. I7th cent?. L. 2 ft. 3 in., W. 4|- in. Bought, 
 (with 545 to 576, UOl.) .552.-75. 
 
 Linen Collar, with border, and broad ends of needle- 
 point lace, but few " brides " or tyes have been intro- 
 duced, the parts of the design being chiefly held 
 together by being worked in contact with one another. 
 Portions are in high relief, and this characteristic is 
 strongly suggestive of carving in relief, "scolpito in 
 relievo," to which an Italian poet of the 16th century 
 is said to have likened this sort of lace. This class of 
 work has been called " Gros Point de Venise." It is a 
 section of the " Punto tagliato a foliami." The pattern 
 is of a bold conventional floral character. There is a 
 considerable variety of diapered lozenze patterned 
 fillings-in. The work is of superior evenness and regu- 
 larity. Upon some of the larger raised borders, the 
 arrangement and working out of some small scallops or 
 " picots " are remarkable. Venetian. Italian. I7th 
 centy. W. I7i in. Bought, 21Z. (Illustration Y.) 599.-75. 
 
 This reference to a simile uttered by Firenzuola who wrote in the eai'ly 
 16th century will be met with in many works upon lace. It is useful to recol- 
 lect, that however well his words may apply to this sort of raised Venetian 
 Point, the work itself did not come into existence until the beginning of the 
 1 7th century, so that Firenzuola must have had some other sort of needle 
 work in his mind's eye. 
 
 Border of needle-point lace. " Punto tagliato a foliami." 
 Rose point. Venetian. Italian. 17th centy. L. 2 ft. 
 9 in., W. 7 in. Bought, 21. 846.-53. 
 
 Border of needle-point lace. " Punto tagliato a foliami." 
 Rose point. The enrichments of " picots," like little 
 fringes, are remarkable, as well as the compact character 
 which careful and precise workmanship has given to the 
 piece. Compare with No. 848.-53 and 599.-75. Vene- 
 tian. Italian. Second half of 17th cent?. L. 2 ft., W. 
 4i in. Bought, 11 847.-53. 
 
 Collar of needle-point lace. " Punto tagliato a foliami." 
 Rose point. The fringings of " picots " are remarkable. 
 They enrich almost all the raised portions of the work 
 as well as some of the " cordonnets " on the stems and 
 
14 LACE. 
 
 needle-poiht blossoms. This specimea ranks with a somewhat si milar 
 collar preserved ia the Musde de Cluny, Paris. Vene- 
 tian. Italian. Second half of I7th cent?. L. 3 ft., 
 W. 7 in. Bought, 21. 84.8.-53. 
 
 Boeder of needle-point lace, " a brides," with portions of 
 raised button-hole stitched work. " Punto tagliato 
 a foliami." The little stars and " picots " on the tyes or 
 "brides " should be noted. Venetian. Italian. I7th centy. 
 L. 3 ft. 6 in., W. 3^ in. Bought, 11. 10s. 602.-'54. 
 
 Border of needle-point lace "a brides," with thick "cor- 
 donnet," marking the main lines and stems of the 
 pattern. " Panto tagliato a foliami." Venetian. Italian. 
 17th centy, L. 3 ft. 2 in., W. 2^ in. Given by the Rev. 
 R Brooke. 577.-'64. 
 
 Border of needle-point lace " a brides." " Punto tagliato 
 a foliami." Called also Rose point. Similar in design 
 and workmanship to No. 602,-'.54. Venetian. Italian. 
 I7th centy. L. 18 in., W. 4 in. Given by the Rev. 
 R. Brooke. 578.-'64. 
 
 Border of needle-point lace. ''Punto tagliato a foliami." 
 Rose point. Venetian. Italian. I7th centy. L. 18in., 
 W. 4 in. Given by the Rev. R. Brooke. (Illustration 
 VI.) 579.-'64. 
 
 Border of needle-point lace " a brides," made with 
 coarser thread than 602.-'.5i, but of similar design and 
 workmanship. " Punto tagliato a foliami." Venetian. 
 Italian. 17th centy. L. 3 ft. 1 in., W, 3 in. Given by 
 the Rev. R. Brooke. 581.-'64. 
 
 Border op an Alb, or other ecclesiastical vestment. Rose 
 point. Pattern, circular. Spanish. 17th centy. W. 
 2 ft., circumference 8 ft. Bought, 21. 321.-66. 
 
 Border of an Alb, or other ecclesiastical vestment. Rose 
 point. Pattern, circular. Spanish. I7th cent?. W, 
 2 ft., circumference 8 ft. Bought, 21. 322.-'66. 
 
 Border of needle-point lace " a brides " of minute design 
 and close workmanship. " Punto tagliato a foliami." 
 This sort of lace is sometimes called " Point de Neige," 
 possibly on account of its "snowy" appearance. The 
 clusterings of minute " picots " upon the blossoms in 
 the pattern are remarkable. Venetian. Italian. I7th 
 centy. L. 20 in., W. Sf in. Bought, SI. {Illustration 
 VII.) 136.-69. 
 
To face p. 14. 
 
 Border of Needlepoint Lace. Venetian. 17tli Centnry. 
 No. 579.-'64, page 14. 
 
To face p. 15. 
 
 VII. 
 
 Fart of a Border of Needlepoint Lace. Venetian. ITth Centniy . 
 No. 136.-69, page 14. 
 
ITALIAN. 15 
 
 Chasuble of needle-point lace mounted upon red silk, nebdie-pmnt 
 " Punto tagliato a foliami." The back and front of this 
 vestment are of similar design. A centre band of scroll 
 work is placed between two broader pieces of similar 
 design, shaped to the form of the vestment. The free use 
 of "picots " upon the raised portion as well as upon the 
 " brides " is noticeable. Rose point. Venetian. Italian. 
 17th centy. L. 3 ft, 5 in., W. 2 ft. 3| in. Bought, lOOL 
 
 743.-'70. 
 
 Stole of needle-point lace mounted upon red silk. " Punto 
 
 tagliato a foliami." Rose point. Venetian. Italian. 
 
 17th centy. L. 7 ft. 2 in., W. of ends, 9 in. Bought, 45L 
 
 744.-70. 
 Maniple of needle-point lace, mounted upon red silk. " Punto 
 
 tagliato a foliami." Rose point. Venetian. Italian. 
 
 17th centy. L. 3 ft. 1 in., W. of ends, 9J in. Bought. 
 
 251. 745.-70. 
 
 Chalice cover of needle-point lace, mounted upon red silk. 
 " Punto tagliato a foliami." Rose point. In the centre 
 will be noticed the chalice and wafer, with bunch of 
 grapes and ear of wheat on either side. Venetian. 
 Italian. I7th centy. 24^ in. square. Bought, SOI. 
 
 746.-70. 
 
 Although these four liturgical vestments are said to have belonged to a 
 church dignitary of Spain, they are, from their likeness in design and work- 
 manship to similar specimens, of Venetian or Italian workmanship. They 
 are good examples of rose point. 
 
 Collar of needle-point lace " a brides." '' Punto tagliato 
 a foliami." The little raised flowers are enriched with 
 small " picots." The stems of the pattern are of light 
 work and not strengthened on the edge, as is the ease 
 in much of this sort of lace by outer " cordonnets " of 
 button-hole stitched work. (See 566.-75.) Venetian. 
 Italian. I7th centy. L. 17i in., W. 3| in. Bought, 61. 
 
 425.-72. 
 
 Cuff of needle-point lace " a brides." " Punto tagliato a 
 foliami." Rose point. The pattern is of conventional 
 scroll work enriched with floral devices and little groups 
 of "picots." Venetian. Italian. I7th centy. L. 14| 
 in., W. 6f in. Bought, 71. 426.-72. 
 
 Boeder of needle-point lace " a brides." " Punto tagliato 
 a foliami." A " cordonnet " of button-hole stitch work 
 runs along both sides of the main stems of the pattern. 
 Venetian. Italian. I7th centy. L. 18 in., W. 3 in. 
 Bought, U. 427.-72. 
 
16 LACE. 
 
 lS'!^'^"^°'"''"^ Border or Trimming to a cloth. Needle-point lace. 
 "Punto tagliato a foliami." Rose point, done in bold 
 floral pattern. Venetian. Italian. 17th centy. L. 
 31 in., W. 10 in. Bought (with 545 to 576, 150Z.) 
 
 549.-75. 
 The " picots " enrichments of the raised portions are varied and noticeable. 
 
 Border of needle-point lace. " Punto tagliato a foliami," 
 done in bold scroll pattern. Italian. l7th centy. 
 L. 2 ft. 6 in., W. 7 in. Bought (with 545 to 576, 150Z.) 
 
 551.-75. 
 
 Square or Pale for covering the paten, of needle-point 
 lace. Portions are raised and minutely scalloped. The 
 design displays two angels holding up the chalice, above 
 which is the sacred monogram " I.H.S." set in rays of 
 glory. Rose point. Venetian. Italian. 17th centy. 
 7|- in. square. Bought (with 54.") to 576, 15QI.) 556.-75. 
 
 Small Cuff of needle-point lace. " Punto tagliato a 
 foliami." Rose point. The little star devices on the 
 " brides " should be observed. Venetian. Italian. 17th 
 centy. 7 in. by 3 in. Bought (with 545 to 576, 150L) 
 
 566.-75. 
 
 Border of needle-point lace "a brides." Scroll pattern, 
 with tulips. Italian. 17th centy. L. 2 ft. 5 in., 
 W. 3 in. Bought (with 545 to 576, 150L) 567.-75. 
 
 Band or Border of needle-point lace " a brides." "Punto 
 tagliato a foliami." Rose point. The pattern occurs 
 twice along the length of the piece. Venetian. Italian. 
 17th centy. L. 2 ft. 3 in., W. 5| in. Bought (with 545 to 
 576, 150J.) 570.-75. 
 
 bi 
 
 Border of needle-point lace. " Punto tagliato a foliami," 
 with wround of hexagonal "brides picotees." Sjiiall 
 portions are raised (compare with No. 572.-75). 
 Venetian. Italian. l7th cent?. L. 23 in., W. 3 in. 
 Bought, II. ■ 849.-53. 
 
 Square of needle-point silk lace. " Punto tagliato a foliami," 
 with hexagonal " brides picotees " ground, probably a 
 "pale," or covering for the sacramental cup. Venetian. 
 Italian. I7th centy. 8^ in. square. Given by Miss 
 Edith Webb. 25.-65. 
 
ITALIAN. 17 
 
 Square of needle-point sillc lace. " Punto tagliato a foliami/' Nebble-point 
 
 with hexagonal " biides picotdes " ground. The series of 
 
 scallops and " picots " upon the raised portions is re)nark- 
 
 able. The design consists of a symmetrical distribution 
 
 of floral forms grouped about an ornamental cruciform 
 
 arrangement in the centre. This was probably a " pale " or 
 
 covering for a chalice or sacramental cup. l7th cent? 
 
 Italian. lOJ in. square. Bought, 101. 10s. 835.-'68. 
 
 This specimen was sold in the collection of the late Miss Jane Clarke, 
 as having been made in her school at Belfast, but it is from the style of 
 design and execution Italian, and the portions which have been restored point 
 to its age. The specimens purchased by the Museum from Ireland were not 
 solely of Irish lace. Many of them were original laces used by the pupils of 
 Irish schools as patterns for study. 
 
 Border, with waved edge of needle-point lace ; floral pattern 
 
 on a " bride " ground. " Point de Venise a brides picotdes." 
 
 Similar to No. 61.-70. Italian. Late I7tli centy. L. 
 
 2 ft. 6i in., W. 2| in. Bought, 11. 10s. 839-68. 
 
 This specimen is remarkable for the richness and elegance of its floral 
 pattern and the variety of ornamental stitches introduced, especially the 
 minute wheel patterns, of which many varieties may be traced in the subse- 
 quently made point laces of Alen9on. 
 
 Piece of needle-point lace ; bold floral pattern with waved 
 edge. The heavy portions of the design are held together 
 by hexagonal tyes or " brides," which are enriched with 
 little loops or "picots." Hence this kind of lace has 
 been called " Point de Venise a brides picot^es." Italian. 
 Late 17th centy. L. Hi in., W. 3i in. Bought, 11. 
 
 61.-70. 
 
 Square of needle-point lace, " a brides picotdes." Probably 
 a '•' pale ' '* or covering for the sacramental cup. " Point 
 plat de Venise," or Flat Venetian point. Italian. I7tli 
 cenf. 6f in. square. Bought (with 545 to 576, 150^.) 
 
 o58.-'75. 
 
 All the forms in this specimen are outlined or edged with a button-hole 
 stitched " cordonnet," a feature which is especially noticeable in the Erench 
 needle-point laces of Alen^on. On this account, this specimen might be 
 claimed as apiece of early Point d'Alen90n or Point de France. The formal 
 distribution of pattern seems, however, to place it in the category of Venetian 
 laces. 
 
 Border of needle-point lace. " Punto tagliato a foliami," 
 with ground of hexagonal " brides picotdes." (Compare 
 this witli 849.-'75.) Venetian. Italian. I7th centy. 
 L. 22 in., W. ^\ in. Bought (with 545 to 576, 150?.) 
 
 569.-75. 
 
 Q 3787. B 
 
18 LACE. 
 
 Needle-point Bqeder of needle-poinfc lace "k brides pieotdes," with 
 flower pattern. Compare this witli 588-'75, The 
 button-hole stitched " cordonnet " outlining the forms is 
 noticeable ; as also the varieties of open work ornaments 
 or "modes" used for parts of the leaves and for the 
 inside of blossoms. Venetian. Italian. 17th centy. 
 L, 2 ft. 4 in., W. 5| in. Bought (with 545 to 576, UOl.) 
 
 568.-75. 
 
 Square of needle-point lace " a brides picotees." Probably 
 a " pale " for covering a paten. " Point plat de Venise," 
 or flat Venetian point. Italian. I7th cent?. 5^- in. 
 square. Bought, 11. Is. 247.-79. 
 
 See remarks on 558.-75, and comp.ire also with 5G8.-'75. 
 
 Square of needle-point lace. " Punto tagiiato a folinmi." 
 The raised ornaments are decorated with scallop>s of 
 little " jDicots." In the centre is the Tudor Rose, and at 
 the corners are floral devices. Probably a " pale " for 
 covering a paten. Italian. 17th cent?. Gi in. square. 
 Bought, 21. 2s. 248.-79. 
 
 Border of needle-point lace " a brides picotees." " Punto 
 tagiiato a foliami," with close floral design. Venetian. 
 Italian. 17th centy. 2 ft. 1 in. by SJ in. Bought, 
 31. 15s. 34.-80. 
 
 Border of needle-point lace, with ground or " r^seau " of 
 double-looped meshes. The " cordonnet " consists of thick 
 thread or cord. Pattern of conventional leafy scrolls. 
 ? Italian. 18th centy. L. 2 ft, 2 in., W. 4.\ in. Bought 
 (Bock Coll'i), 17s. 1594.-72. 
 
 Border or Strip of needle-point silk lace " a reseau." The 
 pattern consists of conventional tulips, pomegranates, 
 and a floral device (? palmette), much affected in Persian 
 and Ehodian designs. The little wheel devices are re- 
 markable. Portions of tbe raised stems and borders to 
 the difl"erent forms are fringed with "pic-ots." Italian. 
 17th centy. L. 4 ft. 5 in., W. 4| in. Bought, 81. 
 
 187.-74. 
 
 Compare this character of work with il;j.-'65 and 835.-'68. 
 
 Border of needle-point lace, with waved edge, called 
 " li'oint de Venise a reseau." Bold conventional floral 
 
ITALIAN. 19 
 
 pattern on fine ground or "rdseau." Venetian. Late nebdm-point 
 17th or early 18th cent?. 8 ft. by 4 in. Bought, 201. 
 
 1399.-74. 
 
 Characteristics of this lace are the extraordinary delicacy of the needle 
 work and conventionality of floral design which latter was by the late Mrs. 
 Bury PaUiser considered to be Gothic in character, (see her " History of 
 Lace"). The meshes of this " reseau " are minute. The "cordonnet" is 
 of a thread and outlines the pattern. The fiUings-in are delicate renderings 
 of well-known Venetian patterns and of close " modes " or varieties of 
 " toile " or gimp such as are to be seen in the heavier "Venetian laces. It 
 is believed that this sort of lace is the final expression of the best "Venetian 
 lace workmanship, and was made to compete with the Points d'Aleu90n 
 which, especially in Prance, through the efforts of Colbert and the public 
 favour they met with, superseded the Venetian points of the late 17th and 
 early 18th centuries. 
 
 Lappet of needle-point lace, of a bold floral design, the 
 edges "waved, and the fillings of varied character. 
 "Point de Venise a reseau." Italian. Late 17th centy. 
 4 ft. by 5i in. Bought, 201. See Illustration VIII. 
 (Frontispiece). 250.-79. 
 
 See remarks also on 1399.-'74. 
 
 Border of needle-point lace. " Punto di Burano," made at 
 
 the island of Burano, near Venice. Italy. 18th centy. 
 
 L. 5 in., W. 7^ in. Given by Mrs. Bury PaUiser. 
 
 233.-69. 
 
 This lace bears resemblance in style of design to Point d'Alen9on. The 
 workmanship is of a coarser character, and the " cordonnet " is a thread 
 and not button-hole stitched work. The " reseau," is cloudy in consequence of 
 the uneven quality of thread. 
 
 Border of tape lace " a brides." The " brides " or tyes and tape lace. 
 the fillings- in are of needle-point "work. Pattern of flowing 
 scroll. Italian. l7th centy. L. 2 ft. 6 in., W. 2 in. 
 Bought, 10s. 601.-54. 
 
 In this kind of lace (see also Nos. .582 and 583-'64), the tape was first 
 made, stitched down into a pattern, and the tyes worked in afterwards in 
 button-hole stitch. 
 
 Border of tape lace held together and filled in "with needle- 
 point " brides " and " modes." Italian. I7th centy. 
 L. 1 ft. 11 in., W. 2 in. Bought, 15s. ] 359.-55. 
 
 Rectangular Border, made of tape, bordered "with a 
 thread gimp (layers of thread bound round "with fine 
 thread), and held together by needle-point (button-hole 
 stitched) "brides," "with rather coarse insertions of open 
 "work " modes" bet"ween the tape forms. Probably 18th 
 century, English, "worked in imitation of a Venetian 
 pattern. L. 8 ft. 2 in., W. 3 in. Given by the Rev. 
 R. Booke. 576.-'64. 
 
 This gimp was apparently intended to stand in the stead of a button- 
 hole stitched cordonnet. 
 
 B 2 
 
20 
 
 LACE. 
 
 Tape Lacb. 
 
 Border of tape lace " a brides." {See 601 
 of flowing scroll. Italian. I7th centJ. 
 W. 3 in. Given bv the Rev. R. Brooke. 
 
 .-'54.) Pattern 
 L. 2 ft. 10 in., 
 
 582.-'(i4. 
 
 Border of tape lace " a brides picot^es." Portions of the 
 flowers are of thread worked in button-hole stitcbes cast 
 over a number of threads so as to form raised parts. 
 Pattern of flowing floral design. Italian. l7th centy. 
 L. 8 ft. 11 in., W. 2i in. Given by the Rev. R. Brooke. 
 
 583.-64.. 
 
 Gimp. Guipure or gimp of yellow, red, and blue silks, twisted 
 
 into couvoluting pattern, and held together by stitches. 
 Two pieces, ]iarts of the body of a lady's dress. Italian. 
 Early 17tii centy. 2 ft. 5^ in. by 13^ in. Bought, 15s. 
 
 1161.-77. 
 
 Plaited and 
 Twisted 
 Thread Wobk 
 AND Pillow- 
 made Lace. 
 
 See 621 and 622.-64. 
 
 Edging of leaves in green and lavender silks, stitched 
 together by threads passing through the silks. Italian. 
 I7th centy. L. 23 in. Given by Professor A. H. Church. 
 
 47.-79. 
 
 Border of knotted threads, " Panto a groppo," with van- 
 dyked edge. Italian. 16th centy. L. 21^ in, W. 5| in. 
 Bought, \l. 507.-72. 
 
 Border, with Vandykes or points of plaited and twisted 
 threads. Genoese. Italian. 16tb or l7th cent^'. L. 
 14 in., W. 3 in. Bought, 12s. {Illustration IX.) 
 
 611.-'o3. 
 
 Border of plaited and twisted threads done od the pillow. 
 Italian. 16th or 17th centy. L. 1 ft. 10 in., W. 3i in. 
 Bought, 4.S', 1360.-55. 
 
 Scalloped Collar oi plaited and twisted threads. 
 Genoese. Italian. 16th or l7th centy. The pattern is 
 of geometric character, composed of stars, and circles, 
 and squares. L. 3 ft., W. 6 in. Bought, 11. 10s. 9c?. 
 
 1361.-55. 
 
 B( iRDER of Vandykes made by twisting and plaiting threads. 
 Tlic main stems of the ornament are of narrow tape 
 worked on the pillow with the remainder of the portions. 
 Italian. 16th centy. L. 7 in,, W. 1| in. Bought, 2s. 
 
 1362.-55. 
 
Tofaxe p. 20. 
 
 IX. 
 
 Fart of a Border of Twisted and Plaited Threads. 
 No. 611.-'63, page 20. 
 
 Genoese. 16t]i or 17tli Centary . 
 
To face p. 21. 
 
 Scallop to a Collar. Pillow -made lace. Italian. 17tli Century. 
 No. 1358.-66, page 21. 
 
ITALIAN. 21 
 
 BoHDER of small Vandykes made by plaitinff and twisting; Plaited asd 
 threads. "Merletti a piombini." Ttalmn. 16th cent?, thkbad Woek 
 L. 2 ft., W. li in. Bought, 7s. 1363.- 55. '^^rH^l' 
 
 Border of Vandykes made by plaiting and twisting threads 
 " Merletti a piombini." Italian. 16th cent?, L. 1 ft. 6 in., 
 W. 1^ in. Bought, 6s. 1364.-55. 
 
 Border of small vaudykes made by plaiting and twisting 
 threads. "Merletti a piombini." Italian. 16th cent?. 
 L. I ft. 3 in., W. li in. Bought, 5s. 1365.-55. 
 
 Border of plaited and twisted threads. Genoese point. 
 Italian. 16th or I7th cent?. L. 1 ft. 3 in., W. 3^ in. 
 Bought, 6s. U. 7511.-'61. 
 
 Insertion of plaited and twisted threads. Genoese. 
 Italian. 16th or I7th centy. The pattern is composed 
 of star figures within circles, which are intermixed with 
 a sort of floral device or rose. L. 1 ft. 3 in., W. 3i in. 
 Bought, 6s. %d. 7512.-'61. 
 
 Border of plaited and twisted threads. Genoese point. 
 Italian. 16th or I7th cent?. L. 1 ft. 3 in., W. ^ in. 
 Bought, 6s. 8d 7513.-'61. 
 
 Similar to No. 7.512. 
 
 Border of plaited and twisted threads Genoese point. 
 
 Italian. 16th or I7th centy. L. 1 ft. 3 in., W. 3i in. 
 
 Bought, Qs. M. 7514.-61. 
 Similar to No. 7511. 
 
 Scalloped Border of unbleached threads twisted and 
 plaited. Genoese. Italian. 16th or 1 7th centy. L. 1 ft. 
 9 in, W. 5 in. Bought, 6s. 8d. 7517.-61. 
 
 Scalloped Border of piUow-made lace. Italian. 16th pillow-jtade 
 centy. L. 4 ft., W. 3| in. Bought, 6s. 8d 7518.-'6]. 
 
 Border of Collar, scalloped. The narrow bands twisted 
 to form the ornament, are of plaited threads, a species of 
 tape. The various portions are held together by loops, 
 and in some places by twisted threads. Italian. I7th 
 centy. L. 2 ft., W. 4^ in. Bought, 1/. {Illustration X.) 
 
 1358.-55. 
 
 This specimen was purcliased in Milan. See the important Bed Cover of 
 similar -workmanship, No. 270.-'80. 
 
 Crown of a Cap. Pillow-made Brussels. Made in Italy. 
 18th or early 19th centy. L. lOi in., W. 8|- in. Given 
 bv Mrs. Sidney Stevenson. 253.-'66. 
 
22 LACE. 
 
 PuLow-MADE Border of pillow-made lace, with pattern of intertwining 
 '^'^'^' circles, the lines of which, worked like narrow tapes, over- 
 
 lap one another; the edge is fancifully vandyked. 
 Italian. I7th centy. L. 6 ft. 3 in. and 3 ft., W. 3 in. 
 Bought, 2L 10s. 842, 842a.-70. 
 
 Lace similar to tliis has been considered to be of Flemish origin. The 
 absence oJ a groimd or " reseau," or of little tyes or " brides," is noticeable, 
 and perhaps goes to support the idea of the Italian origin ; since the early 
 Venetian designs for open thread works, whether done with the needle or by 
 twisting, contain no indications of " reseau " or " brides " such as those we find 
 developed in the Flemish pillow laces. 
 
 A Strip of pillow-made church lace. Archaic pattern of 
 birds and scrolls, upon a ground or reseau of threads 
 twisted into meshes of six-pointed star shapes. South 
 Italian. I7th centy. L. 13 in., W. 2 in. Given by the 
 Rev. G. J. Chester. 1291.-71. 
 
 Scalloped Border of threads plaited on a pillow. The 
 pattern consists of circles of triangles set within one 
 another. Italian. I7th centy. L. 1 ft., W. 5| in. 
 Bought (Bock Colli), 13s. 1591.-72. 
 
 Insertion of pillow-made lace. Pattern of lilies between 
 a serpentine band. Italian. 17th centy. L. 9^ in., W. 
 11 in. Bought (Bock ColW), 13s. 1593.-72. 
 
 The little tyes or " brides " connecting the portions of the patterns are 
 interesting as specimens of the tyes which were so largely developed in the 
 finer point and pillow laces ("guipures" as they are sometimes, and erro- 
 neously, called) of Venice and Flanders. 
 
 Boeder, with vandykes or scallops of plaited and twisted 
 threads. Wheel pattern. Genoese. Italian. 17th centy. 
 61 in. by 4J in. Bought (with 545 to 57(5, 1501.) 
 
 565.-75. 
 
 The pointed vandykes seem to have preceded the rounded Vandykes or 
 scallops. Compare the shape of Vandykes or points (611.-'53) with those of 
 this specimen, and of 1361.-55. 
 
 A Strip or border of pillow-made so-called church lace. 
 Archaic pattern of animals C? dolphins and hares or dogs) 
 and vegetable forms, upon a ground or "rdseau" similar 
 to that of some Genoese pillow laces, and also of some 
 Valenciennes. South Italian. I7th cent?. 14^ in. by 
 If in. Given by Mrs. Bury Palliser. 1131.-75. 
 
 Flounce of pillow-made lace, " a reseau," with a bold 
 floral design inteispersed with two-headed eagles sur- 
 mounted by the Virgin's Crown with the mono- 
 oram A.T\1. (Ave Maria). Italian. Late 17th centy. L. 
 12 ft. ^Y. IBin. Bought, .30?. 370.-76. 
 
 The plaiting of the threads in the "reseau" is somewhat similar to 
 that of the early " vrai Valenciennes." 
 
ITALIAN. 23 
 
 Boeder of pillow-made church lace, with pattern of two- pillow-made 
 headed eagles beneath crowns (the Austrian arms or a ^°^' 
 favourite ecclesiastical symbol), alternating with medal- 
 lions of ribbons, with bows at top and bottom, a cross 
 between those at the bottom, surrounding figures of the 
 Virgin crowned, holding a sceptre in her right hand, and 
 in her left the infant Jesus. Italian ? or Flemish, 
 17th centy. L. 18 in., W. 5| in. Bought (with 545 to 
 576, 150?.) 564.-75. 
 
 Edging of pillow-made unbleached linen thread lace. 
 Pattern of scrolls and scallops. Italian or Flemish. 
 Late 16th or early l7th centy. L. 22 in., W. 3 in. 
 Given by Professor A. H. Church. 76.-79. 
 
 Table Cover of crimson silk, with insertion of pillow- 
 made thread and red silk lace of two widths and two 
 varieties of pattern. The cover is also bordered with red 
 and white silk fringe. Italian. First half of 17th 
 centy. 4 ft. 7 in. by 2 ft. 11^ in. Bought (Robinson 
 CoUii). 141. -'80. 
 
 Scalloped Border of white thread pillow-made lace. 
 Venetian. 1876. L. 20 in., W. IJ in. Given by Signer 
 Michelangelo Jesurum. 375.-77. 
 
 Insertion of white thread piUow-made lace, star pattern 
 within oA'als. Venetian. 1876. L. 18 in., W. 2J in. 
 Given by Signer Michelangelo Jesurum. 376.-77. 
 
 Vandyked Border of white thread piUow-raade lace, star 
 and geometrical pattern. Venetian. 1876. L. 19 in., 
 W. 4 in. Given by Signer Michelangelo Jesurum. 
 
 377.-77. 
 
 Scalloped Border of white thread pillow-made lace, 
 pattern of star in oval, repeated. Venetian. 1876. 
 L. 18 in., W. 3| in. Given by Signer Michelangelo 
 Jesurum. 378.-77. 
 
 Border of white thread pillow-made lace, "4 rdseau," 
 lozenge pattern, like so-called English "Eipon lace,'' 
 and many provincial laces made by various peasants in 
 Europe. Venetian. 1876. L. 16^ in., "W. If in. Given 
 by Signer Michelangelo Jesurum. 379.-77. 
 
 Border of white thread pillow-made lace " a r^seau," lozenge 
 pattern, like so-called English " Ripon lace." Venetian. 
 1876. L. 16 in., W. 1^ in. Given by Signer Michel- 
 angelo Jesurum, 380.-77. 
 
VILLo^v-^r.\DE 
 Lace. 
 
 -i LACE. 
 
 Scalloped Bordeh of wliite thread pillow-made lace in the 
 style of 16th centurv. " Merletti a piombini." Venetian. 
 187G. L. I7t in.,' W. 2 in. Given by Signor Michel- 
 angelo Jesurum. 381.-77. 
 
 Insertion of white thread pillow-made lace, geometrical 
 flower pattern similar in style to Genoese 16th century 
 lace-'. Venetian. 1876. L. 17 in., W. 3|- in. Given by 
 Signor Michelangelo Jesurum. 382.-77. 
 
 Boeder of white thread pillow-made lace " a reseau," with 
 running pattern. Tins sort of lace is similar in work- 
 manship to Norman and Buckinghamshire pillow laces. 
 Venetian. 1876. L. 17^ in., W. 2 in. Given by Signor 
 Michelangelo Jesurum. .383.-77. 
 
 Border of white thread pillow-made lace " a reseau," 
 \\itli running leaf pattern, the edge slightly scalloped. 
 Venetian. 1876. L. 17 in., W. 2^ in. Given by Signor 
 Michelangelo Je.surum. 384^.-77. 
 
 Border of white thread pillow-made lace " a reseau," with 
 pattern of alternate flowers and triangles. This sort of 
 lace is similar in workmanship to Norman and Bucking- 
 hamshire pillow laces. Venetian. 1876. L. 17 in., 
 W. 2| in. Given by Signor Michelangelo Jesurum. 
 
 38.5.-77. 
 
 Border of white thread pillow-made lace, with flower 
 pattern on ground of two sorts of pattern. Venetian. 
 J 876. L. 17 in., W. If in. Given by Signor Michel- 
 angelo Jesurum. 386.-77. 
 
 Border of white thread pillow-made lace "a reseau," 
 similar to 383.-77. Venetian. 1876. L. 17i in., W. 
 1^ in. Given by Signor Michelangelo Jesurum. 
 
 .387-77. 
 
 Insertion of white thread pillow-made lace, '' a brides," 
 scroll pattern. Venetian. 1876. L. 17 in., W. 2f in. 
 Given by Signor ilichelangelo Jesurum. 388.-77. 
 
 Scalloped Border of white thread pillow-made lace "a 
 brides," .scroll pattern. Venetian. 1876. L. 17 in., 
 ^^^ 2'} in. Given b}' Signor Michelangelo Jesurum. 
 
 ;!89.-77. 
 
 Scalloped Bordeu of white thread jullow-made tape lace 
 "alnides." Venetian. 1876. L. 16 in., W. 5 in. Given 
 
 by Signor MichflangHlo .Jeisuruni. 390.-77. 
 
ITALIAN. 20 
 
 Jnsejrtion of white thread pillow-made tape lace " ii l)fide8,'' lIce?^'"^^ 
 witli a cord fastened to centre of meaiider ])atteni. 
 Venetian. 1876. L. 18 in., W. 2^ in. Given by Signer 
 Michelangelo Jesurum. 391.-77. 
 
 Vandyked Border of white thread pillow-made tape lace, 
 with cord fastened to centre of leaf pattern forming tlie 
 Vandykes. This is similar to Russian pillow-made lace. 
 Venetian. J 876. L. 17| in., W. 3 in. Given by Signer 
 Michelangelo Jesurum. 392.-'77. 
 
 Vandyked Boeder of drab and white tliread pillow-made 
 lace "a brides;" flower scroll and angular pattern. 
 Verietiav. 1876. L. 18 in., W. 5j in Given by Signer 
 Michelangelo Jesurum. 393. -'77. 
 
 Scalloped Border of white thread piUow-made lace ; flower 
 and ieaf patterns set in pendants, which are edged with a 
 sort of fan open design like that of the 16th century. 
 "Merletti a piombini." Venetio.n. 1876. L. 14 in., 
 W. 4f in. Given by Signer Michelangelo Jesurum. 
 
 394.-77. 
 
 Scalloped Border of white thread pillow-made lace " a 
 brides ; " scroll pattern. Venetian. 1876. L. 17 in., 
 W. 5|^ in Given bv Signer Michelangelo Jesurum. 
 
 395.-'77. 
 
 Scalloped Border of white thread pillow-made lace, with 
 star pattern, in circular scallops, edged somewhat in the 
 style of Genoese 16th century pillow lace, Venetian. 
 1876. L. 18 in., W. 2i in. Given by Signer Michel- 
 angelo Jesurum. 396.-77. 
 
 Vandyked Border of white thread pillow-made lace, 
 of geometrical pattern. Venetian. 1876. L. 19 in., 
 W. 41 in. Given by Signer Michelangelo Jesurum. 
 
 397.-77. 
 
 Scalloped Border of white thread pillow lace. Venetian. 
 1876. L. 19 in., W. 3^ in. Given by Signer Michel- 
 angelo Jesurum. 398.-77. 
 
 Insertion of white thread pillow-made lace, repeating 
 design with twelve petalled blossoms set in oval. 
 Venetian. 1876. L. 18 in., W. 3 in. Given by 
 Signer Michelangelo Jesurum. 399.-77. 
 
 Scalloped Border of white thread pillow-made lace ; pear- 
 shaped design with upper portion fllled in with a trellis 
 pattern. Venetian. 1876. L. 18 in., W. 4| in. Given 
 by Signer Michelangelo Jesurum. 400.-77. 
 
26 LACE. 
 
 i^JLiow-MADE Scalloped Border of white thread pillow-made lace "a 
 brides " of large flower pattern. Venetian. 1876. L. 
 
 18 in., W. .51 in. Given by Signer Michelangelo Jesurum. 
 
 401.-77. 
 
 Scalloped Boeder of white thread pillow-made lace " a 
 brides ;" large scroll pattern. Venetian. 1876. L. 18in., 
 W. o\ in. Given by Signer Michelangelo Jesurum. 
 
 402.-77. 
 
 Scalloped Border of white thread pillow-made tape lace 
 " a brides " of trefoil and fan-shape patterns. Venetiav. 
 1876. L. 16 in., W. 4| in. Given by Signor Michel- 
 angelo Jesurum. 403.-77. 
 
 Scalloped Border of white thread pillow-made lace " a 
 brides" of design in stylo of Russian laces. Venetian. 
 1876. L. 17 in., W. 4J in. Given by Signor Michel- 
 angelo Jesurum. 404.-77. 
 
 Border of white thread pillow-made lace "a brides" of 
 flower pattern, with waved edge. This is somewhat in 
 the style of the floral patterns for Honiton pillow laces. 
 Venetian. 1876. L. l7i in., W. 2| in. Given by Signor 
 Michelangelo Jesurum. 405.-77. 
 
 Insertion of white thread pillow-made lace " a brides," 
 of scroll design. Similar to Flemish pillow laces of 17th 
 century. Venetian. 1876. L. 18 in., W. Sj in. Given 
 by Signor Michelangelo Jesurum. 406.-77. 
 
 Insertion of white thread piUow-made tape lace " k brides," 
 with pattern of tulips and leaves. Venetian. 1876. L. 
 
 19 in., W. 4^ in. Given by Signor Michelangelo Jesurum. 
 
 407.-77. 
 
 Insertion of white thread pillow-made lace " ^ brides ;" 
 open scroll pattern, somewhat in the style of Flemish 18th 
 century pillow-made laces. Venetian. 1876. L. 40 in., 
 W. 4| in. Given by Sigaor Michelangelo Jesurum. 
 
 408.-77. 
 
 Border of white thread pillow-made tape lace " a brides," 
 with floral scroll design. This is like some of the Flemish 
 made 17th century laces " a brides." Venetian. 1876. 
 L. 19 in., W. 3^ in. Given by Signor Michelangelo 
 Jesurum. 409.-77. 
 
 Broadly Dentated thread border of white pillow-made 
 lace " a brides," with wavy design. Venetian. 1876. L. 
 16 in, W. 3| m. Given by Signor Michelangelo Jesurum. 
 
 410.-77. 
 
ITALIAN. 27 
 
 Insertion of white thread pillow-made lace " a brides," piLtow-MinE 
 with scroll design, in imitation of the 17th century designs 
 for the " punto tagiiato a foliami." Venetian. 1876. 
 L. 18 in., W. 8| in. Given by Signor Michelangelo 
 Jesurum. 411.-77. 
 
 Boeder of white thread pillow-made lace " a brides," with 
 conventional star patterns in a sort of continuous S. scroll, 
 scalloped. Venetian. 1876. L. 17 in., W. 8 in. Given 
 by Signor Michelangelo Jesurum. 412.-77. 
 
 Boeder of white thread pillow-made tape lace " a brides," 
 with leaf and flower pattern. Venetian. 1876. L. 
 18in., W. 4| in. Given by Signor Michelangelo Jesurum. 
 
 413.-'77. 
 
 Boeder of white thread pillow-made lace " a brides," with 
 pattern in imitation of the I7th century designs for the 
 " punto tagiiato a foliami." Venetian. 1876. L. 1 7 in., 
 W. 41 in. Given by Signor Michelangelo Jesurum. 
 
 414.-77. 
 
 Scalloped Border of white thread pillow lace. Venetian. 
 1876. L. 18 in., W. 3 in. Given by Signor Miche- 
 langelo Jesurum. 41 5.— '77. 
 
 Scalloped Border of black thread pillow-made lace. 
 Venetian. 1876. L. 18 in., W. 5 J in. Given by Signor 
 Michelangelo Jesurum. 416.-77. 
 
 Scalloped Boeder of black thread pillow-made lace. 
 Venetian. 1876. L. 19^ in., W. 5J in. Given by 
 Signor Michelangelo Jesurum. 417.-77. 
 
 Scalloped Border of black thread pillow-made lace, like 
 419.-77 in style of pattern. Venetian. 1876. L. 17 in., 
 W. 8J in. Given by Signor Michelangelo Jesurum. 
 
 418.-77. 
 
 Scalloped Border of black thread pillow lace, with 
 conventional flower pattern and ground of six-pointed 
 stars in upper part. Venetian. 1876. L. 20 in., W. 
 7 in. Given by Signor Michelangelo Jesurum. 419.-77. 
 
 Scalloped Border of black thread pillow-made lace. 
 Venetian. 1876. L. 17 in., W. 2| in. Given by Signor 
 Michelangelo Jesurum. 420.-77. 
 
 Scalloped Border of black thread pillow-made lace 
 similar to Maltese lace. Venetian. 1876. L. 19 in.. 
 Given by Signor Michelangelo Jesurum. 
 
 421.-77. 
 
28 LACE. 
 
 lam"^''"'*^"^ Scalloped Border of black thread pillow-made lace of 
 flower pattern. Venetian. 1876. L. 19 in., W. 5^ in. 
 Givea by Signor Michelangelo Jesurum. 422.-'77. 
 
 Scalloped Border of black thread pillow-made lace. 
 Venetian. 1876. L. I7i in., W. If in. Given by 
 Signor Michelangelo Jesurum. 423.-77. 
 
 Scalloped Border of black thread pillow-made lace 
 "a brides," serpentine pattern. Venetian. 1876. L. 18 
 in., W. 4> in. Given by Signor Michelangelo Jesurum. 
 
 424.-77. 
 Scalloped Border of black thread pillow-made lace " a 
 brides," scroll pattern. Venetian. 1876. L. 18J in., 
 W. 21 in. Given by Signor Michelangelo Jesurum. 
 
 425.-77. 
 Scalloped Border of black thread pillow-made lace, of 
 serpentine pattern. Venetian. 1876. L. IS in., W. 
 4|^ in. Given by Signor Michelangelo Jesurum. 
 
 426.-77. 
 Scalloped Border of black thread pillow-made lace 
 similar to Maltese lace. Venetian. 1876. L. 20 in., 
 W. 3 in. Given by Signor Michelangelo Jesurum. 
 
 427.-77. 
 Scalloped Border of black thread pillow-made lace, of 
 vermicular pattern. Venetian. 1876. L. 19 in., W. 
 85 in. Given by Signor Michelangelo Jesurum. 
 
 428.-77. 
 
 Scalloped Border of black thread pillow-made lace, 
 similar to Maltese lace. Venetian. 1876. L. 18^ in., 
 W. 2f in. Given by Signor Michelangelo Jesurum. 
 
 429.-77. 
 
 Scalloped Border of black thread pillow-made lace. 
 Venetian. 1876. L. 19 in., W. 4 in. Given by Signor 
 Miclielangelo Jesurum. 430.-77. 
 
 Scalloped Border of black thread pillow-made lace, 
 similar in stjde of pattern to 419. Venetian. 1876. 
 L. 18 in., W. 4^ in. Given by Signor Michelangelo 
 Jesurum. 431.-77. 
 
 Scalloped Border of black thread pillow-made lace. 
 Venetian. 1876. L. 19 in., W. 2^ in. Given by Signor 
 Michelangelo Jesurum. 432.-77. 
 
 Insertion of black thread pillow-made lace, with trellis 
 pattern. Venetian. 1876. L. 18 in., W. 1^ in. Given 
 by Signor Michelangelo Jesurum. 433.-77. 
 
ITALIAN. 29 
 
 SflALLOPED Border of black thread pillow-made lace, piiiow-made 
 Venetian. 1876. L. 19 in., W. 2^ in. Given by 
 Signor Michelangelo Jesurum. 434.-77. 
 
 Scalloped Border of black thread pillow-made lace. 
 Venetian. 1876. L. 18 in., W. 2^ in. Given by 
 Signor Michelangelo Jesurum. 435.-77. 
 
 Scalloped Border of black thread pil low-made lace. 
 Venetian. 1876. L. 17 in., W. 2| in. Given by 
 Signor Michelangelo Jesurum. 436.-77. 
 
 Scalloped Border of black thread pillow-made lace. 
 Venetian. 1876. L. 18 in., W. 2^ in. Given by 
 Signor Michelangelo Jesurum. 437.-'77. 
 
 Scalloped Border of black thread pillow-made lace. 
 Vejietian. 1876. L. 18 in., W. 2^ in. Given by 
 Signor Michelangelo Jesurum. 438. -'77. 
 
 Scalloped Border of black thread pillow-made lace. 
 Venetian. 1876. L. 18^ in., W. 3f in. Given by 
 Signor Michelangelo Jesurum. 439.-77. 
 
30 LACE. 
 
 II. 
 
 BELGIAN. 
 
 lace°^ "'^"'^ Border of pillow-made lace. Between the flowers are no 
 brides, as the various scrolls are at points made in contact 
 with one another. Belgian. 17th centy. L. 2 ft. 8 in., 
 W. 4i in. Given by the Eev. R. Brooke." 588.-'C4. 
 
 Part oe a Border of pillow-made lace, with scroll and 
 floral pattern, portions of which join one another. 
 The absence of " brides " is noticeable. Belgian. I7th 
 centy. L. l')\ in., W. Si in. Given by the Rev. R. 
 Brooke. ' " 590.-64. 
 
 Compare also with 588-'64 in this respect. 
 
 Border of pillow-made lace, without brides, as the points 
 of the flowers, &c. are worked to come into contact with 
 one another. Belgian. 1 7th centy. L. ISJin., W. 8i in. 
 Given by the Rev. R. Brooke. 591.-64. 
 
 Sec remarks aa to 588. -'64 iu this respect. 
 
 Border of pillow-made lace " a brides." Belgian. I7th 
 centy. L. 4 ft. 4 in., W. 4^ in. Given by the Rev. R. 
 Brooke. 596.-64, 
 
 Border of pillow-made lace " a brides." Belgian. 17th 
 centy. L. 8 ft. 2 in., W. 3^ in. Given by the Rev. R. 
 Brooke. 595.-'64. 
 
 Collar of pillow-made lace " a brides picotees." Belgian. 
 I7th centy. L. 24 in., W. 14^ in. Given by Lady Cole. 
 
 612.-53. 
 
 Border of pillow-made lace " a brides picote'es." Belgian. 
 
 17th centy. L. 8 ft. 10 in., W. 2J in. Given by the 
 
 Rev. R. Brooke. 586.-64. 
 
 Tills class of lace (Nos. 586 to 597) was extensively used for cravats 
 
 towards the end of the 17 th century. In some specimens, it will be observed, 
 
 the pattern is connected by " brides," iu others the flowers join. ^ The pattern 
 
 as a rule closely resembles those of the elaborate needle-point Venetian 
 
 " punto tagliato a foliami." It is interesting to notice the pillow renderings 
 
 of forms of diaperings and "modes," &c., which were originally done with 
 
 the needle. 
 
 Border of pillow-made lace " a brides picotees." Belgian. 
 17th centy. L. 7 ft. 1^ in., W. 4^ in. Given by the 
 Rev. R. Brooke. 587.-'64. 
 
To face p. 31. 
 
 XL 
 Fart of a Border of Pillow -made Lace. Belgian. 17th Century. 
 No. 592.-64, page 31. 
 
BELGIAN. 31 
 
 Boeder of pillow-made lace " a brides picotdes." Belgian. 1'^°"^-^^^^ 
 17th centy. L. 2 ft. 6 in., W. 3 in. Given by the Rev. 
 R Brooke. 589.-64.. 
 
 Boeder of piUow-made lace " k brides picotdes." Belgian. 
 17th centy. L. 6 ft. 10 in., W. 4i in. Given by the Rev. 
 R. Brooke. {Illustration XI.) 592.-64. 
 
 Boeder of pillow-made lace " a brides picotdes." Belgian. 
 17th centy. L. 7 ft. 6 in., W. 3| in. Given by the Rev. 
 E. Brooke. 593.-'64. 
 
 Boeder of pillow-made lace " a brides picot^es." Belgian. 
 17th centy. L. 7 ft. 2 in., W. 3 in. Given by the Rev. 
 R. Brooke. 594.-64.. 
 
 Border of pillow-made lace " a brides picot^es." Belgian. 
 17th centy. L. 4 ft. 3 in., W. 4 in. Given by the Rev. 
 R. Brooke. 697.-64 
 
 Child's Cap, with border of pillow -made lace " a brides 
 picotdes," of bold scroll pattern. Belgian. L. 6 in., 
 W. 6 in. Given by the Rev. R. Brooke. 972.-64. 
 
 Border of an Alb of pillow-made lace " a brides picotdes." 
 Pattern of scroll foliage. Belgian. I7th centy. L. 10 ft. 
 4 in., W. 7| in. Bought (Bock Coll"), 61. 2s. 1563.-72. 
 
 See note as to 586.-'64. 
 
 Linen Table Cover, trimmed with a broad border of 
 
 pillow-made lace, " a brides picotees," with floral scroll 
 
 pattern. Belgian. 17th centy. 2 ft. 11| in., by 2 ft. 
 
 2 in. Bought, 81. 578.-75. 
 
 The design of this specimen is remarkatle. 
 
 Pillow Lace, three lengths joined. Pattern, lozenges of 
 four and nine divisions, alternating. Belgian. 17th. 
 centy. L. of base line, 1 ft. 7 in. Bought CBock Coll"), 
 IZ. 4s. ' 1595.-72. 
 
 Border of pillow-made lace. Brussels. ^eZ^iaw. 18th centy. 
 L. lOi in., W. i in. Given by Lady Cole. 613c.-'53. 
 
 Baby's Christening Suit. Cap, head-piece, mittens, and 
 frock trimming in two pieces, of pillow-made lace " k 
 brides." Belgian. 18th centy. Worn in 1773. L. of 
 frock 1 ft. 11 in. Given by the Rev. R. Brooke. 
 
 900-900e.-'64. 
 
32 LACE. 
 
 PiLL^ow-MADE p^jj^ Qp QuFFS, edged with piUow lace. Belgian. 
 Diam. of lace 3^ in. Given by the Hev. R. Brooke. 
 
 973-3a.-'64. 
 
 Pair op Guffs, edged with pillow-made lace "k rdseau." 
 Belr/ian. Diam. of lace 1^ in. Given by the Kev. 
 R. JBrooke. 974-4.a.-'64. 
 
 Child's Shirt, edged with pillow-made lace "ar^seau." 
 Belgian. Diam. of lace ^ in. Given by the Rev. 
 R. Brooke. 975.-'64. 
 
 Baby's ■Christening Suit. Cap, mittens, and frock trim- 
 ming in two pieces, of pillow-made lace "a rdseau ;'' bold 
 l^attern of leafy scrolls. Belgian. 18th centy. (Said to 
 have been worn in 1773.) L. of frock, 1 ft. Si in. Given 
 by the Rev. R. Brooke. 977-7e.-'64. 
 
 This is one of the completest specimens in the collection, of the lace- 
 ti'iiumed christening suits in use till the end of the last century. They con- 
 sisted of a cap, head-piece, lace front for the frock, a pair of mittens, and 
 collarette, generally of Flemish pillow lace " a bride" or "il rcseau,*' of 
 scroll pattern and fine workmanship. 
 
 Border of pillow-made lace, with pattern of flower and 
 leaf scrolls and waved edge. Belgian. ISth centy. L. 
 ■2 ft. 8.L in., W. li in. Bought, 5s. 840.-70. 
 
 Part of a Border of pillow-made lace, with ground work 
 of " brides a picots " arranged like a trellis work. The 
 pattern consists of scroll work with (?) lily blossoms. 
 Belgian. 18th centy. L. .5 fo., W. 6 in. Bought, 
 Gs. 8cl. 7519.-71. 
 
 Compare this trellis ground with that of specimen 270.-'80. 
 
 Crown of Cap of pillow-made lace. Brussels. Belgian. 
 18th centy. 10 in. by 7| in. Bought, 11. 5s. 188.-74, 
 
 Border of pillow-made Brussels "reseau," with sprigs of 
 flowers and edgings, worked in needle-point stitches and 
 applied to the " r&eau '' lace. Brussels. Belgian. 
 18th centy. L. 4 ft. 3 in., W. 2^ in. Bought, 11. 10s. 
 
 856.-53. 
 
 In pattern this resembles that of late I8th century points d'Alen9on, 
 which were " some " or sprinkled with blossoms or sprigs, &c. (see note on 
 554.-'68). 
 
 Border of pillow -made lace. Brussels. Belgian. IStli 
 centy. L. 3 ft. 3 in., W. 21 in. Bought, 8s. 8G3.~53. 
 
 Border of pillow-made lace " a reseau." ? Brussels. Bel- 
 gian. 18th centy. L. 3 ft. 2 in., W. 2 in. Bought, 12s. 
 
 864.-53. 
 
 This specimen is of comparatively rough workmanship, and rather 
 archaic design. It may be a piece of old Honiton lace. 
 
BELGIAN. 33 
 
 Border of pillow-made laee. Close scroll floral pattern. £™°^'*'^^ 
 ? Brussels. Belgian. 18th cent?. L. 2 ft. 8^ in., W. 4- in. 
 Bought, 4L 865.-'53. 
 
 See remarks on 1368.-'55. 
 
 Border of pillow-made lace. Floral conventional pattern, 
 with a fiUing-in of " brides " of cross lines like trellis- 
 work. Belgian. 18th centy. L. 2 ft., W. 3 in. Bought, 11. 
 
 866.-'53. 
 
 Scalloped Border of pillow-made lace. ? Brussels. 
 Belgian. 18th centy. L. 18 in., W. 1^ in. Bought, 
 3s. 6d. 867.-'53. 
 
 See remarks on 1368.-'55. 
 
 Cap and Lappets of pillow- made lace. Floral design upon 
 Brussels " r(^seau." Brussels. Belgian. 1 8th centy. 
 Gap, 9 in. by 7 in. ; lappets, 4 ft. 6 in. by 4^ in. Bought, 
 SI. 872, 872a.-'53. 
 
 Border of pillow-made lace. ? Brussels. Belgian. 18th 
 centy. L. 5 ft., W. 1 1 in. Bought, I5s. 874.-53. 
 
 The irregular workmanship of the " reseau " together with the archaic 
 character of the design suggest that this is more likely to be a piece of early 
 Honiton lace. {See note to 864.-'53.) 
 
 Border of pillow -made lace ''a reseau," with a variety of 
 delicately worked "modes," amongst which maybe noted 
 pillow renderings of needle-point modes such as those 
 seen in profusion in 541.— '54. Brussels. Belgian. 18th 
 centy. L. 3 ft., W. 2^ in. Bought, 13s. 6d. 593.-'54. 
 
 Border of mixed lace. The stags and flowers are of 
 needle-point work. The ground is of the usual Brussels 
 pillow-made " rdseau." The " cordonnet " is of thread 
 and not button-hole stitched. Brussels. Belgian. 18th 
 centy. L. 2 ft. 10 in., W. 2 in. Bought, 11. 594.-'54. 
 
 Crown of a Cap of pillow-made lace. ? Brussels. Belgian. 
 18th centy. Cap, 8 in. by 6| in. Bought, 11 4s. 
 
 1368.-'55. 
 
 The close plaiting of the flowers and other ornament is thrown into 
 relief hy occasional open narrow margins, across which are threads linking 
 the various portions together. These thread links are rather irregular, and 
 group themselves into no series of definite meshes. On this account this 
 lace has sometimes been considered to be Devonshire pillow lace of 18th 
 century. 
 
 Lappet (one of a pair) of pillow-made lace. Brussels. 
 Belgian. 18th centy. L. 2 ft., W. 3^ in. Bought, 
 11. 4s. 1370.-'55. 
 
 See remarks on 13C8.-'55. 
 Q378?. C 
 
84 LACK. 
 
 Pillow-made Crown OF A Oap of pillow-made lace. Brussels. Belgian. 
 ^^''''- 18th centy. 9 in. by 7h in. Bought, II. 10s. 3268.-'55. 
 
 See remarks as to ISeS.-'S.I. 
 
 Crowk of a Cap of pillow-made lace. ? Brussels. Belgian. 
 18th centy. 8^ in. by 7i in. Bought, 21. 13s. id. 
 
 7427.-61. 
 
 See also remarks as to 1368.-55. 
 
 Lappet (one of a pair) of pillow-made lace. Brussels. 
 Belgian. 18th centy. L. 1 ft. 11 in., W. 4| in. Bought, 
 2Z. 13s. 4d. 7429.-'61. 
 
 Trimming to tlie body of a dress, of pillow-made lace. 
 ? Brussels. Edrjlan. 18th centy. L. 4 ft. 10 in., 
 W. 2-L in. Bought, 21. 13s. 4(/. 7430.-61. 
 
 See also remarks as to 1368.-'55. 
 
 Border of pillow-made lace, of close conventional floral 
 pattern. ? Brussels. Belgian. I7th centy. L. 5 ft. 
 9 in., W. 21 in. Bought, 3/. 164.-'65. 
 
 See remarks on 1368.-'55. 
 
 Lappet, pillow-made. Bold floral close pattern. Brussels. 
 Belgian. I7th centy. L. 2 ft. W. 4 in. Bought, SI. 
 
 166.-65. 
 
 Border of pillow-made lace. The little sprigs (compare with 
 those in No. 856.-'53) are made on the pillow separately 
 from the " reseau," into Ariiich they are subsequently 
 worked (see also 807.-'77). Brussels. Belgian. Late 
 18th centy. L. 4 ft. 41 in., W. 2f in. Bought, 11. 10s. 
 {mustraiionXU.) ~ 5.54.-68. 
 
 On the accession of Louis XVI. a change tooli pLice in the style of designs 
 for lace. Curved lines gave place to straight, and instead of the undulating 
 wreaths and festoons of flowers stretching from one side of the pattern to the 
 other, we have a rectilinear border of stiff conventional design, the ground 
 powdered with stiff little detached flowers or compact bouquets, and subse- 
 quently these are again replaced by spots (pois), tears (larmes), rosettes, and 
 other small patterns. 
 
 Border of pillow-made lace, with two varieties of grounds, 
 as in No. 6S2.-''75. Pattern of sprays, of roses, and 
 sprigs of jessamine. Period of Louis XV. Belonged 
 formerly to Her Majesty Queen Charlotte. Brussels. 
 Belgian. 18th centy. L. 10 in., W. 2^ in. Given by 
 Mrs. Bury Palhser. 717.-68. 
 
 Sec remarks as to 530.-'75. 
 
 Piece of pillow-made lace " a reseau." Figure of St. John 
 the Baptist. Brussels. Belgian 18th centy. 5-^ in. by 
 2| in. Given by Mrs. Bury Palliser. 7l9.-'68 
 
Tnfacep. 3-K 
 
 XII. 
 
 Fartof a Border of Pillow-made Lace. Brnssels. 18tli Centnry, 
 No. 554.-'68, page 34. 
 
To face p. 33. 
 
 XIII. 
 
 Fart of a Lappet of Pillow -made Lace. Brussels, 18th Century. 
 No. 323.-'69, page 35, 
 
BELGIAN. 85 
 
 Boeder of pillow-made lace, mtli pillow-made sprigs piiiow-made 
 "applied" to the"vrai rdseau " of Brussels. Brussels. 
 Belgian. 18th centy. L. 4 ft. 10 in.,"W. 2f in. Bought, 
 21. 12s. 6d 826.-'68. 
 
 Lappet (one of a pair) of pillow-made lace. Close floral 
 pattern. Brussels. Belgian. 18th cent?. L. 24 in., 
 W. 4i in. Bought, 51. 29.-69. 
 
 See remarks on 1368.-55. 
 
 Lappet of pillow-made lace. The main portion of this 
 lappet is filled with a ground of the " vrai reseau de 
 Bruxelles," upon which appears a scroU pattern of leaves 
 and flowers of great elegance, the " toile " or ginip of the 
 close parts of the design resembling fine cambric in 
 texture. . The raised edge of the " cordonnet " is executed 
 with great precision, and the design which forms the 
 outside edge of the lappet is enriched with a variety of 
 ornamental twistings and a kind of quatrefoil diapered 
 ground recalling the Mayflower and " ceil de perdrix " 
 grounds of Dresden and Sevres porcelain. Compare this 
 with Nos. 600.-'75, 601.-75 "Point d'Angleterre." 
 Style of Louis XV. Brussels. Belgian. 18th centy. 
 L. 23 in., W. 4| in. Bought, 21. 10s. {Illustration XIII.) 
 
 323.-69. 
 
 The name Point d'Angleterre, though often given to this kind of lace 
 more properly belongs to a class of lace of a less elaborate style of pattern and 
 workmanship. Pillow laces " k brides " of that period, were in vogue in 
 Planders, and adopted for purposes of exportation to England were produced 
 in the 17th century, called " Point d'Angleterre." 
 
 Lappet of piUow-made lace, with close pattern of flowers 
 and leaves. ? Brussels. Belgian. 18th centy. L. 25 in., 
 greatest W. 4| in. Bought, il. 59.-'70. 
 
 See note as to 1368.-'55. 
 
 Lappet of needle-point lace, " 4 reseau." ? Brussels. Bel- needle-point 
 gian. 18th centy. L. 2 ft. 6i in., W. 3 in. Bought, ll. 
 
 128.-70. 
 
 M. Seguin considers this kind of lace to be " Point de Sedan.'' It is 
 evidently a lace inferior in design and workmanship to " Point de Venise h, 
 reseau," see 1389.-74. The various portioni of the pattern are not marked 
 by a stitched or overcast " cordonnet," similar to that in the French Points of 
 Alengon. A single thread intervenes between the pattern (or " gimp ") and 
 the " reseau " ; and in this respect, if not in regard to certain other devices 
 and "modes," it resembles late Venetian needle-point lace. The style of 
 pattern has been reproduced in Belgian pillow-made laces, like 554.-75, and 
 this perhaps supports the supposition that similar patterns may have been 
 worked in needle-point in Belgium, 
 
 C 2 
 
36 
 
 LACE. 
 
 Needle-point Euffle (one of a pair) of needle-point lace, similar to 
 
 ^'■''^- 128.-70. ? Brussels. Belgian. ] 8th cent?. L. 13^ in., 
 
 W. 2 in. Bought, 15s. the pair. 129.-70. 
 
 Pillow-made 
 La.ce. 
 
 Lappet of pillow-made lace, with close pattern of large and 
 small flowers, and waved edge. ? Brussels. Belgian. 
 I7th centy. L. 2 ft., greatest W. 5 in. Given by J. H. 
 Fitzhenrj^ Esq. 1464.-70. 
 
 See remarks also on 1368.-'5.5. 
 
 Piece of pillow-made lace. Said to have been part of 
 jabot or frill of Admiral Byng's shirt. Brussels. Bel- 
 gian. ISth centy. L. 6| in., W. 1^ in. Given by Mr. 
 W. GhapmaD. 66.-71. 
 
 ? Old Devonshire pillow lace. See remarks as to peculiarities in this 
 sort of lace, No. 1.368.-55. 
 
 Lappet of pillow-made lace. Floral and conventional pat 
 tern, closely worked with small fillings-in of ordinary 
 Brussels "refieau." Brussels. Belgian. 18th centy. 
 L. 2 ft., W. at top, 41 in. Bought, 11. 18s. 1299.-71. 
 
 Crown op a Cap, pillow-made lace " a r^seau." Floral 
 pattern. Brussels. Belgian. 18th centy. L. lOi in., 
 
 1295.-72. 
 
 :i brides picotees." 
 
 U^ in., W. 8i in. 
 
 1296.-72. 
 
 W. 7i in. Bought, 11. 5s. 
 
 Crown of a Cap of pillow-made lace '' 
 Brussels. Belgian. 18th centy. L. 
 Bought, 11. 15s. 
 
 Lappet of pillow -made lace. The pattern consists of 
 closely plaited floral and conventional ornaments. 
 Brussels. Belgian. 18th centy. L. 2 ft. 1 in., W. 4^ in. 
 Bought, 51. 5s. 1300.-72. 
 
 See remarks upon 1368.-55. 
 
 Lappet (one of a pair) of pillow-made lace. Flower pattern, 
 upon a " reseau " of sis-pointed star mesh, and fiUiags 
 of " brides picotdes " arranged in trellis pattern. Brussels. 
 Belgian. 18th centy. L. of each, 1 ft. 9 in., W. 3^ in. 
 Bought, 101. 10s. 1302.-72. 
 
 This ground should be compared with the ordinary Brussels ground (scr 
 530.-'75, .leO.-'TS, and others). This sort of star meshed '• reseau " has been 
 considered, bui apparently without much, if any, authority, to be a mark of so- 
 called " Point de Paris " pillow lace, but as the " Point de Paris " appears, 
 from the dates ivhen mention of it occurs, to have been a much coarser lace, 
 (nothing more probably than a narrow trimming of little Vandykes or points), 
 and as in the specimen under discussion we find devices and workmanship of 
 the Brussels pillow-lace character, it is perhaps permissible to assume that the 
 star-shaped " reseau " was merely a novelty or departure from the ordinary 
 well-known Brussels " reseau," and was worked by a Brussels lace maker. 
 
BELGIAN. 37 
 
 Jabot or Frill which hung from the collar. Needle-point needlh-poiht 
 lace done in pattern of flowers, foliage, and palms ^^°^' 
 npon " reseau," and bordered on three sides. Belgian. 
 18th centy. L. 1 ft. 5 in., W. 1 ft. 1^ in. Bought 
 (Bock Com), 51. 5s. 1564.-72. 
 
 Compare with 128.-'70. 
 
 Lappet (one of a pair) of pillow-made lace, with little wheel mixed lacb- 
 
 ornaments done with the needle. Close flower pattern, 
 
 with scalloped edge. Brussels. Belgian. 18th cent?. 
 
 L. 23 in., greatest W. 5 in. Bought, 61. the pair. 
 
 l76.-'75. 
 
 These little needle-point devices are daintily inserted in the centre of the 
 lappet. 
 
 Lappet (one of a pair) of pillow-made lace. Pattern of phiow-mabe 
 oblique ornamental bars, upon which are hung little ^'^''^• 
 garlands of flowers. The variety of "modes " or fillings- 
 in is remarkable. They are pillow-made renderings of the 
 " mode " used in the Points d'Alen9on. The fiUing-in 
 . between each bar and the loop of the garland is a pillow 
 rendering of the famous hexagonal mesh which is said to 
 mark the Points d'Argentan (see note as to Alen^on and 
 Argentan). Period of Louis XV. Brussels. Belgian. 
 18th centy. L. 21^ in., W. 4^ in. Bought, IM. 3s. 6d. 
 the pair. -530.-75. 
 
 BoEDEE of pillow-made lace, with " rdseau " similar to that 
 in No. 1302.-72, and fillings-in of little cross-bars of 
 "brides picot^es." Brussels. Belgian. 18th centy. 
 L. 4 ft. 7i in., W. 3 in. Bought, 4<l. Us. 6d. 531.-75. 
 
 Boeder of pillow-made lace, with two varieties of grounds, 
 the one of ordinary Brussels " reseau," the other of large 
 closely plaited hexagonal meshes, which is a pillow 
 rendering of a Point d'Argentan pattern of festoons of 
 leaves and sprigs (see remarks on 530.-75), Period of 
 Louis XV. Brussels. Belgian. 1 8th centy. L. 6 ft. 4 in., 
 greatest W. 3^ in. Bought, 61. 16s. 6d. 532.-75. 
 
 Boeder of pillow-made lace. " Point d'Angleterre." Flower 
 pattern upon a striped open ground and with fillings-in 
 of Brussels " rdseau." Brussels. Belgian. 18th centy. 
 L. 4 ft. 11 in., W. 3i in. Bought, lOL 10s. 540.-75. 
 
 See note on 323.-'69 as to this name. 
 
 Wedding Veil of pillow-made lace. The edging is a pillow 
 rendering of a Point d'Alen^on pattern (see remarks on 
 530.-75). The pattern of this intact specimen consists 
 
38 LACE. 
 
 Piiiow-MADE of light leafy floral garlands of orange blossoms, jessa- 
 mines, lilacs, forget-me-nots, roses, &c. daintily festooned. 
 Little feathery spirals and stars are powdered over the 
 ground. In two of the corners are vases of classical 
 form from which grow bunches of roses, cornflowers, and 
 wheat. The two other corners are filled in with a device 
 — ? an 0, the initial of the bride — and leafy spirals, &c. 
 In the centre upon a ground of pillow-made hexagonal 
 "brides" (see 530.-"75j is a group of two birds, one 
 flying towards the other which appears ready to take 
 wing from its nest ; an oval frame containing two hearts 
 pierced by an arrow, and a hymenal torch. Throughout 
 this veil is a profusion of pillow renderings of various 
 " modes," the " reseau rosacd," star devices, &c., all of 
 which deserve careful notice. The ornamental devices 
 are partly applied and partly worked into the ground. 
 Brussels. Belgian. ISthcenfy. 7 ft. 6 in. by 6 ft. 6 in. 
 Bought, 261. 5s. 541.-75. 
 
 Square of pillow-made lace. A " pale " for covering the 
 paten. Brussels lace, " a reseau " of two sorts ; in 
 the centre is a decorated column with projecting lateral 
 ornaments ; aboA'e is a Royal crown. The column rises 
 above an altar upon which are laid the sacrificial lamb 
 and cross : in the corners are angels swinging censers. 
 Brussels. Belgian. 18th cenfy. 6 in. square. Bought, 
 (with 545 to 576, 1501). 653.-75. 
 
 Square of pillow-made lace, with large hexagonal meshed 
 "rdseau." The pattern represents a female figure 
 (? Minerva) in a chariot, with a wreath in her right 
 hand. Brussels. Belgian. 18th centy. 5J in. square. 
 Bought (with 545 to 576, 150?.) 557.-75. 
 
 Square of pillow-made lace. Floral pattern, in which the 
 dove with an olive wreatli is introduced. It is formed 
 of two pieces joined together, and may have been used as 
 a "pale" for covering the ]iaten. Brussels. Belgian. 
 I7th centy. 6 in. square. Bought (with 545 to 576, 
 150Z.). " 554.-75. 
 
 Lappet of pillow-made lace. Flower pattern, with pillow- 
 mado filUngs-in in imitation of the needle-point "brides 
 picntdes" (.see note to 530.-75). Brussels. Belgian. 
 18th centy. L. 2 ft., W. 4<i in. Bought (witli 545 to 
 576, 150L). 560.-75. 
 
BELGIAN. 39 
 
 Jabot or Cravat of pillow-made lace of fantastic floral pillow-made 
 design, the ground of which is composed of little flowers ^^'^^' 
 and leaves arranged within small openwork borders. 
 Brussels. Belgian. 18th centr. 17 in. by 12| in. 
 Bought (with 545 to 576, 1501.) 575.-75. 
 
 Lappet of pillow-made lace. Along the borders is a twist- 
 ing ribbon decorated with a trellis pattern, each square 
 filled in with a blossom. The main portion is divided 
 into four compartments, the highest and lowest but one 
 are filled in with hexagonal "brides picotdes," whilst 
 the two others are filled in with blossom "modes." 
 Upon these grounds are displayed flowers and fruits and 
 leaves in bunches ; a long-tailed bird with outstretched 
 wings is perched upon the branch dividing the lowest 
 compartment from that immediately above it. In the 
 leaves from this branch as well as in the centre of some 
 of the flowers may be noted some little wheel ornament 
 insertions : these are done with the needle. {See note on 
 175.-75.) Brussels. Belgian. ISthcenfy, L. 22 A in,, 
 W. 5 in. Bought, 71. 10s. 600.-75. 
 
 Lappet of pillow-made lace. The iramerous ornamental 
 devices worked for fillings-in or " modes " are remarkable, 
 especially the varieties of them along the scalloped borders 
 of the lappet. The main portion is divided into four 
 fantastically shaped compartments. In the highest is a 
 basket of flowers upon a groundwork of flne scale or 
 billet pattern; in the next, representing a sort of 
 grotto with overhanging pendants and leaves, is a basin 
 in which ducks are swimming, the ground is of hexa- 
 gonal " brides picotdes " ; in the next compartment is an 
 orange tree growing from a two-legged pot ; and in the 
 lowest, chiefly filled in with hexagonal " brides picotdes," 
 is a fanciful swan fountain, the jet of water springing from 
 its bill and falling in sheets and drops. Brussels. 
 Belgian. 18th centy. L. 23 in., W. 5 in. Bought, 
 71. 10s. 601.-75. 
 
 Border of pillow-made lace, with pattern of sprigs and 
 border of fiowerets. Brussels. Belgian. Late 18 th 
 centy. 2 ft. 1 in. by 2^ in. Given by Mrs. Hussey 
 Gould. 444.-77. 
 
 Veil of Brussels pillow-made "r^seau," with bunches of 
 fiowers, sprigs, and border of needle-point lace. Belgian. 
 Late 18th centy. 3 ft. 5 in. by 18 in. Bought, 71. 7s. 
 
 806.-77. 
 
•io 
 
 LACE. 
 
 I'lLLow-MAuii Border of pillow -made lace, with running scroll pattern 
 along the lower edge, the rest of the ground oraamented 
 with detached sprigs ; a small border of Buckingham- 
 shire lace is fastened around three sides of the lappet. 
 Brussels. Beli/lan. Late 18th centy. 2 ft. 9 in. by 5^ in. 
 Bought, 1^. 18s. 6r?,. 244.-79. 
 
 See also remarks as to make of sprigs and ground on 554.-68. 
 
 Lappet of pillow-made lace, with bouquets along the 
 middle, the edge indented with a running pattern of 
 irregular breadth filled in with various " modes." Brussels. 
 Belgian. 18th centJ. 3 ft. 7 in. by 4 in. Bought, 
 71. 10s. 249.-79. 
 
 This is so called " Point tVAngleterrc," but see remarks as to this on 
 32.3.-'79. 
 
 Lappet (one of a ])air) of pillow-made laoe. Brussels. 
 Belgian. 18th centy. I;. 2. ft., W. 5 in. Bought, 71. 
 
 342.-80. 
 
 the pair. 
 
 Needle-point 
 Lace. 
 
 Pillow-made 
 Lace. 
 
 Similar to specimens 7439.-'61. and 1308.-'55. 
 
 " Point Gaze." 
 14 in. by 2^ in. 
 
 Collar of needle point lace. 
 Belgian. Present century. 
 1/. iSs. 
 
 Brussels. 
 
 Bought, 
 
 8.55.-'53. 
 
 Lappet of pillow-made lace, of floral and conventional 
 pattern, closely plaited. Brussels. Belgian. Present 
 centy. L. 2 ft., W. 4 in. Bought, SI. 165.-65. 
 
 See remarks upon 1368. -'55. 
 
 Curved Border or trimming for a dress, of pillow-made 
 lace. Belgian. End of last or beginning of present 
 (19th) centy. L. 36 in., W. 2 in. Bought, 10s. 327.-'69. 
 
 The little spots scattered over the surface marks a phase of design for 
 lace later than that shown in .)o4.-'68. 
 
 Edging of pillow-made lace, with ground or "reseau" 
 of diamond-shaped meshes. Pattern of rose, buds, and 
 leaves. Made of linen thread, spun more than 40 years 
 ago, and costing 30n. the ounce. Belgiaii. 1870-5. 
 
 L 81 in., W. 2^ in. 
 and Co, 
 
 Given b}^ Messrs. Howell, James, 
 
 256.-75. 
 
 Cap of pillow-made lace. The little sprigs are Avorked 
 separately from the net or " reseau " to which thej^ are 
 subsequently applied. Hence this lace is called Brussels 
 "appHque." Belgvni. P]arly 19th centy. L. 7\ in. 
 Bought, H. lO.s-. ' 807.-77. 
 
 Honiton " applique " lace is similar to it. 
 
BELGIAN. 41 
 
 Boeder of pillow-made tape lace " a rt^seau." Bold scroll tape lace. 
 pattern. Belgian. 17th centy. L. 26 in., W. 7| in. 
 Bought, 12s. 6d. 599,-54. 
 
 This is a large meshed, compactly plaited " reseau.'' 
 
 Boeder of pillow-made tape lace, with " modes " of little 
 seed shapes of twisted threads. Belgian. I7th cent?. 
 L. 3 ft,, W. 7 in. Bought, 6s. 8(1. 7520.-'61. 
 
 Boeder of pillow-made tape lace, worked into a close 
 scroll patterns, with fiUings-in of needle-point stitches. 
 Portions are left unfinished. Scroll pattern. Belgian. 
 18th centy. L. 4 ft. 5^ in., W. 6 in. Given Ly the Rev. 
 R Brooke. 969.-64. , 
 
 Boeder of pillow-made tape lace " a brides." Scroll and 
 leaf pattern. Belgian. I7th or 18th centy. L. 3 ft. 
 8 in., W. 7| ill. Bought (Bock Coll"), 11. 15s. 
 
 1565.-72. 
 
 This is similar in workmanship to 1580.-72. 
 
 BoEDEE of pillow-made tape lace " a brides " ; bold run- 
 ning pattern of conventional flowers and scroll foliage. 
 Belgian. I7th or 18th centy. L. 2 ft., W, 7 in. Bough 
 (Bock Colin), 1^. 4s. 1580.-'72. 
 
 It is to be noticed that in this specimen the whole of the work is done 
 on the pillow, the threads to form the tape being plaited at the same time as 
 the fillings-in, aud the " brides." Compare this with remark on specimen 
 601.-'54. 
 
 BoEDEE of tape, arranged in rude scroll pattern with fillings- 
 in of needle-point stitches, and "reseau" or ground of 
 needle-point work. Belgian. 17th centy. L. 2 ft., 
 W. 6 in. Bought (Bock Coll"), l7s. 1581.-72. 
 
 This is similar to 1583.-'72. 
 
 Boeder of tape ananged in ]iattern of scrolls, filled in with 
 coarse needle-point "reseau '' or ground. Belgian. I7th 
 centy. L. 2 ft. 2 in., W. 4| in. Bought (Bock Coll"), 
 17s. 1582.-72. 
 
 Beoad Piece of tape, arranged in a quaint ribbon pattern, 
 with fillings-in of needle-point stitches, and worked with 
 a needle-point " rdseau " or ground. Belgian. 17th 
 centy. L. 2 It. 1 in., W. lOi in. Bought (Bock GolW), 
 \l. 6s. 1583.-72. 
 
 This is similar to 1581. -'7 2. 
 
42 
 
 LACE. 
 
 Tape Lace. 
 
 Border of tape pattern of scrolls and flowers, filled in with 
 coarse needle-point " rdseau " ground. Belgian. 17th 
 centy. L. 2 ft. 7 in., W. 7 in. Bought (Bock Colin), 
 1?. Qs. 1584-'72. 
 
 See note as to 1579.-72. 
 
 Flounce of tape and pillow-made lace " a rdseau," with 
 pattern of fantastic forms on slender scroll stems. 
 Belgian. 18th cent?. L. 8 ft. 8 in., W. \H 
 
 Bought, m. 
 
 m. 
 
 1094"-'75. 
 
 The plaiting of this "reseau" is similar to that of the early " vrai 
 Valenciennes." 
 
 Flounce of tape and pUlow-made lace " a reseau," with 
 large and bold scroll pattern of flowers. Belgian 
 19th centy. L. 9 ft. 8 in., W. 20^ in. Bought, U. 
 
 1095.-75. 
 
 The plaiting of this "reseau" is similar to that of the eai'ly "vrai 
 Valenciennes." 
 
 PiLLOW-ltADB 
 L.iCE. 
 
 Border of pillow-made lace, of coarse Valenciennes 
 character ; but with six-pointed star mesh ground or 
 " reseau." Antwerp. Belgian. 18th centy. L. 2 ft. 
 
 2 in,, W. 2i m. 
 
 Given by Mrs. Bury Pa] User. 
 
 842.-'68. 
 
 Border of pillow-made lace, of coarse Mechlin character, 
 with six-pointed star mesh ground or " reseau." Figures 
 of vases and branches depicted ; called from its pattern 
 "pot lace." Antwerp. Belgian. 18th centy. L. 2 ft. 
 2| in., W. 2f in. Given by Mrs. Bury Palliser. 
 
 843.-68. 
 
 The "Potten kant" or pot lace, as it is called, is a favourite pattern, as 
 symbolical of the Virgin. In old pictures of the Annunciation, the Virgin is 
 represented with a lily either in hprhand or in a vase placed by her side. As 
 Romanism declined in the Netherlands, the figures were omitted, and there 
 remained only the symbol of the flower pot. The designs in the larger 
 borders of " Church Lace," Nos. 380. -'72, 387.-'72, are based upon similar 
 motives. 
 
 Border of pillow-made lace, similar to 1568.-'72. Pattern 
 of pendant garlands and bunches of carnations, sprays of 
 foliage. Antwerp. Belgian. 18th centy. L. 1 ft. 9 in., 
 
 W. 4 in. Bought (Bock Collin), i7s. 
 
 1567.-72. 
 
 Border of pillow-made lace, similar to 843.-68. " Potten 
 kant." Pendant festoon of flowers and foliage. Antwerp. 
 Belgian. 18th centy. L. 1 ft. 8 in., W. 4| in. Bought 
 (BockColhi), 17s. 1568.-72, 
 
BEl.GIAN. ■ 43 
 
 Border of pillow-made lace, similar to 1567.-72. Pattern lf^^°^-^^^''- 
 of floral scrolls, with pendant bunches of flowers and 
 leaves. Antwerp. Belgian. 18th cent?. L. 1 ft. 7 in., 
 W. 4 in. Bought (Bock Colin), i7s. 1569.-72. 
 
 Border of pillow-made lace, with a loosely-twisted sort of 
 ceil de perdrix ground (see 167.-65). Pattern of 
 eight-petalled flowers and leaves. Antwerp. Belgian. 
 18th centy. L. 7 ft. 5 in., W. 3^ in. Bought (Bock 
 Colin), i;. 6s. 1570.-72. 
 
 The outline to the pattern and the gimp of the leaves and flowers are 
 like those seen in some of the early 18th century Mechlin laces. 
 
 Border of pillow-made lace, in imitation of Valenciennes. 
 Made at Ypres, West Flanders. Belgian. 19th cent?, 
 L. 11 in.. W. 3^ in. Bought, 14s. 1168.-'55. 
 
 Border of pillow-made lace, in imitation of Valenciennes. 
 Made at Ypres, West Flanders. Belgian. 19th cent? 
 L. 10 in., W. 4 in. Bought, lis, 1169.-55. 
 
 Border of pillow-made lace, in imitation of Valenciennes. 
 Made at Ypres, West Flanders. Belgian. 19th cent?. 
 L. 9 in, W. 2 in. Bought, 5s. 3d. 1170.-'55. 
 
 Border of piUow-made lace, in imitation of Valenciennes. 
 Made at Ypres, West Flanders, Belgian. 19th centy. 
 L. 8i in., W. 2 in. Bought, 4s. 7c?. 1171.-55. 
 
 Border of pillow-made lace, in imitation of Valenciennes. 
 Made at Ypres, West Flanders. Belgian. 19th centy, 
 L. 10 in., W. 2 in. Bought, os. 8d. 1172.-55. 
 
 Border of pillow-made lace, in imitation of Valenciennes, 
 Made at Ypres, West Flanders. Belgian. 19th centy. 
 L. 7 in., W. i^ in. Bought, 10s. 4d 1173.-55. 
 
 Border of pillow-made lace, in imitation of ^Valenciennes. 
 Made at Ypres, West Flanders, Belgian. 19th centy. 
 L. 4 ft. 3 in., W. 2^ in. Bought, 11. I7s. 1174.-55. 
 
 Border of pillow-made lace. Pattern of flowers along the 
 border and spots upon the diamond-meshed ground, 
 similar to that of Valenciennes lace. Made at Ypres, 
 West Flanders. Belgian. Modern. L. 2 ft., W. 3 in. 
 Bought, 10s. 6d. 831.-68. 
 
 Border of pillow-made lace. Rose and chain pattern, 
 in style of Valenciennes lace. Made at Ypres, West 
 Flanders. Belgian, Modern. L. 18-|- in., W. 2| in. 
 Bought, 7s. 6d. 832,-'68 
 
■14 LACE. 
 
 h^lcs^'^'^^^ BoRDEK of pillow-made lace. Flower pattern, scalloped 
 edge, in style of Valenciennes lace. Made at Ypres, 
 West Flanders. Belgian. Modern. L. 18^ in., W. 2| in. 
 Bought, 6s. 3d. ~ 833.-'68. 
 
 Border of pillow-made lace. Pattern of flowers in con- 
 nected circles, in style of Valenciennes lace. Made at 
 Ypres, West Flanders. Belgian. Modern. L. 18| in., 
 W. 2^ in. Bought, 14s. lOd. 834.-68. 
 
 Border of pillow-made lace. Mechlin. Belgian. Early 
 ISthcenty. L. 2 ft. .5 in., W. 2^ in. Bought. 877.-47. 
 
 This specimen was purchased by the Council of Schools of Design 
 before the collections of the South Kensington were formed. An example 
 of " art applied to industry " for the study of students in the Schools of 
 Design which preceded the Schools of Art founded in 1852. 
 
 Curved Border or trimming for a dress, of pillow-made 
 lace. Mechlin. Belgian. ISthcenty. L. 9^ in., W. l|in. 
 Given by Lady Cole. 6136.-53. 
 
 Border of pillow-made lace. Mechlin. Belgian. 18th 
 centy. L. 3 ft. 3 in., W. 2^ in. Bought, 8s. 863.-53. 
 
 The lighter pattern (compare with 30.-'69) of this border gives it a 
 place in the order of manufacture between laces like 30.-'69 and 1177.-'75. 
 
 Border of pillow-made lace. Mechlin. Belgian. End of 
 18th centy. L. 7 ft. 2 in., W. 5 in. Bought, 21. 10s. 
 
 555.-'68. 
 
 The pattern along the edge of a flower (? sunflower) in fall blossom and 
 with closing petals is often met with in Mechlin laces of this time. See also 
 remarks to 327.-69. 
 
 Border of pillow-made lace ; " a reseau " of the ordinary 
 Mechlin type. Oak leaves and acorn pattern. Belonged 
 formerly to Her Majesty Queen Charlotte. Mechlin. 
 Belgian. 18th centy. L. 10:^ in., W. 2i in. Given bv 
 Mrs. Bury Palliser. ' 718.-68. 
 
 Piece of pillow-made lace. Mechlin. Belgian. End of 
 18th centy. L. 2f in., W. 2| in. Given by Mrs. Bury 
 Palliser. 720.-'68. 
 
 See remarks as to 327.-69. 
 
 Piece of pillow-made lace. Mechlin. Belgian. End of 
 18th centy. L. 3| in., W. 3| in. Given by Mrs. Bury 
 Palliser. 721.-'68. 
 
 See remarks as to 327.-'69. 
 
To face p. 4"). 
 
 XIV. 
 
 Part of a Border of Pillow -made Lace. 
 No. 324.-'69, page 45. 
 
 Mechlin. ISth Century. 
 
BELGIAN. 45 
 
 Piece of pillow-made lace. Scalloped edge, with pattern of ^2,^°"^-^^'"' 
 small sunflowers and leaves. Mechlin. Belgian. End 
 of 18th centy. L. 3| in., W. 2i in. Given by Mrs. Bury 
 Palliser. 722.-68. 
 
 See remarks as to 327.-'69. 
 
 Border of pillow-made lace. Belonged formerly to Her 
 Majesty Queen Charlotte. Mechlin. Belgian. 18th 
 centy. L. 3| in., W. 3|- in. Given by Mrs. Bury Palliser, 
 
 723.-68. 
 
 Border of pillow-made lace. ? Mechlin. Belgian. 18th 
 centy. L. 12| in., W. 1^ in. Given by Mrs. Bury 
 Palliser. 744.-'68. 
 
 The "reseau" of this specimen is composed of four-pointed star meshes, 
 and unlike the ordinary Mechlin "reseau." (See 718.-'68.) 
 
 Piece OF Border of pillow-made lace. Mechlin. Belgian. 
 18th centy. L. 6|- in. by 2| in. Given by Mrs. Bury 
 Palliser. 751.-'68. 
 
 Border of pillow-made lace. Called " Trollekant." Mechlin. 
 Belgian. 18th centy. L. 3^ in., W. 3J in. Given by 
 Mrs. Bury Palliser. 752.-'68. 
 
 Border of pillow-made lace. Patterns of conventional 
 ornament along the edge, with fillings-in of the wheel 
 and hexagonal device similar to those to be seen in points 
 d'Alen^on ; in the upper portion are groups of a bundle 
 of wheat suspended, between two carnations. Mechliu. 
 Belgian. Early 18th centy. L. 24 in., W. 2^ in. 
 Bought, ]?. 30.-'C9. 
 
 Border of pillow-made lace. Mechlin. Belgian. End 
 of 18th centy. L. 40^ in., W. Si in. Bought, 15s. 
 (Illustration XIV.) " 324.-69. 
 
 See remarks as to 327.-'69. 
 
 Lappet of pillow-made lace of close pattern of flowers and 
 leaves, with " modes " or fillings-in of ordinary Mechlin 
 " reseau " and fanciful trellis arrangement of little 
 blossoms. Mechlin. Belgian. 18th centy. L. 24 in., 
 greatest W. 5i in. Bought, il. 58.-70. 
 
 Border of pillow-made lace "a rdseau." Mechlin. 
 Belgian. 18 th centy. L. 20| in., W. U in. Bought, 3s. 
 
 841.-70. 
 
 The " reseau " is similar to that in specimens 743.-'68, 744.-'68. See 
 also note on 840.-'70. 
 
46 LACE. 
 
 PiLiowMADE Border of pillow-made lace. Pattern of little blossoms 
 scattered upon the " r^seau " and border of flowers with 
 sprigs. Mechlin. Belgian. 18th cent?. L. 3. ft. 2 in., 
 W. 21 in. Bought, \l. 383.-72. 
 
 Border of pillow-made lace. Mechlin. Belgian. 18th 
 centy. L, 14 in., W. If in. Given by Charles Cole, Esq. 
 
 413.-72. 
 
 Lappet of pillow-made lace, with running pattern of flowers 
 and leaves outlined by a thick thread which has been 
 stitched to the "gimp "of the flower or pattern. The 
 " reseau " and make of the other portions are similar to 
 those of Mechlin lace. Mechlin. Belgian. Period of 
 Louis XV. 18th centy. L. 3 ft. 10 in., W. 2| in. Bought, 
 
 1297.-72. 
 
 Lappet (one of a pair) of pillow-made lace, with large scroll 
 pattern of flowers and leaves, and waved edge. Mechlin. 
 Belgian. 18th centy. L. of each, 1. ft. 8^ in., W. 3J in. 
 Bought, 8?. 8s. the pair. 1299.-72. 
 
 Border of pillow-made lace. Belonged formerly to Her 
 Majesty Queen Charlotte. Mechlin. Belgian. 18th 
 (?) centy. 6 in. by 3^ in. Given by Mrs. Bury Palliser. 
 
 197.-74. 
 
 Trimming of pillow-made lace. Pattern of trees, birds, and 
 scrolls, with cupids blowing horns and shooting at winged 
 and burning hearts. Mechlin. Belgian. 17 th centy. 
 2 ft. 11 in. by 3 i in. Bought, 21. 2s. 1400.-74. 
 
 Border of pillow-made lace, with flower pattern out- 
 lined with thick thread. The " rdseau " is of Mechlin 
 manufacture. Belgian. Late 18th centy. L. 7 ft. 10 in., 
 W. If in. Bought, 2i. 4s. U. 534.-75. 
 
 Jabot or Cravat of pillow-made lace, with ground of 
 circular meshes, around each mesh are four little circles. 
 Mechlin. Belgian. 18th centy. 13^ in. square. Bought 
 with 545 to 575, 1 50Z.). 576.-75. 
 
 Border of pillow- made lace. Sprigs, with running flower 
 pattern on lower edge. Mechlin. Belgian. 18th centy. 
 20^ in. by 4 in. Given by Mrs. Bury Palliser. 
 
 1177.-75. 
 
 See note as to pattern on 554.-'68. 
 
 Border of pillow-made lace. Sprigs, with running flower 
 pattern on lower edge. Mechlin. Belgian. 18th centy. 
 10^ in. by 5 in. Given by Mrs. Bury Palliser. 
 
 1178.-75. 
 
BELGIAN. 47 
 
 Curved Border or trimming for dress, of pillow-made If^^^''^''^^ 
 lace, -with pattern of sprigs and dots. Mechlin. Belgian. 
 Late IStli centy. 15 in. by 1| in. Given by Mrs. Hussey 
 Gould. 445.-77. 
 
 Border of pillow-made lace. One of two pieces, with 
 pattern of roses and flowerets and an edging of rose 
 leaves. Mechlin. Belgian. About 1865. 2 ft. 2 in. 
 by.4in. Bought, 2L 15s. the two. 246.-'79. 
 
 The closely plaited portions of the flowers are more loosely worked than 
 the older specimens of Mechlin lace. The thread is of finer quality than that 
 usually employed in modem pillow laces. 
 
 Boeder Lace. One of two pieces. Mechlin lace, with 
 pattern of roses and flowerets and an edging of rose 
 leaves. Belgian. About 1865. 2 ft. 2 in. by 4 in. 
 Bought, 21. 15s. the two. 247a.-'79. 
 
 Border of pillow-made lace, with sprigs on the ground, 
 and a running edge of flowers. Mechlin. Belgian. Late 
 18th centy. 5 ft. by 3i in. Bought, 11. 18s. 6d 35.-'80. 
 
 See remarks as to style of design on 5.54'-'68. 
 
 Border of pillow-made lace, with sprigs on the ground 
 
 and a running edge of flowers and leaves. Mechlin. 
 
 Belgian. Late 18th centy. 8 ft. 9 in. by 8 1 in. Bought, 
 
 31 15s. 36.-'80. 
 
 See remarks as to style of design on 554.-'68. 
 
 Scalloped Border of pillow-made lace, with -running 
 flower pattern and detached roses. Mechlin. Belgian. 
 Middle of the 19th centy. 7 ft. 6 in. by 6 in. Bought, 
 71. 10s. 40.-'80. 
 
48 
 
 LACE. 
 
 III. 
 
 Xeedlewokk 
 on tratpn 
 Threads, 
 
 Cut Woek. 
 
 Pillow-made 
 Lace. 
 
 FLEMISH. 
 
 Napkin of linen damask, scroll diaper pattern, with orna- 
 ments, among which occurs the pomegranate, with a 
 border of Vandykes of needle-point lace. Flemish. 16th 
 centy. The lace is similar to the Italian Reticella of the 
 ICth centy. i ft. 2 in. by 2 ft. 3i in. Bought (Bock 
 Colin). 8698.-'6.S. 
 
 Border of Linen. The central portion is of cut work done 
 in rectangular patterns with wheel ornament. The outer 
 borders are of linen embroidered in satin stitch, and with 
 little cut devices. Pattern of sal tires and Greek border. 
 Flemish. 16th centy. L, 21 in., W. 7^- in. Bought 
 (Bock Colin). 1358.-'64. 
 
 Boeder of trefoil Vandykes of pillow-made lace, made after 
 tlie manner of " Merletti a piombini." Flemish. 17th 
 centy. L. 1 ft. 2| Id. W. 1 J in. Bought (Bock Coll^), 
 17s. dd. 1599.-72. 
 
 Bed Cover of pillow-made work mounted on red silk.* The 
 sixth circle from the centre is formed by the collar, with 
 jewels of the Golden Fleece, and within the four corners 
 are two-headed eagles, the Austrian arms, displayed, nnd 
 surmounted by crowns, the heraldic indications of which 
 are similar to those of ancient crowns of the German 
 Empire. This is said to have belonged to King Philip 
 IV. of Spain. Fleviish or Italian. First half of I7th 
 centy. 4 ft. 5 in. by 4 ft. 4 in. Bought (Robinson 
 Colin). {Illustration XV.) 270.-80. 
 
 This bed cover consists of strips and pieces of thread twisted and plaited 
 on the pillow ; tj'es are fastened between them, in many eases by means 
 of little loops or stitches of thread. For instance, if the tail of one of the 
 double-headed eagles which appear one in each of the fonr corners be 
 examined, the tip will be seen to be composed of two narrow braids which 
 terminate in a point. Following these two braids from this point upwards 
 towards the body of the eagle, one comes to a junction three times the width 
 of the two first braids. The threads of the off-shooting braids here running 
 into one another are plaited together. No small loops, as in the end of 
 the tail, holding the separate braids or tapes together are here observable. 
 The plaiting of many threads proceeds through the body, the front soft 
 plumage of the bird being imitated by means of small holes left in the plaiting, 
 in each of which a small loose loop or " picot" of thread appears. The way 
 
To face p. 4S. 
 
 XV. 
 
 Portion of Bed Cover of Pillow-made Work. Plemish. Pirsthalf of ITtb Century. 
 No. 270.-80, page 48. 
 
FLEMISH, 49 
 
 in which the -wings and pointed cresting on the necks of the bird are worked Pillow-made 
 is similar. The cross-bars of twisted threads which hold the feathers of the ^^'''^• 
 outstretched wings in their place are separate details of twisting, and are 
 looped into the edges of the feathers. This is also the case with the trellis- 
 work which occupies the space between the central circular device and the 
 square border. The style of work may perhaps be more easily traced by 
 referring to specimen No. 1358.-'55, which is considered to be Italian work of 
 the 17th century. In regard to an idea that the details of the design show 
 that this piece has a Spanish origin it may be useful to remark that " the 
 " ' Order of the Fleece' was founded by Phihp le Bon (Duke of Burgundy 
 " and the Netherlands) on the 10th January 1429, the day of his marriage 
 " with the Princess Isabella of Portugal. The number of the members was 
 " originally fixed at 31, including the Sovereign as the head and chief of the 
 " institution. They were to be ' Gentilshommes de nom d'armes sans reproche.' 
 " In 1516, Pope Leo S. consented to increase the number to 52, including 
 " the head. After the accession of Charles V. in 1519, the Austro-Spanish, 
 " or rather the Spanish-Dutch, line of the house of Austria remained in 
 " possession of the Order. In 1700 the Emperor Charles the VI. and King 
 " PhiUp of Spain both laid claim to it. . The former, however, on leaving 
 " Spain, which he could not maintain by force of arms, took with him to 
 " Vienna the archives of the Order, the inauguration of which he solemnized 
 " there in 1713, with vast splendour; but Philip the V. of Spain declared 
 " himself Grand Master, and formally protested at the Congress of Cambrai 
 " (1721) against the pretensions of the German Emperor. The dispute, 
 " though subsequently settled by the intercession of France, England, and 
 " Holland, was frequently renewed, until the Order was tacitly introduced 
 " into bolh countries, and it now passes by the respective names of the 
 " Spanish or Austrian ' Order of the Golden Fleece,' according to the country 
 " where it is issued." — (See p. 6, Sir Bernard Burke's Book of Orders, 1858.) 
 The specimen is of a character which seems to point to its production by the 
 hands of skilful workmen in some lace working centre. It appears likely 
 that this important specimen is of Flemish manufacture. Spain, as is 
 well known, imported a great deal of Flemish lace in the 17th century, 
 Spain and Spanish Flapders being closely bound to one another. Spain, 
 moreover, is not remarkable as haviBg been at this period a lace producing 
 country. 
 
 Boeder of pillow-made tape lace '• a brides." Flemish, tape lacb. 
 17th centy. L. 12|- in., W. 6^ in. Bought (Bock Coll"), 
 17s. 1578.-72. 
 
 Boeder of tape lace " a brides " ; both " brides " and fillings- 
 in or " modes " are of needle-point work. The pattern 
 consists of a floral scroll ornament traced with a tape. 
 Flevnish or Italian. I7th or 18th centy. L. 2 ft. 1 J in., 
 W. 1 ft. li in. Bought (Bock CoU'i), 11. Qs. 1579.-72. 
 
 There is apparently little in these tape laces by which the country of 
 their origin may be identified. Sometimes they have been considered to be 
 French, sometimes Flemish, sometimes Italian. The style of the pattern may 
 be of assistance in determining such a question. In this case the pattern 
 seems to be of bold Italian character. Much English lace done by amateurs 
 is made like this specimen. 
 
 Border of tape arranged in floral scroll ornament " k 
 
 brides "; both " brides " and fillings-in are of needle-point 
 
 work. Flemish or Italian. 17th or 18th centy. L. 2 ft. 
 
 4 in., W. 4 in. Bought (Bock Coll'i), I7s. 1586.-72. 
 
 .See remarks on 1579.-73. 
 
 Q 37S7. D 
 
50 
 
 LACE. 
 
 Tape Lace. 
 
 PiLlOW-MiDE 
 
 Lace. 
 
 Flounce of tape lace " h, brides." The edges of the scroll 
 forms are outlined with a cord ; the fillings-in of the 
 flowers, &c. are of various patterns done in twisted 
 and plaited threads. The " brides " are of needlework. 
 ? Flemish. 17th cent?. L. 14 ft. 7 in., W. 
 Bought, 581. 
 
 Ill 
 
 577.- 
 
 in. 
 
 75. 
 
 Border. Pillow-made tape lace. The main lines of the 
 pattern are linked togetlier by twisted threads. ? Flemish 
 or Italian. I7th centy. 10 in, by 4i in. Given by 
 Mrs. Bury Palliser. " 11.57.-75. 
 
 Trimmings for a dress, of pillow lace " a brides." Flemish. 
 17th centy. Five pieces (two pieces or borders, a pair of 
 cuffs, and a front for a shirt-chemisette ; 22 in. by 9 in., 
 4 ft. by 3 in,, 4 in. by 4 in., 4 in. by 4 in. Bought, 
 Si 12*. ' 597-597c.-'54. 
 
 Border of pillow-made lace " a brides picotdes." Flemish 
 or ^ Italian. 17th centy. 2 ft. 6i in. by 4:^ in. Bought, 
 21. 15.S. " 39.-80. 
 
 This is a close and interesting pillow rendering of a Venetian needle- 
 point pattern of the "punto tagliato a foliami" class. 
 
 Border of pillow-made lace " a brides picotdes." Flemish. 
 
 17th centy. 7 ft. 9 in. by 4^ in. Bought, 81. 10s. 
 
 41.-'80. 
 
 Compare also with 39.-'80. The pattern of this specimen is remarkably 
 flowing and well arranged within the border scroll. 
 
 Border of pillow-made lace of coarse thread, done in a 
 convoluted pattern, with conventional foliage. Flemish, 
 17th centy. L. 2 ft. 5 in., W. 4 in. Bought (Bock Colin), 
 17s. 1576.-72. 
 
 Border of pillow-made lace, done in a convoluted pattern, 
 portions of which are rendered in a pillow-made narrow 
 tape. Flemish. 17th centy. L. 1 ft. 4 in., W. 2| in. 
 Bought (Bock Col^), 17s. 1577.-72. 
 
 Compare also with 842.-70. 
 
 Border of pillow-made church lace. This border came 
 off the robe of a dressed ecclesiastical statuette. The 
 pattern consists of symbolical figures placed upon a 
 c;round or "reweau." Flemisli. 18th centy. L. 26 in., 
 W. 21 in. Given by Mrs. Bury Palliser. 558.-68. 
 
 This curious piece of old lace is full of interesting symbolism of the DiTine 
 Incarnation and Atonement. The bird with outstretched wings is an emblem 
 of the Holy Ghost. The double-handled vase holding three lilies in full bloom, 
 
FLEMISH. 51 
 
 so often gecu standing between the Archangel Gabriel and the Virgin Mary, is Pillow-made 
 the favourite emblem, assigned by mediaeval artists to the mother of the Saviour. Lace. 
 These symbols therefore refer to the descent of the Holy Ghost ; and the bat, 
 an ugly creature of night and darkness, is an emblem of the Evil One, who is 
 ever working his utmost to destroy the effects of the Divine Incarnation and 
 Atonement. The second group, emblematic of the Atonement, represents the 
 peaceful dove with folded wings by the side of the two-handled chalice holding 
 the Eucharist, symbolic of the good Christian about to partake of the Holy 
 Sacrament. — Canon Bock. 
 
 Boeder of pillow-made church lace, of conventional pattern 
 of floral and leafy motives. In centre is a fanciful 
 vase. The gi-ound or " rdseau " resembles that of Valen- 
 ciennes lace. Flemish. 18th centy. L. 18| in., W. 
 7 in. Bought, 13s. 384.-72. 
 
 Border of pillow-made church lace, of conventional pattern. 
 ? an oak tree placed between two trophies of serpents 
 twisted around obelisks. This lace has, like 386.-72, 
 characteristics of Valenciennes and Mechlin laces. 
 Flemish. 18th cent?. L. 22 in.,W. 6| in. Bought, 13.s. 
 
 385.-72. 
 
 Border of pillow-made church lace, of conventional pattern, 
 consisting of bunches of flowers in ornamental pots. 
 The ground or " r^seau " is similar to that of Valen- 
 ciennes lace. The pattern, however, is outlined with a 
 thread in the style of the Mechlin laces. Flemish. 18th 
 centy. L. 19| in., W. 6f in. Bought, 1 3s. 386.-'72. 
 
 Border of pillow-made church lace, of conventional pattern 
 
 of flowers in ornamental pots. This lace is similar to 
 
 Valenciennes lace, and has no " cordonnet." Flem/ish. 
 
 18th centy. L. 20 in., W. 7i in. Bought, 13s. 387.-72. 
 
 In the above pieces, which have been considered to be Italian, the conven- 
 tional flower-pot of the Annunciation is introduced, with the addition, in 
 No. 385, of a twisted serpent. 
 
 Border. Pillow-made lace "a rdseau," with floriated 
 scroll pattern, ornamented with tulips, primulas, and 
 poppy-pods, acorns, &c. Flemish. 18th centy. L. 24 in., 
 W. 7 in. Bought, 21. 2s. U. 858.-'53. 
 
 Border of an Alb. Pillow-made lace, with groimd or 
 "rdseau" of twisted threads, forming circular meshes 
 divided from one another by four-pointed star shapes. 
 In the pattern, of scroll work is a fleur-de-lisd cross 
 (the cross of St. James of Santiago). Along the lower 
 edge of the lace are inserted two pieces of rough pillow 
 lace (torchon), with lozenge or diamond pattern. The 
 upper part of the main piece of lace is sewn to a strip of 
 
 D 2 
 
52 LACE. 
 
 piLLOw-MADB cambric, with three insertions of ragged drawn work. 
 
 I'ACE. ? Flemish. 18th cent?. W. 1 ft. 2^ in:, circumference 
 
 9 ft. Bought, n. 323.-66. 
 
 This piece haa been considered to be of Spanish workmanship, apparently 
 on account of the Santiago Cross ; but the style of pattern and its workman- 
 ship can only connect it with lace from Flanders of the 1 8th century. 
 
 Boeder. Pillow-made lace, with scalloped edge. ? Flemish. 
 18th centy. 10 in. by 4 in. Given by Mrs. Bur\' Palliser. 
 
 1158.-58. 
 
 Edging of pillow-made lace. Flemish. 18th cent?. L. 
 8 in., W. 3 in. Given by Lady Cole. 613.-53. 
 
 Boeder. Pillow-made lace " a brides." The design is of 
 bold ornamental Italian scroll work, held together by 
 tyes. Flemish. 18th centy. L. 3 ft. 6 in., W, 9 in. 
 Bought, 21. 857.-53. 
 
 BORDEE of pillow-made lace " a brides." In the pattern 
 cupids, ladies playing music, dolphins, &c. are introduced 
 amidst flowers. ? Flemish. 18th centy. L. 2 ft. 7^ in., 
 W. 3| in. Bought (with 545 to 576, 1501.) 562.-75 
 
 Border of pillow-made lace. The pattern of floral scrolls 
 is done in a kind of tape (made on the pillow), and the 
 ground is similar to that of some of the Valenciennes 
 laces. Flemish. 18th centy. 9 in. by 5| in. Given by 
 Mrs. Bury Palliser. 1155.-75. 
 
 Piece of piUow-made lace "a brides." Flemish. 18th 
 centy. 17 in. by 9^ in. Bought, 3^. 15s. 38.-80. 
 
 This is of more minute pattern than 593.-'64, of which sort of pillow lace 
 it is a development. 
 
DUTCH. 53 
 
 IV. 
 
 DUTCH. 
 
 Scalloped Border of pillow-made tape lace. Dutch. \Qi\i p^^ovr-in.'Di 
 or 17th centy. L. 2 ft. 4 in, W. 3i in. Bought, 3s. 6d ^^'=^^''^- 
 
 861. -'53. 
 
 Border of pillow-made lace "k brides." Dutch. I7th ^^^S^-"^^^^ 
 centy. L. 2 ft. 10 in., W. 3 in. Bought, 3s. Qd. 
 
 860.-'53. 
 The " brides " are of irregvilar shape and size. 
 
 Edging or Vandyke of twisted and plaited threads. 
 
 Dutch. 17th centy. L. 2 ft. 9 in,, W. 1| in. Bought, 7s. 
 
 604.-54. 
 
 Each Vandyke is composed of a triple blossom fringed wjth "picots." 
 The work is suggestive of a sort of Italian "Merletti a piombini." The 
 design, however, is like that of small edgings to collars and cuffs in Dutch 
 paintings. 
 
 Border of pillow-made lace " a r^seau." Pattern of good 
 
 flowing scroll with blossoms. Dutch. 18th centy. L. 
 
 4 ft. 6 in., W. 4 in. Bought, 15s. 859.-53. 
 
 This " reseau " made in a coarse thread is similar in twist and plait to 
 that of No. 841. The pattern is noticeable for the good flow of curves and 
 distribution of masses. 
 
 Band or Border of pillow-made lace. Floral pattern with 
 serpentine division. Six-pointed star mesh " reseau " or 
 ground. A coarse and probably provincial imitation of 
 a variety of Mechlin lace. Dutch. 18th centy. L. 
 1 1| in., W. 3i in. Bought (Bock Colin), I7s. 
 
 1566.-72. 
 
 Border of silver gimp and thread lace, with scallops of silver gimp 
 alternate fan motive and plaited threads on both edges, lace. ^^^'"^ 
 From the Treasury of St. Mary's Church, Dantzig 
 ? Dutch or French. 18th centy. 15^ in. by 6 in. 
 Bought, 8s. 866.-'7o. 
 
 Scalloped Border of silver thread, gimp, and strips lace. 
 From the Treasury of St. Mary's Church, Dantzig. 
 'i Dutch or French. 18th centy. 13 in. by 4^ in. 
 Bought, 4s. 867.-75. 
 
54 
 
 LACE. 
 
 Gold asd 
 SiLVEE Gimp 
 AND Thkead 
 Lace. 
 
 Boeder of silver gimp, strips, and tliread lace " a reseau," 
 with angular scroll pattern. From the Treasury of St. 
 Mary's Church, Dantzig. ? Dutch or French. 18th centy. 
 12 in. by 2f in. Bought, 5s. 874.-75. 
 
 Border of gold and silver thread and gimp lace. The 
 scrolls are of silver gimp ; the " reseau " of gold thread. 
 From the Treasury of St. Mary's Church, Dantzig. 
 ? Dutch or French. 18th centy. 17 in. by 4J 
 
 in. 
 
 Bought, 5.9. 
 
 869.-75. 
 
 Border of gold thread gimp lace, with scalloped edges. 
 From the Treasury of St. Mary's Church, Dantzig. 
 ? Dutch or French. 18th centy. 14 in, by | in. Bought, 
 Is. 871.-75. 
 
 Border of gold thread and gold gimp, twisted and plaited, 
 lace "a reseau." The pattern consists of alternate 
 diamonds and blossoms of double gimp, with spots of 
 close-lying gimp worked in a sort of "couching" or 
 basket work. From the Treasury of St. Mary's Church, 
 Dantzig. ? Dutch or French. 18th cent?. 15 in. by 
 1^ in. Bought, 3s. 870.-75. 
 
 Border of gold and silver gimp and thread " a rdseau." 
 From the Treasury of St. Mary's Church, Dantzig. 
 ? Dutch or Freucli. 18th centy. 15^ in. by If in. 
 Bought, 8s. 872.-75. 
 
 Border of gold and silver gimp and thread lace. From 
 the Treasury of St. Mary's Church, Dantzig. ? Dutch or 
 FrencJt. 18th centy. 15 in. by 1| in. Bought, 2s. 
 
 873.-75. 
 
 Border of silver cord, gimp, and thread lace. From the 
 Treasury of St, Mary's Church, Dantzig. ? Didch or 
 French! 17th centy. IG^ in. by 1^ in. Bought, 2s. 
 
 868.-75. 
 
 Scalloped Border of silver gimp, strips, and thread lace 
 " a reseau." From the Treasury of St. Mary's Church, 
 Dantzig. ? Dutch, n\- French. 18th centy. 14| in. by 
 2-^ in. ^Bought, '2s. 875.-75. 
 
 Scalloped Border of sih'er strips and thread lace. From 
 the Treasury of St. Mary's Church, Dantzig. .'' Dutch or 
 Frciicli. 18tli centy. ID in. by | in. Bought, 2s. 
 
 876.-75. 
 
DUTCH. 55 
 
 Scalloped Border of silver strips and thread lace. From gold and 
 the Treasury of St. Mary's Church, Dantzig. ? Dutch or 
 French. 18th centy. 16 in. by | in. Bought, 2s. 
 
 877.-75. 
 
 Scalloped Border of silver thread and strips lace. From 
 the Treasury of St. Mary's Church, Dantzig. ? Butch or 
 French. 18th cent?. 14^ in. by | in. Bought, 2s. 
 
 878.-75. 
 
 Border of silver gimp and thread lace. From the Treasury 
 of St. Mary's Church, Dantzig. ? Butch or French. 18th 
 centy. 15i in. by 1| in. Bought, 3s. 879.-7S. 
 
 Trimming of silver thread and strip lace, worked in a 
 guilloche pattern. From the Ti-easury of St. Mary's 
 Church, Dantzig. ? Butch or French. 18th cent7. 16 in. 
 by I in. Bought, Is. 880.-75. 
 
 Lace. Gold narrow thread ; loop pattern. From the 
 Treasury of St. Mary's Church, Dantzig. ? Butch or 
 French. 18th centy. 12 in. by If in. Bought, 3s. 
 
 881.-75. 
 
 Scalloped Border of gold thread gimp and flat strips. 
 lace, with square-meshed " r^seau." From the Treasury 
 of St. Mary's Church, Dantzig. .« Butch or French. 18th 
 centy. 14 in. by 3^ in. Bought, 4s. 886.-75. 
 
 Scalloped Border of gold thread and gold strips, twisted 
 and plaited, lace. The pattern consists of riband-like 
 scroll, with fan-like motives placed between the curves of 
 the scroll. From the Treasury of St. Mary's Church, 
 Dantzig. ? Butch or French. 1 8th centy. 15 in. by 
 li in. Bought, 3s. 887.-75. 
 
 Scalloped Border of gold thread and gimp lace. From 
 the Treasury of St. Mary's Church, Dantzig. .? Butch or 
 French. 18th centy. 14 in. by If in. Bought, s. 
 
 888.-'75. 
 
 Scalloped Border of gold thread and gold strips, twisted 
 and plaited, lace " a r&eau." From the Treasury of 
 St. Mary's Church, Dantzig. ? Butch or French. 18th 
 centy. lOi in. by 2i in. Bought, 3s. 889.-75. 
 
 Scalloped Border of gold thread lace " a reseau.'' From 
 the Treasury of St. Mary's Church, Dantzig. .? Butch or 
 French. 18th centy. 9J in. by |- in. Bought, Is. 
 
 890.-75. 
 
50 LACE. 
 
 V. 
 FRENCH. 
 
 Needlework 
 
 "" ^'^'^' Square of " lacis " or darned netting. With a figure of a 
 
 pelican " in its piety." French ov Italian. 16th cent?. 
 3-^ in. square. Given by Mrs. Bury Palliser. 760.-68. 
 Curtains (two). Silk embroidery, on ground of purple net 
 or " lacis," lined with blue canvas ; interlaced pattern of 
 flowers and red and green branches tied with ribbons, 
 embroidered with floss silk in satin stitches, scalloped 
 border of roses, &c. French. I7th eenty. Each, L. 
 11 ft., W. 2 ft. 10 in. Bought (Soulages Coll"), \U. 
 
 5664, 5664a.-'59. 
 
 Square of "lacis " or darned netting, with principal outlines 
 
 done with a coarse thread run in the netting. Pattern, 
 
 a vase of flowers. French. I7th centx. 6 in. by 6j in. 
 
 Given by Mrs. Bury Palliser. 1133.-75. 
 
 Square of " lacis" or darned netting, with principal outlines 
 done with a coarse thread run in the netting. Pattern, a 
 vase of flowers. French. 17th cent?. 6 in. bj^ 6| in. 
 Given by Mrs. Bury Palliser. 1134.-75. 
 
 DEAwif lEusLis Flounce of drawn and embroidered muslin. The pattern 
 of vases, leaves, and squares oi cross-bars is obtained by 
 leaving undrawn muslin uj^on a network of drawn 
 threads. Other ornamental detail (the festoons) are done 
 in a sort of darning stich and chain stitch. French. 
 18th centy. L. 9 ft. 2 in., W. 9 in. Bought, lOZ. 
 
 1093.-75. 
 
 Needle-point Paiujhment with needle-point lace in progress ; the green 
 
 tkogeess. ]iarchment pattern is backed with a coarse linen. 
 
 Point d'AlenCj'.on. French. About 1850. L. of laco 
 
 ]0| in., W. 4^ in. Given by Mrs. Bury Palliser. 
 
 713.-'G8. 
 
 Sec ivniarks, also, ou 316.-'69. 
 
 xkedle-point Border of needle-point lace. Rich flowing pattern, on the 
 hexagonal button-hole stitched "brides "ground. Point 
 d'Alen^OT. French. I7th cent?. L. 3 ft., W. 3 in. Bought, 
 3?. 2,s. 850.-'53. 
 
 Tlii.s beautiful and finely worked specimen is nndouttedly one of the early 
 lioints of Alei](;on, when under the influence of Venetian teachers. See also 
 remarks on 1298.-72. It is sloped at each end to go round the top of a lady's 
 dress, and the pattern diverges on each side from the centre. 
 
 Lale. 
 
To face p. 57. 
 
 XVI. 
 
 Fart of a Flonnce of Needlepoint Lace. Point d'Alencon. Early ISth Century, 
 
 French. ' 
 
 Ko. 553.-68, page 57. 
 
To face p. 67. 
 
 XVII. 
 
 Partof a Lappet of Needlepoint lace. Point d'Alencon. French. 18th century. 
 No, 641.-'54, page 67. 
 
FRENCH. 57 
 
 Cap Ceown of needle-point lace, with hexagonal " brides " needle-foiht 
 
 ground. Point d'Alen^on. French. Period of Louis XIV. 
 irth centy. L, 12 in., W. 14i in. Bought, 11. 552.-68. 
 
 Apron or "tablier" of needle-point lace, scalloped, with 
 pattern of pine-apples, flowers, leaves, and conventional 
 forms upon a hexagonal ground of "brides a picots." 
 Point d'Alengon French. I7th cent?. L. at bottom, 
 
 3 ft. 7 in., depth, 9 ft. 1^ in. Bought, 26?. 15s. 6d 
 
 747.-70. 
 
 A Small Piece of needle-point lace. " Point d'Alen9on," 
 with pattern of rosettes, ovals, and crescents, and a 
 wreathed edge enclosing the letters (which hang upside 
 down), (p) " ensez vous." French. Early 18th centy. 
 5 in. by 3 in. Given by Messrs. Howell, James, & Co. 
 
 364.-76. 
 
 Part of a Flounce of needle-point lace, with festoons of 
 flowers and ornament upon hexagonal " brides " ground. 
 A riband ornament along the lower edge of the flounce is 
 filled in with the Point d'Alenjon "reseau." Point 
 d'Alengon. French. Period of Louis XIV. 18th centy. 
 L. 7 ft. 3 in., W. 6i in. Bought, 9?. 4s. {Illustration XVI.) 
 
 553.-68. 
 
 Border of needle-point lace. Point d'Alen9on. France. 
 18th centy. L. 4 ft. 6 in, W. ]i in. Bought, 13s. 
 
 854.-53. 
 This is of an early pattern, see Specimen 3.57.-'68 in respect of the wheel 
 hexagonal devices. 
 
 Border of needle-point lace. Point d'Alen9on. France. 
 18th centy. L. 4 ft., W. 2| in. Bought, 11. 5s. 853.-53. 
 
 Lappet of needle-point lace. Design of flowei-s, and a 
 tree hung with shield, behind which are two flags and 
 two Tribune's "fasces" upon the Alen^on "reseau" 
 ground. The specimen is particularly rich in the 
 geometric " modes " similar in style to ornament in 
 early " Reticella " work, as well as in varieties of the 
 hexagonal and wheel device, called also a May flower 
 device. Point d'Alen9on. French. 18th centy. L. 
 
 4 ft. 6 in., W. 4|- in. Bought, 5/. 10s. (Illustration 
 XVII.) " 541 .-'54. 
 
 Narrow Edging of needle-point lace. Point d'Alen9on. 
 French. 18th centy. L. 2 ft. 9 in., W. ]|- in. Bought, 
 11 4s. 2d. 1367.-55. 
 
 Lace. 
 
58 LACE. 
 
 needie-poini Lappet of needle-point lace. Rich ground of hexagonal 
 devices, upon which are scattered foliage and flowers. 
 Period of Louis XV. Point d'Alen9on. French. 18th 
 centy. L. 21 in., W. 3| in. Given by Mrs. Bury Palliser. 
 
 357.-68. 
 This "beautiful lappet was purchased at Genoa, where lace of similar -work- 
 manship is termed " Argentella." {See Phot. XIII., Ancient needle-point and 
 pillow lace, published by the Arundel Society.) The kind of May-flower 
 pattern of the ground is remarkably elegant and rich. It was supposed to 
 be of Italian workmanship, though the very fine ground introduced in the 
 "modes" of the riband pattern is the true Alen^on " reseau " stitch. M. 
 Dupont Auberville claims it for Alen9on, asserting he has met with the same 
 ground on point undoubtedly the produce of that manufacture. He calls it 
 " reseau rosace." A fine flounce belonging to Mrs. Alfred Morrison is orna- 
 mented with " reseau rosace," and is undoubtedly a piece of Point d'Alen9on." 
 {See p. 7, Ancient needle-point and pillow lace, and see also remarks as to 
 specimen 1373.-'74.) 
 
 Border of needle-point lace, with pattern of large and small 
 sprigs upon an hexagonal " brides " ground — see 
 remarks as to 529.-'75. Point d'.AJen5on. French. 
 Early 18th centr. L. 2 yds., W. 2| in. Bought, 51. 
 
 60,-70. 
 
 Lappet (one of a pair) of needle-point lace. The design 
 consists of three " rococo "-framed compartments of 
 pointed shape. In these compartments, filled in with a 
 gi-ound of " Point d'Alen5on reseau " are bunches of flowers, 
 upon the " cordonnet " of some of which are little " picots." 
 Now the ground at the lower end of the lappet is, like that 
 of other portions adjoining the borders of the lappet, of 
 hexagonal " brides ; " and these brides have usually been 
 held to be the distinctive mark of "Point d'Argentan." 
 Point d'Alen9on. French. 18th centy. L. 2 ft., 
 W. 4J,- in. Bought, U. 1298.-72. 
 
 It will thus be observed that here we have combination of what are 
 considered as distinguishing features of two supposed separate classes of lace. 
 This combination seems to conclusively refute such a supposition ; and since 
 Aleii^on was the town specially patronized by Colbert for the founding of a 
 lace manufacture, at which Venetian workers gave instruction in their craft, 
 it is perhaps more correct to call this laoe " Point d'Alen9on " than by any 
 other name. Compare, also, details of design with those which are worked 
 in the pillow-madu lappet. 
 
 Lappet of needle-point lace, with pattern of large and 
 small flowers sot upon a ground of hexagonal and wheel 
 devices. This sorb of design has sometimes been called 
 " Argentella ; " the origin of this title is obscure, although 
 it was presumed to imply that the lace so called was 
 made in Genoa or in Venice. Another theory as to the 
 origin of the title is that it may have been an Italianised 
 name for an Aiiientan point more delicate than the 
 
FRENCH. 59 
 
 ordinary Point d'Argentan. A distinctive mark of the NEEDiE-poiifT 
 French lace Point d'Alen9on is the outline or "cor- ^^'^^' 
 donnet" which runs along the various forms or stems, 
 and is done in button-hole stitches closely cast over 
 a thread. In this specimen the " cordonnet " is of such 
 workmanship. The hexagonal wheel device is often 
 to be seen introduced into flounces of Point d'Alengon, of 
 which other portions are composed of the ordinary 
 Alengon ground or " r^seau," and fillings-in or " modes " 
 Point d'Alencon. French. 18 th centJ. L. 3 ft. 10^ in. 
 Bought, 10^. 1373.-74. 
 
 Square Caps, or " pale " for covering the paten, of needle- 
 point lace, " k r&eau " ; with a thread, and not the 
 usual button-hole stitched " cordonnet." In the centre is 
 the sacred monogram surrounded by rays of glory, and by 
 the instruments of the Passion, the dice, the coat, the 
 crown of thorns, the cock, ladder, hammer, and pinchers, 
 &c. Point d'Alengon. French. 18th cent?. 5J in. by 
 5J in. Bought (with 545 to 576), 150L 555.-75. 
 
 Border, needle-point lace, with pattern of sprigs of leaves 
 and flowers. Point d'Alengon. French. Period of 
 Louis XV. 18th cent?. L. 2 ft. 4i in., W. If in. 
 Bought, 15s. 838.-68. 
 
 Lappet (one of a pair) of needle-point lace, with hexagonal 
 "brides " ground (so-called Point d'Argentan), Avith 
 pattern of running and intertwining flower pattern. 
 Point d'Alengon. French. Period of Louis XV. 18th 
 centy. L. 23 in. W. 4 in. Bought, 15^. 15s. 537.-75. 
 
 See remarks as to Argentan and Alengon (1298.-72). 
 
 Border of needle-point lace. Two pieces joined together. 
 The pattern is composed of oval compartments framed 
 in riband ornament, and filled with bunches of flowers. 
 The main ground is of hexagonal " brides." The ribands 
 are filled in with fine point stitches showing varieties of 
 diaper patterns, similar to those to be seen in the 
 " modes " of Venetian heavy point laces, and with Point 
 d'Alengon " rdseau." Point d'Alengon. French. Period 
 of Louis XV. 18th centy. L. of each, 2 ft. li in., 
 W. 3J in. Bought, 111. Os. U. 539.-75. 
 
 This further confirms the remfirks in respect of " Argentan and 
 Alen^on" see 1298-'72. 
 
60 LACE. 
 
 Needle-point BordehLace of neodle-point lace. Point d'Alen9on. French. 
 
 ^''°''- 18th cetity. Period of Louis XV. L. IS^ in., W. 2f in. 
 
 Bought, 6Z. 542.-75. 
 
 Lappet (one of a pair) of needle-point lace, with flower 
 
 pattern. Point d'Alencjon. French. Period of Louis XV. 
 
 18th centy. L. 2 ft. 8 in., W. 4i in. Bought, r>l. 5s. 
 
 543.-75. 
 
 Cap Crown of needle-point lace, '' a reseau." Point 
 
 d'Alen9on. Period of Louis XV. French. 18th centJ. 
 
 lOi in. by 6J in. Bought, bl. 5.s. 544.-75. 
 
 Border of needle-point lace, with pattern of sprigs 
 scattered over a loosely (compare ground of 529.-75 
 with this) made ground or "reseau," and a border of 
 miniature trees alternating with inverted crescent shapes, 
 and an edging of little squares filled in with " reseau," 
 and a star "mode."' Sprig pattern with crescents in 
 border. Point d'Alen9on. French. 18th centy. Period 
 of Louis XVI. L. 27 in., W. 3f in. Bought, 21. 15s. 2cl. 
 
 S36.-'68. 
 
 Border of needle-point lace. Pattern of flower sprigs, 
 scattered upon a " r&eau " of thick thread, which was a 
 deteriorated substitute for, of later date than, the small 
 hexagonal "brides" ground. The edging consists of a 
 series of odd-shaped compartments filled in with fine 
 " Alen9on reseau." Point d'Alengon. French. 18th 
 centy. L. 1 ft. 7i in., W. 3^ in. Bought (Bock Colli), 
 1L6.9. " " 1588.-72. 
 
 Cap of needle-point lace. The pattern consists of little 
 bunches of flowers, sprigs, &c. scattered over the ground. 
 Point d'Alengon. French. Late 18th centy. L. 10 in., 
 W. 9 in. Bought, \l. 10s. 1294.-72. 
 
 See Note as to pattern on 554.-'68. 
 
 FnAfiMENT of needle-point lace. Point d'Alen9on. French. 
 About 1770. L. 74 in., W. 3f in. Given by Mrs. 
 Bury Palliser. 7l4.-'68. 
 
 Fragjiext of needle-point Lice. Point d'Alen^on. French. 
 About 1770. L. 7 in., W. 3i in. Given by Mrs. Bury 
 Palliser, 715-'(38. 
 
 Border of needle-point lace, with loosely made " reseau " 
 (compare it with that of 529.-75). The ground powdered 
 with leaflets and spots, the edge a row of sprigs and 
 laro-o leaves. Point d'Alen9on. French. 18th centy. 
 L. 2 ft. Si in., W. 7 in. Bought, 101. 10s. 1301.-72. 
 
 This is of a make subsequent to that of .529.-'7.5, and the workmanship 
 is less precise and compact. 
 
FRENCH. 61 
 
 Lappet (one of a pair) of needle-point lace, with pattern needle-poikt 
 
 of irregular scrolls and sprigs, and triple border. Point ^'^''^• 
 
 d' Alen5on. French. Late ISth cent?. Entire L. 5 ft. 
 
 3 in., W. 5 in. Bought, 15/. 14s. the pair. 529.-75. 
 
 The scrolls and little sprigs are upon a small hexagonal " brides " ground 
 of compact workmanship. On each side of each hexagon some eight button- 
 hole stitches are cast within the length of the 32nd of an inch. 
 
 Boeder of needle-point lace, with running and interlacing 
 flower pattern on hexagonal " brides " ground. Point 
 d'Alen9on. France. Period of Louis XV. 18th centy. 
 L. of each, 2 ft. 3 in., W. 2f in. Bought, 11. V7s. 6d. 
 
 538, 538a.-75. 
 
 Border of needle-point lace, with pattern of floral festoons 
 on a spotted ground and a waved border of conventional 
 design. Point d'Alengon. French. 19th centy. 2 ft. 
 8 in. by 7 in. Bought, 5?. 10s. 31. -'80. 
 
 Border of needle-point lace, sprig and chain pattern, with 
 varied grounds and fillings. Point d'Alen9on. French. 
 18th centy. 6 ft. by 2i in. Bought, 61. 10s. 32.-'80. 
 
 Similar to 1588.-72. 
 
 Sleeve Trimming of needle-point lace, with large flowing 
 
 flower pattern. Point d'Alen9on. French. I7th or 18th 
 
 centy. L. 2 ft. 9 in., greatest W. 6 in. Bought, 6/. 10s. 
 
 33.-80. 
 
 The fillings-in of this piece should be noted. That which predominates 
 is of the hexagonal " brides picotees." 
 
 TriangXjlar Piece of needle-point lace. Point d'Alen5on , 
 the ground of twisted and looped threads (see also 
 1301.-72), powdered with bees. Said to have belonged • 
 to the Empress Marie Louise, French. About 1810. 
 L. 30 in,, W. 14 in. Given by Mrs. Henley. 3544.-52. 
 
 The late Mrs, Palliser considered that this probably was part of the bed 
 furniture made by order of Napoleon I. on the occasion . of his marriage 
 with the Empress Marie Louise. Tester, curtains, coverlet, and pillow-cases 
 were all of Point d'Alen9on, powdered with bees. The amount of labour 
 bestowed on so large a piece was evidently considerable. 
 
 Border of needle-point lace, with pattern of small 
 sprigs and border of pendant pine-apples and blossoms. 
 Point d'Alen9on. French. About 1850. 5 ft. by 4^. in. 
 Bought, Gl. 10s. 243.-79. 
 
 Fan Mount of modern Point dAlen9on lace. The guards 
 and sticks of carved ivory by Boisevin, the sticks painted 
 
62 
 
 LACE. 
 
 Needle-point 
 Lace. 
 
 iMITATIOir 
 
 Needle-poist 
 Lace. 
 
 PiLLO'W-MADE 
 
 Lace. 
 
 also with groups of figures in the costume of the period 
 of Henri III. Made by Alexandre. French. 1860-70. 
 F. Hi in., W., when open, 2\\ in. Bought, 60?. 
 
 542.-71. 
 
 Border of imitation Point d'Alengou. The ground or 
 " r^seau " is of knotted net. The flowers are filled in 
 with small pieces of linen, and are fastened to the net by- 
 stitches which also hold the twisted thread outlines, 
 the substitute for the " cordonnet " (ordinarily of fine 
 button-hole stitches) to the little bits of linen. The 
 fillings in are of inferior and loose point lace stitches. 
 
 in. Bought 
 1587.-72. 
 
 L. 1 ft. 91 in., W. 21 
 
 French. ? 19th centy. 
 (Bock Colli), i;. 6s. 
 
 Lappet (one of a pair) of pillow-made lace. The "reseau " 
 should be examined, as showing a more elaborate plaiting 
 than that of the main portion of No. 1179.-75. Valen- 
 ciennes. French. 18th centy. L. 3 ft. 8i in. W. 3| in. 
 
 Bought, 1/. 4s. 
 
 650. -'68. 
 
 Lappet (one of a pair) of pillow- made lace. The diamond 
 shaped and closely-plaited meshes of the "rdseau" 
 should be noticed. Compare it with that of 837.-'68. 
 Valenciennes. French. Period of Louis XVI. Late 
 18th centy. L. 22in., W. 3^ in. Bought, 12s. 551.-'68. 
 
 Border of pillow-made lace. Zig-zag ornament upon a 
 ground of "vrai rdseau." Valenciennes. French. Early 
 ISth centy. L. 10| in., W. 1^ in. "" ' " 
 
 Bury PaUiser. 
 
 Border of pillow-made lace, scalloped. 
 and leafy sprays upon the "vrai 
 Valenciennes. French. 18th centy. 
 Bought, 8s. 
 
 Border of pillow-made lace, with plain and scanty flower 
 pattern upon the closely-plaited " vrai reseau." Valen- 
 ciennes. French. Late I7th centy. L. 7 ft., W. If in. 
 Bought, 15s. Qd. 533.-75 
 
 Lappet of pillow-made lace, with running flower pattern 
 upon a six-pointed star meshed " reseau," similar to that 
 in specimen 531.-75. Valenciennes. French. 18th 
 
 Given by Mrs. 
 
 716.-68. 
 
 Pattern of floral 
 
 reseau " ground. 
 
 L. 24 in., W. 2 in. 
 
 325,-69. 
 
 centy. 25 in. by 3| in. 
 
 Given by Mrs. Bury Palliser. 
 
 1179.-75. 
 
 {See also remarks in respect of 1302.-72.) The upper part of this lappet 
 ■will be seen to be made up of tTVO pieces ; the narrowest of which has a 
 groundwork of the " vraie Valenciennes" reseau, which should be noted for 
 the sake of comparison with other " reseaux." 
 
FRENCH. 63 
 
 Child's Shirt. Edged with pillow-made lace. Valenciennes, piuow-made 
 French. Diam. of lace, ^ in. Given by Kev. E. Brooke. ^^'^^' 
 
 975.-'64. 
 
 Piece of pillow-made edging. Valenciennes. French. 
 19th centy. L. 6 ft., W. I in. Bought. 4761.-54. 
 
 Border of pillow-made lace. Pattern of sprigs and dots, 
 with a scalloped border ornamented with wheels and 
 stars. Imitation Valenciennes. French. 19th cent?. 
 18i by 2\ in. Given by Mrs. R. Ford. 1198.-75. 
 
 Border of pillow-made lace. Scroll floral pattern, with 
 filling of the wheel device called sometimes "ceil de 
 perdreau." " Fausses Valenciennes." French. l7th centy. 
 L. 6 ft. 2 in., W. 2§ in. Bought, 3?. 163.-65. 
 
 Kerchief. Cambric, trimmed with pillow-made lace. 
 " Fausses Valenciennes." French. Middle of 17th centy. 
 L. of lace, 2 ft. 10 in., greatest depth, 9 in. Bought, 21. 
 
 130.-70. 
 
 Border of pillow-made lace. Fausses Valenciennes. 
 French. Middle of l7th centy. L. 7 ft. 2 in., W. 3 in. 
 Bought, 1?. 5s. 131.-70. 
 
 Border of pillow-made lace. " Fausses Valenciennes." 
 French. I7th cent^. L. 19 in., W. 3^ in. Given by 
 Mens. G. Berger. 416.-72. 
 
 Border of pillow-made lace. "Fausses Valenciennes." 
 French. 18th centy. L. 21 in., W. i in. Given by 
 Lady Cole. 613a.-'53. 
 
 See note on 837.-'68. 
 
 Border of pillow-made lace, with scalloped edge. " Fausses 
 Valenciennes." French. 18th cent?. L. 3 ft., W. \\ in. 
 Bought, 5s. 862.-'53. 
 
 Collar of pillow-made lace. This specimen is made up of 
 five pieces of similar lace carefully joined together. The 
 pattern consists of a conventional floral design, with 
 fiUings-in of a closely plaited " rdseau," and of the wheel 
 device (ceil de perdreau). Fausses Valenciennes. French. 
 18th centy, L. 3 ft. 5 in., W. 5i in. Bought, 3Z. 
 
 167.-65. 
 
 Border of pillow-made lace. "Fausses Valenciennes." 
 French. 18th centy. L. 11 J in., W. 2|- in. Given by 
 Mrs. Bury Palliser. 743.-'6 8. 
 
64 LACE. 
 
 lIct"""'^''"^ Scalloped Border of pillow-made lace. " Fausses Valen- 
 ciemaes." French. 18th centy. L. 6| in., W. If in. 
 Given by Mrs. Bury Palliser. 745.-'68. 
 
 Border of pillow-made lace. "Fausses Valenciennes." 
 
 French. 18th cent?. L. 0|^ in., W. 2 in. Given by 
 
 Mrs. Bury Palliser. 746.-68. 
 
 Compare grounds of this and 748 and 747 with No. 755.-'68, so-ealled 
 Danish. 
 
 Border of pillow-made lace. "Fausses Valenciennes." 
 French. 18th cent?. L. 5\ in., W. li in. Given by 
 Mrs. Bury Palliser. 747.-68. 
 
 Border of pillow-made lace. "Fau.sses Valenciennes." 
 Frencli.. 18th centy. L. C^ in., W. 1| in. Given by 
 Mrs. Bury Palliser. 748.-68. 
 
 Border of pillow-made lace. " Fausses Valenciennes." 
 French. ISth centy. L. ISi in., W. 2i in. Given by 
 Mrs. Bury Palliser. 749.-68. 
 
 Border of pillow made lace " a reseau." " Fausses 
 Valenciennes." French. 18th centy. L. 7 in., W. 2i in. 
 Given by Mrs. Bury Palliser. 750.-68. 
 
 The reseau similar to that in specimen 84L-'70. 
 
 Border of pillow-made lace. " Fausses Valenciennes." 
 Fre7ich. 18th centy. L. 2 ft. 3 in., W. 3 in. Bought, 12s. 
 
 837.-68. 
 
 This specimen was probahly made behveen the years 1670 and 1730, a 
 period previous to that when it is supposed that the minute pillow-made 
 " reseaux " were produced. 
 
 Border of pillow-made lace. Pattern of conventional 
 scroU and floral design, with gi'ound or " rdseau " similar 
 to that used in specimen 744.-'68. " Fausses Valen- 
 ciennes." French. 18th centy. L. 2 ft. 8J in., W. 1^ in. 
 Bought, 5s. 840.-70. 
 
 The absence of the little outlining thread (as in 744.-'68) places this in 
 a class of lace which has been called " Fausses Valenciennes " in contra- 
 distinction to the vrai Valenciennes. The vrai Valenciennes has been 
 limited to being Valenciennes lace with a meshed ground. It is interesting 
 to note, however, how much, from a fact like this, it is fairly apparent that 
 the different Mechlin and Valenciennes lace workers interchanged patterns. 
 
 Border of pillow-made lace. Conventional pattern of 
 ribands and oval devices, the centre one of which is made 
 up of a piece of lace inserted. " Fausses Valenciennes." 
 French. 18th centy. L. 1 ft. 10 in., W. 3 in. Bought 
 (Bock Collii), 17s. 1562.-'72. 
 
FRENCH. 65 
 
 Lappet of pillow-made lace, with flower pattern in or- pillow-made 
 
 namental framings, the ground of which is of circular 
 meshes ; the edge is waved. " Fausses Valenciennes." 
 French. Early 18th centy. 3 ft. 5 in. by 3i in. Bought, 
 M. 10s. 245.-79. 
 
 Insertion of pillow-made lace, with conventional flower 
 pattern. "Fausses Valenciennes." French. 18th centy. 
 4 ft. 1 in. by 3 in. Bought, 2Z. 2s. 37.-80. 
 
 Border of pillow-made tape lace " 4 rdseau." Bold scroll 
 pattern. The plait of the threads in the " r^seau " re- 
 sembles that used in early Valenciennes laces. French. 
 18th centy. L. 26 in., W. 1\ in. Bought, 12*. Qd. 
 
 598.-54. 
 
 Border of pillow-made lace. " Point de Dieppe." French. 
 Early 19th centy. L. ^ in., W. 1^ in. Given by Mrs. 
 Bury Palliser. 729.-68. 
 
 The late Mrs. Bury Palliser, quoting M. Aubry, said that Point de Dieppe 
 resembles Valenciennes, but is of less complicated make. It is no longer 
 fabricated, being superseded by modem Valenciennes, which is extensively 
 made in the lace schools at Dieppe, under the direction of the Soeurs de la 
 Providence. Upon close examination, the make of this little piece is precisely 
 like that of 533.-'75, which Mrs. Bury Palliser considered to be of the 
 17tb century. Judging by the cliaracter of pattern as well as by the plaiting 
 of the threads in the " reseau," it would seem that this might be a piece of 
 " vraic " Valenciennes lace of the 18th century, or a close imitation of such a 
 piece. 
 
 Insertion of pillow-made lace. Double border of running 
 leaf pattern, and ground of six-pointed star meshes. 
 Dieppe. French. Early 19th centy. 7j in. by 1^ in. 
 Given by Mrs. Bury Palliser. 1173.-75. 
 
 Border of pillow-made lace. Mirecourt. French. 19 centy. 
 L. 4 ft. 2 in., W. 2 in. Bought, 5s. 3d. 1 175.-'55. 
 
 Trimming for an Alb. Pillow-made lace. Probably 
 Lille. French. 18th centy. L. 9 ft. 8 in., W. 2 ft. 
 Bought, 11. 8s. 4d;. 1036.-55. 
 
 Border of pillow-made lace. Lille. French. 18th centy. 
 L. 7f in., W. 4| in. Given by Mrs. Bury Palliser. 
 
 725.-'68. 
 
 Border of pillow-made lace. Lille. French. 18th centy. 
 L. 6 in., W 3| in. Given by Mrs. Bury Palliser. 
 
 726.-68. 
 
 Border of pillow-made lace. Lille. French. 18th centy. 
 L. 4| in,, W. 3| in. Given by Mrs. Bury Palliser. 
 
 727.-68. 
 
 Q 3787. E 
 
 Lace. 
 
C6 LACE. 
 
 PiLiow-MADE Boeder of pillow-made lace. (?) Lille. French. About 
 '™' 18.50. L. 24 in., W. Si in. Bought, 5s. 326.-69. 
 
 Sco also remarks upon 841.-'68. 
 
 Lappet (one of a pair) of piUow-made laee, with flowing 
 pattern of grapes and vine leaves. Lille or Arras. 
 French. 18th cents'. L. 3 ft. 5-i- in., W. 4i in. Bought, 
 21. 2s. the pair. " 841,-la.-'68. 
 
 The workmanship of this resemhles that of Buckinghamshire laces ; the 
 fillings-in and the Httle spots upon the reseau are also features of Bucking- 
 hamshiTe lace. In the absence of specific distinctive marks, it is dilBcult to 
 say iu which of the two countries this lace was made. In 1794 French 
 emigrant lace makers found employment in Buckinghamshire. 
 
 Border of pillow-made lace. Arras. French. 18th cent?. 
 L. loh in., W. in. Given by Mrs. Bury Palliser, 
 
 724.-'68. 
 
 Border of pillow-made lace. Arras. French. 18th cent?. 
 L. lOf in., W. ^ in. Given by Mrs. Bury Palliser. 
 
 728.-'68. 
 
 Veil of pillow-made lace, with pattern of vases with flowers 
 and sprigs. Arras. French. 18th cent?. 4 ft. 6 in. 
 by 3 ft. liin. Bought, 11. Is. 536-75. 
 
 A large specimen of Lille pillow-made lace, with designs of the latter 
 half of the 18th century. 
 
 Band of pillow-made lace. A piece of insertion. Pattern 
 of flowers and lozenges. Arras. French. 19th centy. 
 13 in. by 4] in. Given by Mrs. Bury Palliser. 
 
 1172.-75. 
 
 Piece of pillow-made white thread lace made at Bayeux. 
 Pattern consists of floral and leafy framework about a 
 suspended basket of flowers. French. Early in 19th 
 conty. L. 11 in., D. SJ in. Given by Mrs. Bury 
 Palliser. 232.-'69. 
 
 Border of pillow-made lace. (Compare with 1141.-75, 
 
 1143.-75.) Flower-pot pattern, with ground of meshes, 
 
 known as the " fond Chant." Chantilly. French. 
 
 18th centy. L. 20 in. W. 4 in. Bought, 6s. 868.-53. 
 
 Chant is an abbreviation of Chantilly. 
 
 Border of pillow-made silk lace, in pattern of scrolls. 
 French. 18th centy. L. 6 ft. 6 in,, W. 4 in. Bought, 4s. 
 
 1045.-55. 
 
 Piece of pillow-made silk blonde, of maize and wheat 
 pattern, for application to a dress. French. 19th centy. 
 L. 4 ft,, W. 41 in. Bought, 1?.. 873.-53. 
 
FRENCH. 67 
 
 Border of pillow-made silk blonde lace. ? Caen or piiio-vt-madb 
 Bayeux. French. 19th centy. L. 11 in., W. 4 in. ^'"'^• 
 Bought, Is. 1 Id 1177.-55. 
 
 Border of pillow-made silk blonde lace. ? Caen or Bayeux. 
 French. Modern. L. 12 in,, W. 5^ in. Bought, 4s. 6d. 
 
 1183.-55. 
 
 Cap Crown, part of pillow-made silk blonde. ! Caen or 
 Bayeux. French. 19th centy, L. lOJ in., W. 6 in. 
 Bought, 6s. 3d 1184.-'55. 
 
 Border of piUow-made silk blonde lace. ? Caen or 
 Bayeux. French. 19th centy. L. 50 in., W. 2 in. 
 Bought, 6s. 5d. 1188.-55. 
 
 Border of pillow-made sUk blonde lace. 1 Caen or 
 Bayeux. French. 19th centy. L. 28 in., W. 3 in. 
 Bought, 4s. 6d 1189.-'55. 
 
 Border of pillow-made silk blonde lace. ? Caen or Bayeux. 
 French, 19th centy. L. 36 in., W. 8 in. Bought, 5s. Qd. 
 
 1190.-55. 
 
 Border of pillow-made white silk blonde, with pattern of 
 bold flower border and small leaves. Caen. French. 
 19th centy. L. 2 ft., W. 6| in. Bought, 5s. 840.-68. 
 
 Border of pillow-made silk blonde, with conventional 
 flower pattern. Made at Bayeux. French. 19th centy. 
 , L. 10| in., W. 5\ in. Given by Mrs. Bury Palliser. 
 
 229.-69. 
 
 The open work, iu twisting the silk threads to form the petals, &c. of the 
 flowers, is termed " Grille," iu contradistinction to the closely plaited portions 
 which are called " matte." 
 
 Insertion of pillow-made silk blonde. Eepeating blossom 
 pattern. Made at Bayeux. French. Modern. L. 4| in. 
 W. 1\ in. Given by Mrs. Bury Palliser. 230.- '69. 
 
 Border of pillow-made silk blonde, with bold pattern of 
 leaves and flowers. Made at Bayeux, and termed 
 " blonde mate." French. 19th centy. L. 2 J in., W. 5 in. 
 Given by Mrs. Bury Palliser. 231.-'69. 
 
 The ahove are specimens of three kinds of blonde made in Normandy, in 
 . the department of Calvados. No. 229 is made like the Chantilly, the same 
 silk heing used for the flower and ground. In No. 230 the flower is made 
 with a different silk, as it is in most of the machine-made blondes of Calais 
 and Nottingham. The showy, large pattern, No. 231, is made for the Spanish 
 mantillas. 
 
 E 2 
 
68 
 
 LACE. 
 
 Pillow-made Veil of pillow-made silk blonde, with large flower pattern. 
 ^-''''^- Probably made at Caen, and called -'blonde mate." 
 
 French. 19th cent?. 50 in. by 35. in. Bought, 41. 
 
 906.-75. 
 
 Lady's Sleeve, " manchette d'hiver," of pillow-made silk 
 lace, embroidered with white chenille. French. 18th 
 centy. L. 3 ft., W. 9 in. Bought, 4s. Ic?. 1043.-55. 
 
 GjMPtTKE OK 
 
 Gimp. 
 
 Lady's Sleeve, " manchette d'hiver," of pillow-made silk 
 lace, embroidered with white chenille. French. 19th 
 centy. L. 3 ft., W. 9 in. Bought, 4s. 1044-55. 
 
 The companion sleeve of No. 1043. 
 
 Portion of a Flounce of pillow-made silk lace, with 
 chenille run into "reseau" to form the pattern. " Chenille 
 blonde." French. 19th centy. L. 16 in., W. 7i in. 
 Given oy Mrs. Bury PaUiser. 844.-68. 
 
 Boeder of pillow-made silk lace, with thread of chenille 
 run into the ground and along the edgings. " Chenille 
 
 blonde." French. 19 th centy. 
 Given by Mrs. Bury Palliser. 
 
 L. 22i in., W. 1| in. 
 845.-68. 
 
 Border of pillow-made silk blonde lace, worked with silver 
 threads similarly to No. 673.-75. French. 19th centy. 
 
 L. 32 in., W. 3^ in. Bought, 13s. M. 
 
 1185.-55. 
 
 Boeder of pillow-made silk blonde lace, worked with silver 
 thread similarly to No. 673.-75. Imitation of silver 
 blonde. French. 19th centy. L. 35 in. W. 3 in.. 
 Bought, 12s. Qd. 11S6.-55. 
 
 Border of pillow-made silk blonde lace, worked with gold 
 threads similarly to No. 673.-75. French. J 9th centy. 
 
 L. 7 in., W. 51 in. Bought, 3s. dd- 
 
 1187.-55. 
 
 Border of pillow-made silk lace, with silver and gold 
 threads run into the ground and the pattern on the 
 edging. French. Early 19th centy. L. 13 in. by 
 in. Given by Mons. V. Pellegrin. 673.-75. 
 
 W^5i 
 
 Border of gimp or guipure of vermiculated pattern. The 
 gimp is made with silk twisted round threads, and is red, 
 white, and green. The earliest guipure was of silk twisted 
 round little strips of vellum. ? Fo'ench or Italian. 17th 
 centy. L. 12 ft. 7 in., W. 5 in. Bought, 21. I7s. 8d. 
 
 621.-64 
 
To face p. i 
 
 XVIII. 
 Border of Gimp or Guipure SFrenchor ItaUan. 17tli Century. 
 No. 622.-64, page 69. 
 
FRENCH. 69 
 
 Border of gimp or guipure, with pattern in red, wliite, guipuhe ok 
 and blue silk giiups (see 621.-'64). 1 French or Italian. ^"^' 
 17th centy. L. 6 ft., W. 6 in. Bought, Bl. {Illus- 
 tration XVIII.) 622.-'64. 
 
 These Nos. 621-622.-64 and 1161 -'77 are specimens of "guipure." The 
 name guipure has been erroneously adopted for white thread laces of a certain 
 class. 
 
 Border of blue silk and gold thread lace " a rdseau," with silk and gold 
 alternate scalloped fringes of blue silk and gold threads. 
 Probably French. 18th cent?. 18^ in. by 2^ in. Bought, 
 9s. 1359.-71. 
 
 Border of gold thread lace " a r^seau." The pattern con- gold thbead 
 sists of alternations of closely-plaited and seed-shaped "^^' 
 diamonds, which are outlined with double threads. The 
 edges are of threads plaited into scallops with " picots." 
 Le Puy. French. 19th cent?. 17 in. by 1| in. 
 Bought, 9s. 1360.-71. 
 
 Border of plaited and twisted gold thread, gimps, and 
 strips lace "h r^seau." The pattern is composed of con- 
 ventional flowers and leaves on a square-meshed ground 
 dotted with lozenges of close-lying gold threads. Narrow 
 strips of gold are introduced into some of the close pat- 
 terns, as well as singly as diagonals across the width of 
 this specimen, the edges of which are waved and scalloped. 
 Le Puy. French. i9th centy. L. 6 ft. 3 in., W. 9| in. 
 a L. 6 ft. 5J in., W. 9| in. Bought, 11. 1419.-71. 
 
 Coloured Engravinr. A French lady of fashion of the 
 time of Louis XIV. The costume has been cut out for 
 the insertion of silver and white thread lace, and figured 
 pink silk, woven with gold strips, with the addition of 
 seed pearls, illustrating the fabrics and attire of the 
 period. Engraved by Trouvain. Framed. French. 
 Late I7th or early 18tli centy. lOJ in. by 75in. Given 
 by Lady Wyatt. 1196.-7.5. 
 
 Coloured Engraving. A French Lady of fashion of the 
 time Louis XIV. The costume has been cut out for the 
 insertion of silver and white thread lace and figured 
 pink silk, woven with gold strips, with the addition of 
 seed pearls, illustrating the fabrics and attire of the 
 period. Engraved by Mariette. Framed. French. Late 
 l7th or early 18th centy. \0^ in. by 7^ in. Given by 
 Lady Wyatt. 1197.-75. 
 
70 I-ACE. 
 
 JSTos. 182 to 255 consist of a collection of lace adapted 
 to furniture decoration, the produce of the manufactory of 
 Messrs. G. Assimon and Company, at Luxeuil (Haute 
 Saone) and of Paria variously made, by hand and machine, 
 in adaptations of lace patterns from the 16th century to 
 1 8th century. 
 
 There are about 10 dififerent classes of work here shown; 
 one in imitation of the 16th century cut work Reticella ; 
 another in imitation of the 16th century lacis or darning 
 on net ; another in imitation of the gros point de Venise 
 of the l7th century. All the imitations are of a class of 
 workmanship which indicate comparative rapidity in 
 execution, and so, for quality of work at least, cannot rival 
 their prototypes. 
 
 Tape Lace. BORDER of tape lace " a brides." The " brides " are of 
 twisted threads, some of the fiUings-in of needle-point 
 work. Large running pattern of flowers. French. About 
 1870. L, 18i in. and 14 in., W. 4 in. Made and given 
 by G. Assimon, Delavigne & Cie., Paris. 178, 178a. -75. 
 
 Insertion of tape lace -''a brides." The "brides" are of 
 twisted threads, some of the fillings-in of needle-point 
 work. Large running pattern of flowers. French. About 
 1870. L. 19 in., W. 7. in. Made and given by G. 
 Assimon, Delavigne & Cie.^ Paris, 179.-75. 
 
 Insertion of tape lace " a brides." The " brides " are of 
 twisted threads, some of the fillings-in of needle-point 
 work. Large running pattern of flowers. French. About 
 1870. L. 20 in., W. 7 in. Made and given by G. 
 Assimon, Delavigne & Cie., Paris. 180.-75. 
 
 Border of tape lace " a brides." The " brides " are of 
 twisted threads, some of the fillipgs-in of needle-point 
 work. Large running pattern of flowers. French. About 
 ]S70. L. 22 in,, W. 4 in. Made and given by G. 
 Assimon, Delavigne & Cie., Paris. 183.-75. 
 
 Insertion of tape lace " a brides." The " brides " are of 
 twisted threads, some of the fillings-in of needle-point 
 work. Large running jmttern of flowers, with double 
 edge. French. About 1870. L. II) in., W. 9 in. ]\lode 
 and given by G. Assimon, Delavigne & Cie., Paris. 
 
 184.-75. 
 
FRENCH. 71 
 
 Band of tape lace " a brides," some of which are a sort of Tape lace. 
 double-cord gimp. Large running pattern of flowers. 
 French. About 1870. L. 17^ in., W. 7 in. Made 
 and given by G. Assimon, Delavigne & Cie., Paris. 
 
 181.-75. 
 
 Insertion of tape lace " a brides," some of which are a 
 sort of double-cord gimp. Large running pattern of 
 flowers, with double edge. French. About 1870. L. 
 20 in., W. 8 in. Made and given by G. Assimon, 
 Delavigne & Cie., Paris. 182.-75. 
 
 Border of tape lace " k brides," some of which are 
 a sort of double-cord gimp. Large running pattern of 
 flowers; scalloped. French. About 1870. L. 21 in., 
 W. 4J in. Made and given by G. Assimon, Delavigne 
 & Cie., Paris. 185.-75. 
 
 Strip of narrow plaited braid, closely worked over with mixed lace. 
 threads ; and some of the fiUings-in done in button-hole 
 stitches (an imitation of Italian 16th century Eeticella). 
 Pattern of large and small rosettes. French. About 1870. 
 L. 17^ in., W. 2;^ in. Made and given by G. Assimon. 
 Delavigne & Cie., Paris. 188.-75. 
 
 Border of narrow plaited braid, closely worked over with 
 thread ; and some of the fiUings-in done in button-hole 
 stitches (an imitation of Italian 16th century Reticella). 
 Trellis pattern with rosettes, scalloped. French. About 
 1870. L. I7i in., W. 2| in. Made and given by G. 
 Assimon, Delavigne & Cie., Paris. ■ 200.-75. 
 
 Insertion of narrow plaited braid, closely worked over 
 with thread ; and some of the fillings-in done in button- 
 hole stitches (an imitation of Italian 16th century Reti- 
 cella). Trellis pattern with rosettes. French. About 
 1870. L. 18 in., W. 3^ in. Made and given by G. 
 Assimon, Delavigne & Cie., Paris. 202.-75. 
 
 Insertion of narrow plaited braid, closely worked over 
 with thread ; and some of the fillings-in done in button- 
 hole stitches (an imitation of Italian 16th century Reti- 
 cella). Wheel pattern. French. About 1870. L. 17in., 
 W. 1 in. Made and given by G. Assimon, Delavigne & 
 Cie., Paris. 20.3.-75. 
 
 Insertion of needle-point lace and white thread gimp-work needle-point 
 combined. Pattern of rosettes and other flowers, with 
 
72 LACE. 
 
 LfcE ^'^"^""^ broad border of fsquares filled in with circles. French. 
 About 1870. L. 181 in., W. 8 in. Made and given 
 by G. Assimon, Delavigne & Cie., Paris. 191.-75. 
 
 Insertion of needle-point lace and white thread gimp- 
 work combined. Pattern of rosettes and crosses in square 
 divisions. French. About 1870. L. 18 in., W. 8 in. 
 Made and given by G. Assimon, Delavigne & Cie., Paris. 
 
 192.-75. 
 
 Insertion of needle-point lace and white thread gimp- 
 Avork combined. Pattern of squares and diagonal 
 lines, with wheel and other ornament at the intersections. 
 French. About 1870. L. 17-^ in., W. ^ in. Made and 
 given by G. Assimon, Delavigne & Cie., Paris. 193.-75. 
 
 Insertion of needle-point lace and white thread gimp- 
 work combined. Pattern of squares and diagonal 
 lines, with wheel and other ornament at the intersections. 
 Fretich. About 1870. L. 17 io., W. 5| in. Made and 
 given by G. Assimon, Delavigne & Cie., Paris. 194.-75. 
 
 Insertion of needle-point lace and white thread gimp- 
 work combined. Pattern of rosettes, with border of 
 ovals within squares. French. About 1870. L. 17 in., 
 W. 4j in. Made and given by G. Assimon, Delavigne & 
 Cie., Paris. 195.-75. 
 
 Insertion of needle-point lace and white thread gimp- 
 work combined. Rosette pattern. French. About 1870. 
 L. 19 in., W. 2 in. Made and given by G. Assimon, 
 Delavigne & Cie., Paris. 196.-75. 
 
 Border of needle-point lace and white thread gimp- 
 work combined. Pattern of circles and rosettes, scalloped. 
 French. About 1870. L. 19 in., W. 4 in. Made and 
 given by G. Assimon, Delavigne & Cie., Paris 197.-75. 
 
 Border of needle-point lace and white thread gimp- 
 work combined. Pattern of squares and diagonal lines, 
 with wheel and other ornament at the intersections, 
 scalloped. French. About 1870. L. 18 in., W. 4.i in. 
 Made and given by G. Assimon, Delavigne & Cie., Paris. 
 
 198.-75. 
 
 Border of needle-point lace and white thread gimp- 
 work combined. Pattern of squares and diagonal lines, 
 with wheel ornament at tlic intersections, scalloped. 
 French. About 1S70. L. 17^ in., W. 2f in. Made and 
 given by G. Assimon, Delavigne & Cie., Paris. 199.-75. 
 
FEKNCH. 73 
 
 Insertion of needle-point lace and white thread gimp- needle-poim 
 work combined. Pattern of squares and diagonal 
 lines, with wheel ornament at the intersections. French. 
 About 1870. L. 18 in., W. 3| in. Made and given by 
 G. Assimon, Delavigne & Gle., Paris. 201.-'75. 
 
 Insert roN of needle-point lace and white thread gimp- 
 lace combined. Trellis pattern, with wheel ornament 
 at the intersections. French. About 1870. L. 17^ in., 
 W. 2^ in. Made and given by G. Assimon, Delavigne & 
 Cie., Paris. 204.-75. 
 
 Boeder of knotted net with portions of pattern done in mixed woek. 
 darning. Pattern of quatrefoils and waved lines, scal- 
 loped. French. About 1870. L. 17^ in., W. 2^ in. 
 Made and given by G. Assimon, Delavigne & Cie., Paris. 
 
 209.-75. 
 
 Border of knotted net with portions of pattern done in 
 darning. Running pattern of flowers and foliage, 
 scalloped. French. About 1870. L. 18 in., W. 4^ in. 
 Made and given by G. Assimon, Delavigne & Cie., Paris. 
 
 210.-75. 
 
 Insertion of knotted net with portions of pattern done in 
 darning. Pattern of quatrefoils and larger flowers. 
 French. About 1870. L. I7i in., W. 1| in. Made and 
 given by G. Assimon, Delavigne & Cie., Paris. 211.-75. 
 
 Border of knotted net with portions of pattern done in 
 darning. Quatrefoil pattern, scalloped. French. About 
 1870. L. 171 in., W. IJ in. Made and given by 
 G. Assimon, Delavigne & Cie., Paris. 212.-75. 
 
 Insertion of knotted net with portions of pattern done in 
 darning. Clusters of flowers between zig-zag lines. 
 French. About 1870. L. 17^ in,, "W. 3^ in. Made and 
 given by G. Assimon, Delavigne & Cie., Paris. 213.-75. 
 
 Insertion of knotted net with portions of pattern done in 
 darning. Pattern of quatrefoils and waved lines. French. 
 About 1870. L. 18 in., W. 3^ in. Made and given by 
 G. Assimon, Delavigne & Cie., Paris. 214.-75. 
 
 Insertion of knotted net with portions of pattern done in 
 dai-ning. Large flower pattern. French. About 1870. 
 L. 18 in., W. 7g- in. Made and given by G. A.ssimon, 
 Delavigne & Cie., Paris. 215.-75. 
 
74 
 
 LACE. 
 
 Mixed "Woek. INSERTION of knotted net with portions of pattern done in 
 darning. Large flower pattern. French. About 1870. 
 L. 17^ in-, W. Of in. Made and given by G. Assimon, 
 Delavigne & Cie., Paris. 216.-75. 
 
 Boeder of knotted net with portions of pattern done in 
 darning. Geometrical pattern, scalloped. French. About 
 1870. L. 16 in., W. 4| in. Made and given by G. 
 
 Assimon, Delavigne & Cie., Paris. 
 
 227.-75. 
 
 Pillow-made 
 
 Lace. 
 
 Border of ? pillow-made lace " a brides," scalloped edge. 
 Cluny pattern. French. About 1870. L. 20 in., W. 3 in. 
 Made and given by G. Assimon, Delavigne & Cie., Paris. 
 
 205.-75. 
 
 Border of 1 pillow-made lace " a brides." Cluny pattern. 
 French. About 1870. L, 19i in., W. 5 in. Made and 
 given by G. Assimon, Delavigne & Cie., Paris. 206.-75. 
 
 Border of ^ piUow-made lace " a brides." Cluny pattern 
 French. About 1870. L. 20 in., W. 5 in. Made and 
 given by G. Assimon, Delavigne & Cie., Paris. 207.-75. 
 
 Border of ? pillow-made lace " a brides." Cluny pattern. 
 French. About 1870. L. 19 in., W. 5^ in. Made and 
 given by G. Assimon, Delavigne & Cie., Paris. 208.-75. 
 
 Mixed wokk. INSERTION of large meshed knotted and looped net, with 
 raised work in thread gimp and flat portions of needle- 
 point stitches closely looped on threads. Pattern of stars 
 and squares on hexagonal ground. French. About 1870. 
 L. 18 in., W. 8 in. Made and given by G. Assimon, 
 Delavigne & Cie., Paris. 218.-75. 
 
 Insertion of knotted and looped net work. Greek crosses 
 within a square and a lozenge divided by meander lines. 
 French. About 1870. L. 17 in., W. 8 in. Made and 
 given by G. Assimon, Delavigne & Cie., Paris. 223.-75. 
 
 Insertion of knotted and looped net work, with flat 
 portions done in needle-point stitches closely looped on 
 threads. Star and lozenge pattern. French. About 1870. 
 L. 18^ in., W. 8 in. Made and given by G. Assimon, 
 Delavigne & Cie., Paris. 224.-75. 
 
 Insertion <>f knotted and looped net and with stars of 
 needle-point work. Pattern of stars and squares. French. 
 About 1S70, L. 18 in., W. 5 in. ]\Iade and given by 
 G. Assiraou, Delavigne & Cie., Paris. 225.-75. 
 
FEKNCH. 75 
 
 Insertion of knotted and looped net work, with flat mixed woek. 
 portions done in needle-point stitches closely looped on 
 threads. Geometrical pattern. French. About 1870. 
 L. 17 in., W. 5 in. Made and given by G. Assimon, 
 Delavigne & Cie., Paris. 226.-75. 
 
 Border of knotted and looped net work, with flat 
 portions done in needle-point stitches looped on threads ; 
 braided and scalloped. French. About 1870. L. 174 in., 
 W. 4 in. Made and given by G. Assimon, Delavigne & 
 Cie., Paris, 229.-75. 
 
 Border of knotted and looped net, but with no button- 
 hole stitch work; gcalloped. French. About 1870 • 
 L. 18 in., W. 2i in. Made and given by G. Assimon, 
 Delavigne & Cie., Paris. 234.-75. 
 
 Border of knotted and looped net work, with flat 
 portions done in needle-point stitches closely looped on 
 threads ; braided and scalloped. French. About 1870. 
 L. 17^ in., W. 2f in. Made and given by G. Assimon, 
 Delavigne & Cie., Paris. 233.-75. 
 
 Boeder of knotted and looped net work, with flat portions 
 done in needle-point stitches closely looped on threads. 
 Pattern of octagons and crosses scalloped. French. About 
 1870. L. 161 in., W. ^ in. Made and given by 
 G. Assimon, Delavigne & Cie., Paris. 230.-75. 
 
 Insertion of knotted and looped net work, with flat por- 
 tions done in needle-point stitches. Leaf and star pattern. 
 French. About 1870. L. 17 i in., W. 4i in. Made and 
 given by G. Assimon, Delavigne & Cie., Paris. 239.-^75. 
 
 Border of knotted and looped net work, with flat portions 
 done in needle-point stitches. Pattern of pellets with 
 ornament, scalloped. French. About 1870. L. 17 in., 
 W. 3 in. Made and given by G. Assimon, Delavigne & 
 Cie., Paris. 238.-75. 
 
 Border of knotted and looped net work, with flat portions 
 done in needle-point stitches. Lozenge pattern, scalloped. 
 French. About 1870, L. 18 in., W. 6 in. Made and given 
 by G. Assimon, Delavigne & Cie., Paris. 240.-76. 
 
 Border of knotted and looped net work, with flat portions 
 done in needle-point stitches. Pattern of Greek crosses, 
 and scalloped. French. About 1870. L. 18 in., W. 7 in. 
 Made and given by G. Assimon, Delavigne & Cie., Paris. 
 
 241.-75. 
 
70 LACE. 
 
 Mixed wokk. BOEDER of knotted and looped net work, with flat portions 
 done in needle-point stitches; scalloped. French. 
 About 1870. L. 18 in. W. 7 in. Made and given by G. 
 Assimon, Delavigne & Cie., Paris. 242.-75. 
 
 Insertion of knotted and looped net work, with flat por- 
 tions done in needle-point stitches. Star pattern. French. 
 About 1870. L. 17| in., W. 8 in. Made and given by 
 G. Assimon, Delavigne & Cie., Paris. 243.-7.5. 
 
 Insertion of knotted and looped net work, with flat por- 
 tions done in needle-point stitches. Lozenge pattern. 
 French. About 1870. L. 18 in., W. 9 in. Made and 
 given by G. As,simon, Delavigne & Cie., Paris. 245.-75. 
 
 Insertion of knotted and looped net work, with flat por- 
 tions done in needle-point stitches. Lozenge pattern. 
 French. About 1870. L. 18 in., W. 8 in. Made and 
 given by G. Assimon, Delavigne & Cie., Paris. 244.-75, 
 
 iNSERTiriN of knotted net, darned, a sort of imitation of 
 "lacis," 16th century. Check pattern. French. About 
 1870. L. 19i in., W. 6 in. Made and given by G. 
 Assimon, Delavigne & Cie., Paris. 220.-75. 
 
 Insertion of knotted net, darned, a sort of imitation of 
 " lacis," 16th century. Pattern of squares and hexagons. 
 French. About 1870. L. 19.V in., W. 6§ in. Made and 
 given by G. Assimon, Delavigne & Cie., Paris. 221.-75. 
 
 Insertion of knotted net, darned, a sort of imitation of 
 " lacis," 16th century. Pattern of squares and meanders. 
 French. About 1870. L. 17 in., W. 8^ in. Made and 
 given by G. Assimon, Delavigne & Cie., Paris. 222.-75. 
 
 Border of knotted net, darned, a sort of imitation of 
 "lacis," 16th century. Cheek pattern, scalloped. French. 
 About 1870. L. IS^in., W. 3^- in. Made and given by 
 G. Assimon, Delavigne & Cie, Paris. 237.-75. 
 
 Border of knotted and looped net work, with stars of 
 needle-point stitches. Star and lozenge pattern ; scalloped. 
 French. About 1870. L. 18 in., W. 9 in. Made and 
 
 given by G. Assimon, Delavigne & Cie., Paris. 228. -75. 
 
 B(iiiDER of knotted and looped net work, with stars of 
 needle-point stitches. Star pattern ; scalloped. French, 
 About 1870. L. 16i in., W. 3 in. Made and given by 
 G. Assimon, Delavigne & Cie., Paris. 235.-75. 
 
FRENCH. 77 
 
 Border of knotted and looped net work, with stars of mixed wokk. 
 needle-point stitches ; scalloped. French. About 1870. 
 L. 17^ in., W. .5 in. Made and given by G. Assimon, 
 Delavigne & Cie., Paris. 236.-75. 
 
 Boeder of cut canvas, held together by thread gimp, and 
 embroidered with button-hole stitches cast over a founda- 
 tion of several threads which cause the work to be raised, 
 like the "gros point de Venise" of the 17th century. 
 Bold floral design with corded outline. French. About 
 1870. L. 21 in., W. 8 in. Made and given by G. Assimon, 
 Delavigne & Cie., Paris, 217.-75. 
 
 Insertion ; of cut canvas embroidered and held together by 
 " brides ' ' of button-hole stitched work. Running pattern 
 of flowers. French. About 1870. L. 17 in, W. 2| in. 
 Made and given by G. Assimon, Delavigne & Cie., Paris. 
 
 246.-75. 
 
 Border of cut canvas, embroidered with button-hole 
 stitches cast over a foundation of several threads, which 
 cause the work to be raised like the " gros point de Venise" 
 of the l7th century. The tyes are of button-hole stitched 
 work. Running pattern of flowers. Indian style. 
 French. About 1870. L. 18 in., W. 4^ in. Made and 
 given by G. Assimon, Delavigne & Cie., Paris. 247.-75. 
 
 Border of cut canvas, embroidered with button-hole 
 stitches cast over a foundation of several threads, which 
 cause the work to be raised like the " gros point do 
 Venise" of the I7th century. The tyes are of button- 
 hole stitched work. Running pattern of flowers. French. 
 About 1870. L. 18 in., W. 41 in. Made and given by 
 G. Assimon, Delavigne & Cie., Paris. 248.-75. 
 
 Insertion of cut canvas, embroidered with button-hole 
 stitches cast over a foundation of several threads, wliich 
 cause the work to be raised like the " gros point de 
 Venise " of the I7th century. The tyes are of button- 
 hole stitched work. Flower pattern between borders. 
 French. About 1870. L. 18 in., W. 5 in. Made and 
 given by G. Assimon, Delavigne & Cie., Paris. 249.-75. 
 
 Boeder of cut canvas, embroidered with button -hole 
 stitches cast over a foundation of several threads, which 
 cause the work to be raised like the "gros point de 
 Venise" of the I7th century. The tyes are of button- 
 
 cut woek and 
 Neediewoek. 
 
Mixed 'VVoek 
 
 78 LACE. 
 
 hole stitched work. French. About 1870. L. 18 in., 
 W. 21 in. Made and given by G. Assimon, Delavigne 
 & Cie., Paris. 250.-75. 
 
 Insertion of knotted and looped net, with " appliqu^ " 
 pattern of cut linen, embroidered in chain and button- 
 hole stitches. Scroll foliage pattern. French. About 
 1870. L. 18 in., W. 6 in. Made and given by G. 
 Assimon, Delavigne & Cie., Paris. 251.-75. 
 
 Insertion of knotted and looped net, but the " applique " 
 forms are outlined only with button-hole stitches. 
 Running foliage pattern. French. About 1870. L. 18 
 in., W. 6^ in. Made and given by G. Assimon, 
 Delavigne & Cie., Paris. 252.-75. 
 
 Insertion of knotted and looped net, the '' appliqud " 
 forms outlined with button-hole stitches. Ivy pattern. 
 French. About 1870. L. 18 in., W. 6 in. Made and 
 given by G. Assimon, Delavigne & Cie., Paris. 253.-75. 
 
 Insertion of knotted and looped net, the " applique " forms 
 outlined with button-hole stitches. Large foliage pattern. 
 French. About 1870. L. 17i in., W. 3| in. Made 
 and given by G. Assimon, Delavigne & Cie., Paris. 
 
 254.-75. 
 
 Cut woek and INSERTION of braid, edged with little loops or " picots," 
 folded into patterns and held together by twisted 
 threads. Geometrical patterns in squares, with double 
 edge. French. About 1870. L. 1 9J in., W. 9i in. Made 
 and given by G. Assimon, Delavigne & Cie., Paris. 
 
 186.-75. 
 
 Border Lace of cut linen, worked with button-hole 
 stitches, fillings-in portions are of sort of basket-work or 
 darning stitch, and some of the leading lines of the 
 ornament are of thread gimp. Pattern of rosettes 
 Ijetween pointed divisions. French. About 1870. 
 L. 17 in., W. 5 in. Made and given by G. Assimon, 
 Delavigne & Cie., Paris. 189.-75. 
 
 Band of cut and worked loosely woven linen. Pattern of 
 rosettes and squares in rectangular divisions. French. 
 About 1870. L. 18 in., W. 8^ in. Made and given by 
 G. Assimon, Delavigne & Cie., Paris. 190.-75. 
 
FRENCH. 79 
 
 Broad Insertion of darned work on net, outlined with mixed work. 
 thread gimp. Centre pattern of stars and flowers. 
 French. About 1870. L, ] 7i in., W. 7 in. Made and 
 given by G. Assimon, Delavigne & Cie., Paris. 219.-75. 
 
 Border Lace of darned work, outlined with a single cord 
 of gimp ; fieur-de-lys pattern, scalloped. French. About 
 1870. L. 17i in., W. 3| in. Made and given by G. 
 Assimon, Delavigne & Cie., Paris. 281.-'75. 
 
 Border Lace of knotted net, with darning ; scalloped. 
 French. About 1870. L. 18 in., W. If in. Made and 
 given by G. Assimon, Delavigne & Cie., Paris. 232.-75. 
 
80 
 
 LACE. 
 
 TjACIS. 
 
 Twisted asd 
 Plaited 
 
 TnUEAD "WOEE. 
 
 PlI.LOW-MADE 
 
 Licn. 
 
 VI. 
 SPANISH AND PORTUGUESE. 
 
 Table Covers? Three. Alternating square panels of 
 "lacis" or darned netting, and cross stitch upon small- 
 meshed net or canvas wrought to represent fabulous 
 animals, birds, &c. in coloured silk ; fringed with green, 
 white, and red silks. Spanisli. 17th centy. 4 ft. 6 in. 
 by 2 ft. 1 in., {a) 5 ft. 6 in. by 2 ft. 1 in., (6) 4 ft. 4^ in. 
 l>y 2 ft. 1 in. Bought (Robinson Colin). 263 to 
 
 2G36.-80. 
 
 L.Vfis or darned netting. Two pieces, of bold floral design, 
 jnounted on crimson silk. Spanish. 17th centy. Each 
 
 2 ft. 10 in. by 6 in. Bought (Robinson Collin). 
 
 28-i, 2S4a.-'80. 
 
 BoRDEii OF AN Alb. White thread, plaited and twisted, 
 workoil in repeating pattern of circles within squares, 
 with pattern of crosses and .stars, t Spanish 17th centy. 
 L. 6 ft. 8 in., W. 10^ in. Bought, 2?. 2s\ 1042.-71. 
 
 This specimen wai puudiased at Toledo in Spain. It may perhaps be of 
 Spanish workmanship. 
 
 Napkin edged with scalloped border of pillow-made lace, 
 probably of 17th centy. Linen, with borders of conven- 
 tional repeating design, woven in crimson silk on silk 
 and cotton grounds. Spanish. First lialf of IGth centy. 
 
 3 ft. 81 in. bv 2 ft. 9i in. Bought (Robinson Collin). 
 
 283.-80. 
 
 Altar or Table Cloth, edged with vandyed border of 
 pillow-made lace, probably l7th centy. Linen, em- 
 lofoidered in satin stitch with a conventional floral design 
 in blue and bro-svn thread. Spanish. 16th centy. 4 ft. 
 11 in. by 2 ft. 4 in. Bought (Robinson Coll°). 235.-80. 
 
 Toilet Cover, edged with a scalloped border of pillow- 
 made lace. Unbleached linen embroidered in satin 
 stitch with black silk with flowers and birds, vase, and 
 the name " Loyso Maria Rioman." Said to be from 
 Andalusia. Spanish. 18th centy. 4 ft. 2\ in. by 
 2 ft. 4i in. Bought (Robinson Coll"). 267.-80. 
 
SPANISH AND PORTUGUESE. 81 
 
 Mantle of cambric, embroidered with yellow silk in chain- Deawk- 
 stitch, with hgures ot armed men in contiict, ana many 
 sorts of animals, and insertions of geometrical patterns 
 worked with the needle upon drawn threads. Portu- 
 guese. 16th centy. 2 ft. 9 in. by 4 ft. 11 in. Bought, 3i. 
 
 1016.-77. 
 
 Parchment Pattern, with needle-point lace in progress, needle-point 
 
 ? Portuguese or Venetian. About 1650. L. 2 ft. h in., oeebs, 
 
 W. I ft. 1 in. Bought, 11. 10s. .595.-54.. 
 
 Of bold floriated pattern, connected in parts with "brides," and with 
 clusters of " picots." 
 
 Part of a Parchment Pattern, with needle-point lace in 
 progress. The scrolls and the flowers are almost finished. 
 ? Portuguese or Venetian. About 1650. L. 18^ in., 
 W. 4 in. Bought, U. ]0s. 596.-54. 
 
 Q 3787 
 
82 
 
 LACE. 
 
 VII. 
 ENGLISH AND IRISH. 
 
 LAcig. " Lacis " or darned netting and linen. Two larger squares 
 
 of " lacis." David and Goliath in upper one, and an 
 unicorn in lower. A smaller square, and some odd frag- 
 ments set in linen, with cutwork joined. '? English. 17th 
 centy. L. 2 ft. 4 in., W. 8 in. Given by Miss S. Booth. 
 
 1361.-74. 
 
 LACIS AND CUT. Piece op Linen. The pattern consists of squares of " lacis " 
 or darned netting, joined with strips of linen in which 
 cutwork is introduced. English. 17th centy. L. 19in., 
 in. Given by Mr. W. Chapman. 45.-66. 
 
 W. 221 
 
 needle-poist Christening Suit, Part of a. Seven pieces, comprising a 
 shirt, three caps, pair of shoulder bands, and collar of 
 robe ; cambric, with little bands of insertion of line needle- 
 point lace stitches cast upon rows of jDaralled threads ; 
 a style of old English 17th century work called " hollie 
 work," and trimmed with pillow-made (Mechlin) l7th 
 century lace. English. Shirt, W. 20J in., 10^ in. deep. 
 Caps, 13i in., 14 in., 12^ in. round. Bands, each 3:^ in. 
 deep, 9i in. round. Collar, 3^ in deep, 1. 29 in. Bought, 
 6^. " 57 to 57/.-70, 
 
 Samelees 
 
 WHn OPEN 
 
 Neeelewoee. 
 
 Sampler of Linen. The upper portion with nine inser- 
 tions of various open work stitches. The three first show 
 varieties of darning net work, the remainder of drawn 
 work with point-lace or button-hole stitched insertions. 
 The lower portion of the sampler contains specimens of 
 satin and other stitches done in simple geometrical 
 patterns upon the linen. Signed " Margreet May, 1654." 
 English. L. 2 ft. 5^ in., W. 9 in. Bought, 2L 10s. 
 
 323.-72. 
 
 Sampler of Linen, with bands of drawn work in various 
 geometric patterns. Satin stitch embroidery on linen, 
 and a few specimens of cutwork. English. About I7th 
 centy. L. 15| in., W. 7^ in. Given by Miss S. Booth. 
 
 1362.-74. 
 
To face p. 83. 
 
 XIX. 
 
 Part of a Border of Tape Lace. ? English. 18tli Century. 
 No. 976 -'64. page 83. 
 
ENGLISH AND IRISH. 88 
 
 Sampler of Linen with fifteen bands or strips of darned samplem 
 drawn net work and cut work filled in with point-lace or needewoek. 
 button-hole stitches ; the remainder of satin stitches 
 worked on hnen, and a little cut work. English. Dated 
 1663. L. 3 ft., W. 7i in. Bought, 51. 5.?. 747.-75. 
 
 Sampler of buff coloured linen, with patterns done with 
 white thread, in cut or drawn work. English. Late 
 17th centy. L. 18 in., W. 7^ in. Given by Mrs. Miller. 
 
 805.-77. 
 
 Compare with 323.-'72, 8.-74, &c. 
 
 Pair of scallops of needle-point lace, perhaps part of a needle-point 
 collar or cuff. Within one is a thistle, within the other a ^'^'"'" 
 rose. English. 17th centy. 5fin. byS^in. Given by 
 Mrs. Bury Palliser. 730.-68. 
 
 Border of needle-point lace " a brides." Possibly an 
 English imitation of the Venetian "Punto tagliato a 
 foliami." I7th centy. . L. 2 ft. 9 in., W. 2^ in. Given 
 by the Rev. R. Brooke. 580.-64. 
 
 Although the workmanship is even throughout, the pattern is so quaintly 
 disjointed as to suggest that the lace worker (competent as English sampler 
 workers were to do as good work as any Italian worker) had not suiEeient 
 taste to provide herself with a good or complete design. 
 
 Border of tape lace, with needle-point " reseau " or tape lace. 
 ground, and " modes " or fillings-in. A portion is left on 
 the parchment ground in progress of being v/orked. 
 ? English. 18th centy. L. 6 ft. 1 in., W. 4i in. Given 
 by the Rev. R. Brooke. {Illustration XIX.) 
 
 976.-64. 
 
 In this specimen, part of the pattern is entirely 'finished, and shows a 
 floriated design, with "reseau" ground. From it may be seen in what order 
 tape lace was generally made ; the main lines of the design were first laid 
 down, then the ground worked, and then the " modes " or fillings-in were 
 done. This particular piece of lace is not unlikely to be the work of some 
 English lady, .ancestress of the late Rev. Richard Brooke, who, as a former 
 owner of Selby Hall, had a considerable quantity of old English and other 
 work. The roughness of the work, moreover, seems to indicate that this 
 strip was not made by a highly skilled Italian lace-maker. In this respect 
 it is not superior to many modern tape laces of a similar character. The late 
 Mrs. Bury Palliser classed it as an Italian lace. 
 
 Border of pillow-made lace. The pattern is outlined vdth ^^^^"'^''^'^^ 
 a double thread which has been run into the meshes 
 by a needle. Hence this is called " run lace," of which a 
 variety, similar to this, is said to have been made at 
 Newport Pagnel, in Northamptonshire. English. 18th 
 centy. L. 9 in., W. 3^ in. Given by Lady Cole. 613d-'53. 
 
 E 2 
 
«4< LACE. 
 
 Pillow-made SPECIMENS (43) of piUow-made lace of different patterns. 
 
 Suffolk. English. 1875. Various dimensions. Bought, 
 
 ' "■"■ lOl. 5s. 1249 (1 to 43).-'75. 
 
 Specimens pillow - made lace of different patterns. 
 Suffolk. English. 1875. Various dimensions. Given 
 by the Eev. W. H. Sewell. 1250 (1 to 17).-75. 
 
 The patterns in most of these specimens are derived from simple Mechlin, 
 Lille, and Valenciennes patterns. The make of the lace resembles that of 
 Buckinghamshire laces, and that of Norman laces of the present time. The 
 entire collection displays varied combinations of six ways of twisting and 
 plaiting threads. 
 
 Border of pillow-made lace. Buckinghamshire and the 
 adjacent counties. English. 19th cent?. L. 2f in., W. 
 1§ in. Given by Mrs. Bury Palliser. 741.-68. 
 
 Border of pillow-made lace. Buckinghamshire and the 
 adjacent counties. English. 19th centy. L. 2f in., W. 
 2 in. Given by Mrs. Bury Palliser. 742.-08. 
 
 Border of pillow-made lace, called " baby lace.'' Buck- 
 inghamshire, Bedfordshire, and Northamptonshire. 
 English. 19th centy. L. 18 in., W. 1§ in. Bought, 
 Is. 9d. 317.-69. 
 
 Border of pillow-made lace, called "baby lace." Buck- 
 inghamshire and the adjacent counties. English. 19tl) 
 centy. L. 18 in., W. 1^ in. Bought, Is. id. 318.-'G9. 
 
 Border of pillow-made lace, called "baby lace." Buck- 
 inghamshire and the adjacent counties. English. 19th 
 centy. L. 18 in., W. If in. Bought, Is. 319.-69. 
 
 Border of pillow-made lace, without " cordonnet." Buck- 
 inghamshire and the adjacent counties. English. 19th 
 centy. L. 18 in., W. 2 in. Bought, 28. 4d 320.-'69. 
 
 Border of pillow-made lace. Buckinghamshire and the 
 adjacent counties. English. 19th centy. L. 18 in., W. 
 If in. Bought, Is. 10\d. 321.-'69. 
 
 Border of pillow-made lace. Buckinghamshire and the 
 adjacent counties. English, 19th centy. L. ISia, W. 
 2 in. Bought, Is. 4^d. 322.-69. 
 
 Border of pillo\t'-made lace. Buckinghamshire and ad- 
 jacent counties. English. 19tli centy. 12 in. by 4 in. 
 Given by Mrs. Hury Palliser. 19G.-74. 
 
ENGLISH AND IRISH. So 
 
 Border of pillow-made laoe, with flower pattern outlined pillow-made 
 with thick thread. Buckinghamshire. English. 19th 
 centy. L. 7 ft. 9 in. W 2\ in. Bought, lis. 8c?. 
 
 535.-75. 
 
 Border of pillow-made lace. Buckinghamshire and the 
 adjacent counties. English. Early 19th cent?. 5 in. by 
 2 in. Given by Mrs. Bury Palliser. 1137.-75. 
 
 Border of pillow-made lace. Buckinghamshire and the 
 adjacent counties. English. Early 19th centy. 3| in. 
 by 1| in. Given by Mrs. Bury Palliser. 1138.-75. 
 
 Border of pillow-made lace. Buckinghamshire and the 
 adjacent counties. English. Early 19th centy. 4^ in. 
 by 2 in. Given by Mrs. Bury Palliser. 1139.-75. 
 
 Border of piUow-made lace. Buckinghamshire and the 
 adjacent counties. English. Early 19th centy. 4il in. 
 by 2i in. Given by Mrs. Bury Palliser. 1140.-76. 
 
 The patterns in these laces are less simple than those of 317.-'69, 
 318.-69, and 319.-'69. All these specimens, however, are of similar work- 
 manship. Those immediately in qnestion (741.-'68, 742.-'68, 1137.-'75, 
 and 1140-'75), are perhaps the older laces. The workmanship of these 
 Buckinghamshire laces is similar to that of Lille and Arras laces (se« 724 and 
 728.-'68) ; it is also adopted for the laces made in Suffolk (see 1249-'75, 
 et seq.'). 
 
 Border of pillow-made lace, called Buckinghamshire 
 "trolly" lace. English. Early 19th centy. 7 in. by 
 2 in. Given by Mrs. Bury Palliser. 1141.-75. 
 
 Border 'of pillow-made lace, called Buckinghamshire 
 "trolly" lace. English. Early 19th centy. 7| in. by 
 2 in. Given by Mrs. Bury Palliser. 1142.-75. 
 
 The design of hoth these specimens resemhles that of some of the Mechlin 
 laces made early in the 1 8th century. The " reseau " is, however, composed 
 of six-pointed star meshes, 
 
 Border of pillow-made lace, called Buckinghamshire 
 "trolly" lace. English. Early 19th centy. 9^ in. by 
 2| in. Given by Mrs. Bury Palliser. 1143.-75. 
 
 There are four varieties of fillings-in in this specimen which almost 
 suggest that it is part of a sampler laoe exhibited by lace makers to encourage 
 their patrons to select groundings to their particular taste. 
 
 Cuff (one of a pair) of pillow-made lace, with floral scroll 
 pattern. Buckinghamshire. English. 18th centy. Sin. 
 by 2i in. Bought, 6s. the pair. 900.-77. 
 
8G LACE. 
 
 lace"^""^^ Specimen of pillow-made "resaau" or ground. Honiton. 
 English. ISth centy. L. 7 in., W. 4^ in. Given by 
 INIis. Bnry Palliser. 732.-68. 
 
 The twisting and plaiting of the threads and form of the meshes are 
 similar to, but not >o regular as, those of the " vrai reseau " of Brussels lace 
 of the 18th century. 
 
 Border of pillow-made lace, with small flower and inter- 
 twisting pattern on the edge. Honiton. EnrjUah. 
 18th centy. L. 4^ in., W. ] j^ in. Given by Mrs. 
 Bury Palliser. 733.-'G8. 
 
 From the very regular plaiting of the threads and form of the meshes, this 
 specimen would appear to be a small piece of Brussels laoe, made by Bel- 
 gian lace workers more practised than those of Devonshire. 
 
 Border of pillow-made lace, styled "Devonshire point." 
 Etiijlhlt. 18th centy. L. 12^ in., W. 2 in. Given by 
 Mrs. Bury Palliser. 740.-'68. 
 
 A feature of this lace to be noted in comparison with Brussels lace which 
 this " Devonshire point " resembles is the irregular lay of the meshes of the 
 " reseau." 
 
 Infant's Cap of pillow-made lace, with ground of small 
 spots of closely plaited threads, set in square meshes of 
 twisted threads. Honiton. Enr/lislt. 18th centy. L. 
 of outer edge 12-^- in. Bought, 1/. 5s. 825.-68. 
 
 Border of pillow-made lace, with pattern of festoons and 
 flowers. The " reseau," unusual in character, resembles 
 the little square meshes in specimen No. 825.-68. 
 ? Devonshire. English. 18th centy. L. 1 ft. 8 in., W. 
 I in. Bought (Bock Coll'^), 7s. 1585.-72. 
 
 Border of pillow-made lace, with sprigs " applied " to a 
 " reseau '' of Devonshire imitation of Brussels. Honiton. 
 En'iJish. Early 19th centy. L. 5 ft., W, 2i in. Bought, 
 1/..5S. 827.-68. 
 
 Sixteen SPEcraiENS of pillow-made sprigs, blossoms, con- 
 ventional scroll and other devices. Honiton. English. 
 19th centy. Various dimensions. Given by Mrs. Tread- 
 win, Exeter. 699.-'6S. 
 
 Pillow-made double sprigs of flowers and leaves of light 
 brown colour. Honiton. English. About 1820. 5;^ in. 
 by 4 in. Given by Mrs. Bury Palliser. 7o4.-'68. 
 
 Pilt.ow-:mai)E sprig of dahlia with leaves, being part of the 
 pattern used for the dress of Her Majesty Queen Adelaide. 
 Honiton. English. About ISo-S. 4;; in. by 3^ in. Given 
 by Mrs. Bury Palliser. 7o5.-'(3y. 
 
Tiifnccp.ST. 
 
 XX. 
 
 Fart of a Collar of Pillow-made lace. Honiton. English. 19th century. 
 No. 871.-'62, page 87. 
 
ENGLISH AND IRISH. 87 
 
 PiLLOw-MADK sprig of flo-wers and leaves. Honiton. ^f^^"^'^^^^ 
 English. 19th centy. 2^ in. by 2 in. Given by Mrs. 
 Bury Palliser. 736.-'68. 
 
 Pillow-made sprig of flowers and leaves. Honiton. 
 English. 19th cent?. 3 in. by 2 in. Given by Mrs. 
 Bury PalUser. 737.-68. 
 
 Pillow-made sprig of flowers. Honiton. English. 19th 
 centy. 5 -J in. by 6 in. Given by Mrs. Bury Palliser. 
 
 738.-68. 
 
 Pillow-made sprig of honeysuckle. Honiton. English. 
 1865. 4 in. by S^ in. Given by Mrs. Bury Palliser. 
 
 739.-^68. 
 
 Band of pillow-made lace " a brides." Called Honiton 
 Guipure. (See remarks on Guipure 621.-'64, &c.) 
 English. 19th centy. 12 in. by 3| in. Bought, IZ. 10s. 
 
 869.-'53. 
 
 Spray of carnations worked in pillow-made lace, and held 
 together by " brides." Called Honiton Guipure. {See 
 remarks on Guipure 621.-64, &c.) English. 19th 
 centy. L. 6 in., W. 4^ in. Worked and given by E. 
 Darvall and Co., Honiton. 870.-52. 
 
 Collar of pillow-made lace. Honiton. English. 19th 
 centy. L. 16 in., W. 2i in. Worked and given by E. 
 Darvall and Co., Honiton. (Illustration XX!) 871.-52. 
 
 Collar of pillow-made lace. Pattern of ivy leaves held 
 together by trellis of slender ties or " brides," with star 
 forms and little squares upon the intersections. Designed 
 by Miss Susanna Winkworth and worked in Devonshire 
 in 1852. English. L. 13 in.. W. 2i in. Given by 
 Lady Trevelyan. 9141.-'63. 
 
 Collar of pillow-made lace. Floral pattern with fillings- 
 in of Brussels lace character. Designed by Miss Alice 
 West and worked in Devonshire in 1852. English. L. 
 14 in., W. 24 in. Given by Lady Trevelyan. 9140.-'63. 
 
 Handkerchief of cambric, trimmed with pillow -made lace 
 of fern-leaf pattern. Worked by Miss S. Sanson, after 
 the design of Lady Trevelyan. Honiton. English. 
 J 9th centy. Square, W. 17| in. Bought, 161. 16s. 
 
 785.-'64. 
 
88 
 
 LACE. 
 
 PILIjOW-MADE 
 
 Lace. 
 
 Knotted 
 
 WOEK. 
 
 Four Pieces of pillow-made lace, called " Patent 
 Vandyke point." An imitation of the Italian (Reticella) 
 needle-point laces of the 17th century. Exeter. 
 English. 1867. Yarious dimensions. Made and given 
 by Mrs. Treadwin, Exeter. 698-698c.-'68. 
 
 The work is of compact and even character, and although the style of the 
 early Italian designs is not strictly adhered to, these imitations mark a phase 
 of modern English lace-making which has been duly appreciated by a jury of 
 connoisseurs of lace who, at the Universal Exhibition of 1867, awarded a 
 medal to Mrs. Tredwin for her " Patent Vandyke point." 
 
 Fan Mount of Honitou pillow-made lace worked with a 
 design of flowers, foliage, and butterflies. Executed by 
 Miss Emma Radford. Awarded Second Prize (Class I., 
 Section II.) at the Exhibition of the Fan-makers' 
 Company, 1878. English. L. 20^ in. Bought, 101. 10s. 
 
 319.-78. 
 
 Fringed Border of knotted white thread, done in imitation 
 of tlie"punto a Groppo" or Macrame work of Genoa. 
 Scotch. 1873. L. 4^ in. by 8f in. Given by Mrs. Bury 
 Palliser. 19.5.-74. 
 
 Cut and Em- 
 
 BROrnEBED 
 WOKK. 
 
 1)RA\V\ AND 
 
 Embkoideeed 
 
 WOEK. 
 
 Border of Shawl of cut white silk, embroidered in silver 
 thread and strips, and filled in with a trellis pattern 
 ground of looped silver tlireads. The pattern is com- 
 posed of conventional scroll and flowers. ? English. 
 Early 18th cenfy. L. o ft. 4 in. Given by C. K. 
 Probert, Esq. 30.-78. 
 
 This specimen appears likely to be French. 
 
 Crown of a Cap of muslin of embroidered and drawn work 
 similar to 756.-'68. English. 18th centy. L. 8 in. 
 
 W. 6i in. Bouo-ht, U. 10s. 
 
 339.-80. 
 
 Lappet (one of a pair) of muslin, with pattern in style like 
 that of Belgian pillow-made lace, 7429.-'61. The work- 
 manship is similar to that of 341. -'80. English. 18tli 
 
 centy. L. 1 ft. 9 in., W. 4^ in. Bought, (i^. 
 
 the pair. 
 340.-'80. 
 
 Scalloped Border of muslin, with pattern of carnations, 
 oak leaves, primulas, &e., done in embroidery and drawn 
 work. This is similar in workmanship to the specimen 
 classed as Danish, No. 756. -'68. There is a small portion 
 unfinished at one end, showing the " applique " muslin 
 at the back of the petals of the flowers. English. 18th 
 centy. L. 5 ft. 6 in., W. 1^ in. Bought, 2L 341 .-'80. 
 
KNGLISU AND IRISH. 89 
 
 Lappet (one of a pair) of cut, drawu, and embroidered eSbroideeei)'''^ 
 cambric, with bold pattern of flowers and leaves in the woek. 
 style of pillow-made laces Nos. 7429.-61, and 1368.-'55, 
 The outlines of the petals of the blossoms of the leaves 
 are button-hole stitched. (See similar work, 756.-'68.) 
 English. 18th centJ'. L. 234 in., greatest W. 5^ in. 
 Bought, bl. the pair. ' 431.-72. 
 
 Lappet (one of a pair) of cut, drawn, and embroidered 
 cambric, with bold pattern of flowers and leaves. {See 
 iciiiarks on 431.-72.) Enylibh. IStli centy. L. 23^ in. 
 greatest W. 5^ in. Bought, 5/. the pair. 432.-72. 
 
 Crown of a Cap ; cut, drawn, and embroidered cambric, 
 with bold pattern of flowers and leaves. {See remarks on 
 431.-72.) English. 18th cent?. L. 6 in.. W. 5^ in. 
 Bought, II. 433.-72. 
 
 Ruffle of cambric, embroidered with flowers in fine thread 
 and in drawn work, see similai- specimens 1574.-72. 
 English. About 1790. L. 2 ft., W. 7 in. Given by 
 Mrs. Hewlett. 1407.-73. 
 
 Border of flower pattern, worked with thread in darning embeoideet 
 stitches upon a machine net ground ; scalloped edge. 
 Isle of Wight. English. Made in 1862. 4| in. by 
 21 in. Given by Mrs. Bury Palliser. 1162.-75. 
 
 Border of zig-zag and loop pattern, worked with thread in 
 darning stitches upon a machine net-ground. Isle of 
 Wight. English. 19th centy. 5 in. by 2|- in. Given 
 by Mrs. Bury Palliser. 1163.-75. 
 
 Border of flower pattern, worked with threads in darning 
 stitches on machine-net ground ; scalloped edge. Isle of 
 Wight. English. 19th centy. 4 in. by 3| in. Given 
 by Mrs. Bury Palliser. 1164.-75. 
 
 Border of flower pattern and circles, worked with threads 
 in darning stitches on machine-net ground ; scalloped 
 edge. Isle of Wight. English. 19th centy. 4^ in. by 
 3i in. Given by Mrs. Bmy Palliser. 1165.-75. 
 
 Border of flowers and sprigs, worked with threads in darn- 
 ing stitches on a machine-net ground. Isle of Wight. 
 English. 19th centy. 4 in. by 2^ in. Given by Mrs. 
 Bury Palliser. 1166.-75. 
 
90 
 
 LACE. 
 
 Embeoideey 
 ON Net. 
 
 Border of flowers and sprigs, darned on a machine-net 
 ground. Isle of Wight. English. 19 th cent?. 5i in. 
 by 4 in. Given by Mrs. Bury Palliser. 1167.-75. 
 
 EjlBEOIDEET 
 
 ON Cajibeic. 
 
 Handkerchief of fine cambric, with border of vine leaves, 
 roses, and ornamental scrolls, done with white thread in 
 satin stitch, and little fiUings-in of needle-point lace 
 stitches ; needlework flower design. English. ? 18th 
 ceuty. 17 in. square. Bought, U. 630.-77. 
 
 Needle-point 
 Lace. 
 
 Boeder of needle-point silk lace. The workmanship is simi- 
 lar to that of Italian 17th century needle-point lace. The 
 design consists of a rose, a passion flower, a conventional 
 leaf form, a tulip, &c., held together by tyes, upon which 
 are little clusters of stars or wheels. Irish. 19th centy. 
 (Jtfade in the Belfast Normal Lace School.) L. 14 in., 
 W. ^ in. Bought, n. 10s. 13.56.-'54. 
 
 Border of needle-point lace, fancifully eaUed " Snow point," 
 on account of the clusters or little galleries of " picots." 
 This work is an imitation of fine raised Venetian point 
 of the 1 7th centurj'. Irish. 19th centy. (Made in the 
 Belfast Normal Lace School.) L. 12 in., W. 4 in. Bought, 
 a. Gs. 1355.-'54. 
 
 Border of needle-point lace, in imitation of " point d'Alen- 
 9on." Irish. 19th centy. (Made in the Belfast Normal 
 Lace School.) L. 8 in., W. 2| in. Bought, 21. .3s. 
 
 - 1357.-'54. 
 
 It is interesting to compare this with any piece of 18th century point 
 (l'Alen9on such as 541. -'54. The cloudy appearance (arising from com- 
 paratively coarse thread") of the "reseau" in tliis specimen, as well as the 
 stiff and irregular appearance of the " cordonnet" to the flowers, indicate the 
 loss oi finesse in quality of material and worlimanship which modern needle- 
 point lace as a rule displays. 
 
 Crr AND Em- 
 
 broideeed 
 
 Work. 
 
 Border of cut cambric, and worked with button-hole 
 stitches, &c. Carrickmacross. Irish. 19th centy. L. 
 36 in., W. 3 in. Bought, 10s. (id. 1165.-5.5. 
 
 TLvxDKERCHlEF o£ cut cambric and embroidery. The 
 bunches of grapes are rendered in button-hole stitched 
 circles, and the vine leaves are of cambric with the fibres 
 and outline done with a thread. The tyes or "brides " 
 holding the pattern together are closely button-hole 
 stitched. Limerick. Ii'ish. 19th centy. 18 in. square. 
 Bought, 2/. ±K 1160.-'55. 
 
To face p. 91. 
 
 XXI. 
 
 Fart of a Collar of Cut Cambric and Embroidery. Limerick. Irish. 19tli Centnry. 
 No. 1157.-55, page 91. 
 
ENGLISH AND lEISH. 91 
 
 Collar of cut cambric and embroidery, similar ia work- out and em- 
 manship to 1160. -'65. Irish point. Limerick. Irish, wobk. 
 19th centy. L. 28 in., W. H in. Bought, l7s. 6d. 
 
 1156.-'55. 
 
 Collar of cut cambric and embroidery, similar in -work- 
 manship to 1160.-'55. Irish point. Limerick. Irish. 
 19th centy. L. 17 in., W. 3i in. Bought, I7s. 6d. {Il- 
 lustration XXI.) 1157.-55'. 
 
 Handkerchief, with border of muslin "applique " to net l^^^^l'^^^" 
 ground. The pattern is in the style of 18th century 
 lace, Brussels. Limerick. Irish. 19th centy. 16 in. 
 square. Bought, 21 12s. Gd. 1161.-55. 
 
 Lappet, with pattern of flowers cut out in fine cambric and 
 applied to a machine-net ground. Some of the fillings-in 
 or " modes " are of needle-point lace stitches. Irish. 
 19th centy (1850). 3 ft. 4i in. by 6 in. Bought, 21 12s. 
 
 1163.-55. 
 
 Boeder of machine-net lace, embroidered in chain-stitch with emeuoibeeid 
 white thread in pattern of flowers and circles ; scalloped ^'^'^' 
 edge. Limerick. Irish. 19th centy. 4J in. by 4^ in. 
 Given by Mrs. Bury Palliser. 11 68.- '75. 
 
 Boeder of small trefoil diaper ornament embroidered with 
 thread in chain-stitch upon a machine-made " rdseau " or 
 ground, the meshes of which are looped in imitation of a 
 needle-point "rdseau." Limerick. Irish. 19th centy. 
 (1850). L. 8i in., W. 2| in. Given by Mrs. Bury 
 Palliser. 1169.-'75. 
 
 Boeder of floral pattern, embroidered loose chain-stitch 
 with thread upon a machine-net ground. Limerick. Irish. 
 19th centy. (1850). L. 7 in., W. 4 in. Given by Mrs. 
 Bury Palliser. 1171.-75. 
 
 Fan Mount of white thread embroidery on machine net, 
 called " Limerick lace,'" the sticks bog-oak, carved and 
 mounted with silver. Executed by Miss Elizabeth Laird 
 of Dublin. Awarded First Prize (Class I., Section I.) at 
 the Exhibition of the Fan-makers' Company 1878. 
 Irish. L. 12^ in. Given by Mr. Under-sheriff H. H. 
 Crawford, Master of the Fan-makers' Company. 
 
 317.-78. 
 
 Veil ; black silk worked in running stitches on machine-net 
 ground in imitation of " Blondes de Caen." Irish. 19th 
 centy. L. 3 ft. 6 in., W. 21 in. Bought, 15s. 1166.-55. 
 
1)2 
 
 LACE. 
 
 Embkoideeeb 
 Net. 
 
 Ceochet 
 'Wos.K. 
 
 Beethe of black silk worked ia daraing stitches on 
 machine-net gi-ound or " tulle," in imitation of " Blondes 
 de Caen." Irish. (See note on 1166. -55.) 19thcenty. 
 L. 4 ft. 3 in., W. 10 in. Bought, 1^. lis. 6d. 1167.-55. 
 
 Border of a bunch of roses and buds embroidered -with 
 silk, in darning stitches upon a machine net ground of 
 silk threads, in imitation of French Chautilly lace. 
 
 4 in., W. 
 1170.-75. 
 
 Limerick. Irish. 19th centy. (1850). L. 
 
 m. 
 
 W. 2 ft. 4 in. 
 1162.-'.5.5. 
 
 Given by Mrs. Bury Palliser 
 
 Scarf. White lace. Irish. L. 8 ft. 8 in.. 
 Bought, 51. OS. 
 
 Pair of Sleeve Euffles. Crochet work. Irish. 19th 
 centy. Each 18 in. by 5 in. Bought, 7s. 6d. 
 
 875-875a,-'53. 
 
 Collar of crochet work. Ballingarry. Irish. 19th 
 centy. 19 in. by 2^ in. Bought, 4s. 876.-53. 
 
 Collars, "a la chevaliere." Crochet work. Irish. 19th 
 centy. 14 in. by 5 in. (each). Bought, 12s. 
 
 1095-1095a.-'54. 
 Collar. Tatting. Irish. 19th centy. 16 in. by 3 in 
 Bought, 6s. Qd. 1154. -'55- 
 
 TattiQg is done witli a sort of bone shuttle. The appearance of the 
 work is like biittoa-hole stitched work. The various parts so tatted are 
 joined together. 
 
 Collar. Tatting. Irish. 19th centy. 17 in. by 3^ in. 
 
 1155.-'55. 
 
 Bought, 7s. 6d. 
 
 Collar of crochet work. 
 19th centy. L. 2.S in,, 
 
 Collar of crochet work. 
 19th centy. L. 20 in., 
 
 Killishandra, Co. Cavan. Irish. 
 W. 4 in. Bought, 18s. 6cZ. 
 
 1159.-55. 
 
 Killishandra, Co. Cavan. Irish 
 Bought, 11. OS. 
 
 ] 158.-55. 
 
 W. ^ in. 
 
GERMAN. 93 
 
 VIII. 
 
 GERMAN. 
 
 Border of " lacis " or darned netting, with conventional 
 pattern of flowers and diagonal bars. .? German. 16th 
 centy. 18 in. by 4^ in. Bought, 4s. 1310.-77. 
 
 Altar Frontal, consisting of alternate squares of " lacis " 
 or darned netting and grey linen worked with feather- 
 stitch, both figured with heraldic animals, flowers, and 
 stars. German. Late 16th centy. L. 9 ft. 5^ in., W. 
 4 ft. 2i in. Bought (Bock Coll"). 8709.-63. 
 
 Cover of " lacis " or darned netting. The threads in this 
 piece are comparatively coarse. The pattern consists of 
 interlaced lozenge forms. Gerrnan. Late 16th centy. 
 3 ft. 9 in. by 3 ft. 9 in. Bought (Bock CoJlii). 8280.-63. 
 
 Part of an Altar Cloth or vestment, consisting of 
 twelve squares of " lacis " or darned netting, in which are 
 represented subjects from the Old Testament, commencing 
 with the Creation, in the centre of which is the word 
 lEHOVA set in glory. The borders to the squares are 
 of spotted net of twisted and looped threads, worked into 
 a ground with the needle, and in the manner of needle- 
 work " r&eaux " or grounds. German. I7th centy. L. 
 3 ft. 3 in., W. 2 ft. 6 in. Bought (Bock Coll"), 
 3?. 17s. 6d. 1603.-72. 
 
 Piece of darned and embroidered net work. In parts the 
 work is similar to " lacis " or darned netting. Many of 
 the outlines are done in a coarse thread run in the net. 
 In the centre a royal crown supported by angels, below 
 which are a man and woman holding a heart ; peacocks, 
 other birds, and scrolls on each side of this central group. 
 Border all round of conventional flowers, divided by 
 serpentine bands. Saxon. German. 17th centy. H. 
 1 ft. 3iin. W. 2 ft. 2i in. Bought (Bock Coll"), 11. 15s. 
 
 1561.-72. 
 
 Part of an Altar Frontal of " lacis " or darned netting, 
 with pattern of conventional flowers. German. 18 th 
 centy. L. 5 ft. 1 in., W. 14 in. Given by the late Mrs. 
 Bury Palliser. 723.-75. 
 
94 LACE. 
 
 i^MBEoiDEEED BoRDER OF AN Alb of embroidered netting. The pattern 
 consists of three elliptical medallions containing Scrip- 
 tural scenes, with figures. The costumes depicted in 
 these scenes are especially interesting. In the repre- 
 sentation of the judgment of Solomon, the two mothers 
 appear to be wearing coifs like those of Flemish peasants. 
 .? German 17th cent?. L. 2 ft. 9 in., W. 4| in. Bought 
 (Bock Collii), i;. 15s. 1690.-72. 
 
 Border of thread embroidery upon net. Pattern consists 
 of a vase, from which spring scrolls, terminating in 
 tulips and carnations, stags, and "pelicans in their 
 piety " pecking their breasts for their young ; other birds 
 and bunches of grapes are introduced. ? German or 
 Italian. 17th cent?. L. 2 ft. 4^ in., W. 10 in. Bought 
 (Bock Coll"), '21 7s. 1596.-72. 
 
 Border of open thread embroidery. Pattern consists of 
 vases, from which spring bunches of tulips and carnations. 
 Birds are introduced amongst the scrolls. The variety of 
 small trellis and wheel patterns is remarkable. ? German 
 or Italian. I7th centy. L. 2 ft. 5| in., W. 9 in. Bought 
 (Bock Go\l^), 21. 1597.-72. 
 
 Border of thread embroidery on netting. Evenly distri- 
 buted pattern, covering the ground, of vases of pinks, 
 tulips, and other flowers, birds, insects, and foliage, with 
 circular medallions formed of wreaths of flowers. 
 ?Germam or Italian. 17th or 18th centy. L. 2 ft. 
 41 in., W. 1 ft. 2i in. Bought (Bock Colin), si. 
 
 1598.-72. 
 
 Cot Work and g^MPLER OF LiNEN with strips or bands of cut work and 
 
 satin stitch embroidery on linen, l^rom JNuremberg. 
 
 German. l7th centy. L. 2 ft. 8^ in., W. 8| in. Given 
 
 by Mrs. Henry Reeve. 1326.-71. 
 
 N.B. — It is interesting to compare this with an Enfrlish sample of the 
 same date, see 823.-73. The work in this German sampler is not so varied 
 and coarser in quality. 
 
 Drawn Woek. Strip or BAND OF LlNEN, with cut work, and embroidered in 
 satin stitch; geometrical pattern. German. 15th centy. 
 L. 18| in., W. 4f in. Bought, 1/. 509.-72. 
 
 Border of drawn linen work. Conventional flower pattern 
 left in linen upon a ground of drawn threads overcast 
 with twisted threads. German. 16th centy, L. 19in., 
 W. 6 in. Bought, \l. 5s. 510.-72. 
 
GERMAN. 95 
 
 Band or Border of linen, with ornamental cut work filled cut woee and 
 in with heraldic figures, lions and double-headed Austrian ^"^^o™^"^^' 
 eagle, and other ornaments worked in point-lace or 
 button-hole stitches. German. 17th centy. L. 10 ft., 
 W. 31 in Bought (545 to 576, 150;.) 548.-75. 
 
 Table or Altar-cover. Linen, with a border of pillow- pimow-maee 
 made white thread lace of the I7th cent? ; and em- 
 broidered with silk thread. The Crucifixion, the Virgin, 
 St. John, St. Christopher, and St. Ann. Qerman. Em- 
 broidered date 1590. 4 ft. by 3 ft. 4 in. Bought, lis. M. 
 
 4459.-58. 
 
 EUFF. A woman's. The frill of pillow-made lace, with 
 wings embroidered with white cotton and black silk on 
 blue silk ground, bordered with black velvet ; the body- 
 white cotton and blue silk with similar embroidery. 
 German {Nuremherg). Late 16th, or early I7th centy. 
 2 ft. 3 in. by 3 ft. 10 in. Given by Jacques Blumenthal, 
 Esq. 117.-77. 
 
 Ruff. A woman's.. The frill of pillow-made lace, with 
 wings of blue silk embroidered with black silk, and 
 edged with brown silk lace ; the body white cotton 
 embroidered with black silk and white cotton. German 
 (Nuremherg). Late 16th, or early 17th centy. 2 ft. 3 in. 
 by 3 ft. 8 in. Given by Jacques Blumenthal, Esq. 
 
 11S.-77. 
 
 The lace here used is a sort of coarse thread Mechlin lace with a large 
 meshed and irregularly plaited " reseau." Possibly this lace which seems to 
 date from the late 17th century may have been inserted subsequently to the 
 production of the embroidery which is assigned to the late 16th or early 17tb 
 century. 
 
 Border of pillow-made lace. Pattern of openwork, quatre- 
 foil lozenges and squares alternating. Saxon. German. 
 18th centy. L. 1 ft. 10 in., W. ^ in. Bought (Bock 
 Coil"), Is. 6d 1558.-72. 
 
 Boeder of pillow-made lace. Pattern of close quatre- 
 foils repeated on ground of diamond -shaped large meshes 
 with border of elliptical forms. Saxon. German. 18th 
 centy. L. 2 ft. 4 in., W. 3^ in. Bought (Bock Coll"), 
 2s. 1559.-72. 
 
 Boeder of pillow-made lace. Pattern of alternate squares 
 of open and close work arranged to form a zig-zag along 
 the length of the piece. Saxon. German. ? 18th centy. 
 L. 1 ft, 7 in., W. 3 in. Bought (Bock Colin), ig. u. 
 
 1560.-72.. 
 
 The " reseau " or ground is of diamond-shaped meshes made with two 
 twisted threads to each side of the mesh, and is of a simple character. 
 
96 
 
 LACE. 
 
 Pillow-made 
 Lace. 
 
 Border of pillow-made lace. Latticed pattern of small 
 I'ings, some of the openings of which are fitted in with a 
 coarse thread imitation of the Brussels " reseau." Saxon. 
 German. ? 18th cent?. L. 1 ft. 3i in., W. 2| in. 
 Bought (Bock Colin), i3,s. 1571.-72. 
 
 Piece of pillow-made lace, with scalloped border. Made by 
 the peasants of the Erzegebirge. Saxon. German. 
 Modern. L. 10 ft., W. 6^ in. Given by Mrs. Bury 
 PaUiser. 758.-'68. 
 
 Tlie character of the pattern resemhles that of some of the pillow-made 
 tape laces of Flanders. 
 
 Insertion of pillow-made lace of geometric pattern outlined 
 l)y a thick thread. Made by the peasants of the Erze- 
 gebirge. Saxon. German. ]9thcenty. 11^ in. by 3^ 
 in. Given by Mr.s. Bury Palliser. 1174.-75. 
 
 This resembles French " torchon " laces. 
 
 Border of pillow-made lace, with scalloped edge. Made 
 by the peasants of the Erzegebirge. Saxon. German. 
 19th centy. Gin. by G| in. Given by Mrs. Bury Palliser. 
 
 1175.-75. 
 
 This is similar to 7.58.-'G8. 
 
 Border of pillow-made lace, with scalloped edge. Made 
 by the peasants of the Erzegebirge. Saxon. Gernucn. 
 19th centy. 8 in. by 4^ in. Given by Mrs. Bury Palliser. 
 
 1176.-75. 
 
 This is similar to 758.-'68. 
 
 Gold Theead 
 
 l.ACE. 
 
 Cap for a Woman. Gold lace, ornamented Avith gilt stripes 
 and spangles, and coloured glass. North German. 18th 
 uenty. L. and W Gi in. Bought, 21. 79.-79. 
 
DANISH. 97 
 
 IX. 
 
 DANISH. 
 
 Border of pillow-made lace. Made in Tender, North Phlow-made 
 Schleswig. Danish. I7th cent?. L. 11 in., W. li in. ^^''"• 
 Given by Mrs. Bury Palliser. 755.-68. 
 
 The pattern of this lace resembles that of the Fausses Valenciennes. A 
 little cordonnet outlining the forms might place it amongst the Mechlin laces. 
 
 Border of fine linen or cambric, with pattern of floral and deawk abd 
 conventional ornament done in embroidery and drawn cambe™™™ 
 work (see 1574.-'72). The more opaque portions, how- 
 ever, are done with applications (wpplique work) fastened 
 at the back. Called " Indian work." Made in Tonder, 
 North Schleswig. Banish. 18th cent?. L. 14J in., 
 W. 2| in. Gis'en byMrs. Bury Palliser. 756.-68. 
 
 This style of needlework is said to have heen very generally made in 
 Denmark. The leaves and flowers are worked In various ways, which are 
 described in the labels to each specimen. 
 
 Border of fine linen or cambric, worked similarly to 
 1574 -'72, with pattern of scrolls and tulips and other 
 blossoms upon a meshed ground ; wrought in imitation 
 of a sort of " Valenciennes " lace. ? Banish. 18th cent?. 
 L. 1 ft. 8i., W. 51 in. Bought (Bock Coll°), II. 10. 
 
 1572.-72. 
 
 Border of fine linen or cambric, with archaic pattern of 
 starry flowers and leaves on each side of a serpentine 
 band. The ground of meshes is worked similarly to that 
 of No. 1574.-72 but the other portions are not darned at 
 the back ; they are outlined with thread run into the 
 Imen. ? Banish. 18th centr. L. 1 ft. 10 in., W. 3^ in. 
 Bought (Bock Colin), i5s. 1573.-72. 
 
 Border of fine linen or cambric, with scalloped border. 
 Pattern of escutcheon-shaped leaves, filled with geometric 
 ornament, pomegranates, &c. The net work is done by 
 drawing out threads and holding those that are left 
 together by means of threads worked in with a needle- 
 Tlie more opaque-looking portions consist of a sort of 
 darning done on the back of the cambric. This kind of 
 Q 3787. G 
 
98 LACE. 
 
 embeoidbrbd needlework, which can hardly be classed with lace, is 
 
 WOKE. frequently met with in England {see 1407.— 73). It is 
 
 often done upon Indian muslin, hence perhaps the name 
 
 "Indian work" (see 756.-68). ? Danish. 18th centJ. 
 
 L. 2 ft. li in., W. 4 in.. Bought (Bock CoUn), 11. 
 
 1574.-72, 
 
 Border of fine linen or cambric, worked similarly to 
 
 1573.-72 : archaic pattern of flowers and leaves. 
 
 ? Banish. 18th centy. L. llj in., W. 3 in. Bought 
 
 (Bock CoUn), 11. 2s. 1575.-72. 
 
 Kerchief, half square, of fine linen or cambric, with scalloped 
 border of conventional sprays and foliage upon a star or 
 wheel device ground. This specimen is worked in the 
 same way as No. 756.-'68. ? Danish. 18th centy. L. 
 of side, 2 ft. 10 in., diagonal, 4 ft. 8 in. Bought (Bock 
 Colin), 41 7s. 1589.-72. 
 
 Lappet (one of a pair) of embroidered drawn cambric, with 
 design of carnations and fanciful leaves filled in with 
 various devices. Danish. 18th centy. L. 20 in., W. 
 4 in. Bought, 31. the pair. 304,-78. 
 
 See also remarks on 755.-68 and 1.574.-72. 
 
SWEDISH. 99 
 
 X. 
 
 SWEDISH. 
 
 Piece of pillow-made lace. Made at Wadstena. Sweden. LicE?^'"^°^ 
 Modern. L. 6 in., W. 2f in. Given by Mrs. Bury 
 Palliser. 753.-68. 
 
 This is made with a stout thread, and is similar in character to much of 
 the " torchon " pillow laces. 
 
 Piece of pillow-made lace. Made by the peasants of Dale- 
 
 carlia. Sweden. Modern. L. 3| in., W. 6| in. Given 
 
 by Mrs. Bury Palliser. 754.-68. 
 
 This is similar in design to, but of slighter texture than, Maltese and 
 Cluny pillow lace. 
 
 Square Sampler of Linen, showing specimens of cut -work, ^J^'I'^^J,^'. 
 darned drav/n-thread work, and satin stitch embroidery, deeedtvoek. 
 done in geometric designs in white and coloured thread 
 called " Holesom." Made by the peasants in the province 
 of Scania. Dated 1863. Sweden. 15 in. square. Given 
 by Mrs. Bury Palliser. 234.-69. 
 
 G 2 
 
100 LACE. 
 
 XI. 
 
 RUSSIAN. 
 
 Pillow-made BORDER of pillow-made lace. Pattern of cocks and small 
 trees, with waved edging. The twist of the threads in 
 the style of two meshes, gimp or " toile," and fillings in 
 are similar to that of provincial pillow laces of England 
 and France. Russian (Orel district). (Vienna Exhi- 
 bition, 1873.) L. 2 ft. 8 in., W. 5^ in. (Jiven by the 
 Agricultural Museum, St. Petersburg. 1569.-73. 
 
 Border of pillow-made lace. Pattern of small circles held 
 togetlier by double and single tyes and with waved edge. 
 Russian. (Vienna Exhibition, 1873.) Each 2 ft. 3 in. 
 by 2 in. Given by the Agricultural Museum, St. Peters- 
 burg. 1.570, 1570a.-'73. 
 
 Insertion of pillow-made lace. Pattern of blossoms on 
 ground of spots loosely plaited and outlined with a 
 thread. Russian. (Vienna Exhibition, 1873.) 2 ft. 7i in. 
 by 1| in. Given by the Agricultural Museum, St 
 Petersburg. 1.571.-73. 
 
 Border of pillow-made lace with waved edge. Russian. 
 (Vienna Exhibition, 1873.) 2 ft. 34 in. by IJ in. Given 
 by the Agricultural Museum, St. Petersburg. 1572.-73. 
 
 Border of pillow-made lace. Lozenge pattern on varied 
 
 ground, with waved edge. Russian (Mzensk district). 
 
 (Vienna Exhibition, 1873.) 2 ft. 4. in. by 4J in. Given 
 
 by the Agricultural Museum, St. Petersburg. 1573.-73. 
 
 This seems to be an adaptation of provincial pillow laces of England and 
 France. 
 
 Insertion of pillow-made lace. Lozenge pattern. Russian 
 (Mzensk district). (Vienna Exhibition, 1873.) 2 ft. 1 in. 
 by 2^ in. GiA'en by the Agricultural Museum, St. 
 Petersburg. 1574.-73. 
 
 Border of pillow-made lace. Lozenge pattern, with waved 
 edge. Russian (Mzensk district). (Vienna Exhibition, 
 1873.) 2 ft. 1 in. by 2§ in. Given by the Agricultural 
 Museum, St. Petersburg. 1575.-73. 
 
RUSSIAN. 101 
 
 Insertion of pillow-made lace. Small star pattern, set in piuow-made 
 lozenges. Russian {Mzev^k district). (Vienna Exhi- ^^' 
 bition, 1873.) 2 ft. 1 in. by I in. Given by the Agri- 
 cultural Museum, St. Petersburg. ] 576.-73. 
 
 Border of pillow-made lace. Narrow star pattern, with 
 waved edge, Russian (MzensJe district). (Vienna Exhi- 
 bition, 1873.) 2 ft. 6 in. by | in. Given by the Agri- 
 cultural Museum, St. Petersburg. 1.577.-73. 
 
 Border of pillow-made lace. Narrow. Lozenge pattern, 
 with waved edge. Russian {Riazan district). (Vienna 
 Exhibition, 1873.) 2 ft. 1 in. by 4i in. Given by the 
 Agricultural Museum, St. Petersburg. 1578.-73. 
 
 Border of pillow-made lace. Broad. Large pattern, with 
 waved edge. Russian {Riazan district). (Vienna Exhi- 
 bition, 1873.) 2 ft. 24 in. by 3 in. Given by the Agri- 
 cultural Museum, St. Petersburg. 1579.-73. 
 
 Insertion of pillow-made lace. Lozenge pattern. Russian 
 {Riazan district). (Vienna Exhibition, 1873.) 2 ft. 6 
 in. by 2 in. Given by the Agricultural Museum, St. 
 Petersburg. 1580.-73. 
 
 Border of pillow-made lace. Lozenge pattern, with waved 
 edge. Russian {Riazan district). (Vienna Exhibition, 
 1873). 2 ft. by 2| in. Given by the Agricultural Museum, 
 St. Petersburg. 1581.-73. 
 
 Insertion of pillow-made lace. Open pattern. Russian 
 {Riazan district). (Vienna Exhibition, 1873.) 2 ft. by 
 1^ in. Given by the Agricultural Museum, St. Petei-sburg. 
 
 1582.-73. 
 
 Insertion of pillow-made lace. Lozenge pattern. Russian 
 {Riazan district). (Vienna Exhibition, 1873.) 21^ in. 
 by If in. Given by the Agricultural Museum, St. 
 Petersburg. 1583.-73. 
 
 Border of pillow-made lace. Lozenge pattern, with waved 
 edge. Russian {Riazan district). (Vienna Exhibition, 
 1873.) 2 ft. by If in. Given by the Agricultural 
 Museum, St. Petersburg. 1584.-73. 
 
 Border of pillow-made lace, scalloped. Fan pattern, with 
 six pointed star r^seau. Russian {Riazan d/lstrict). 
 (Vienna Exhibition, 1873.) 3 ft. 7 in. by 1^ in. Given 
 by the Agricultural Museum, St. Petersburg. 1 585.-73. 
 
102 LACE, 
 
 Pillow-made Linen Towel, bordered with a coarse pillow lace or 
 
 ^^*"'' " torchon," the ends ornamented with insertions of 
 
 darned netted work done ia conventional flowers and birds. 
 
 Russian (Raizan district). 18th cent?. L. 7 ft. 4 in., 
 
 W. 15A in. Bought, 31. 3s. 314.-76. 
 
 Collar of pillow-made lace. An imitation of Maltese lace. 
 Russian {Vologda district). (Vienna Exhibition, 1873.) 
 L. 19 in. Given by the Agricultural Museum, St. Peters- 
 burg. 1586.-73. 
 
 Border of pillow-made lace of unbleached thread, with 
 waved edged. An imitation of Maltese lace. Russian 
 ( Vologda district). (Vienna Exhibition, 1873.) 2 ft. 1^ in. 
 by 2^ in. Given by the Agricultural Museum, St. 
 Petersburg. 1587.-73. 
 
 Border of pillow-made lace, with waved edge. An imita- 
 of Maltese lace. Russian ( Vologda district). (Vienna 
 Exhibition, 1873.) 2 ft. 3 in. by 1^ in. Given by the 
 Agricultural Museum, St. Petersburg. 1588.-73. 
 
 Border of piUow-made lace, with waved edge. Au 
 imitation of Maltese lace. Russian (Vologda district). 
 (Vienna Exhibition, 1873.) 2 ft. 4 in. by 1^ in. Given 
 by the Agricultural Museum, St. Petersburg. 1589.-73. 
 
 Insertion of pUlow-made lace. Russian {Vologda district). 
 (Vienna Exhibition, 1873.) 2 ft. 2 in. by 1^ in. Given 
 by the Agricultural Museum, St. Petersburg. 1590.-73. 
 
 Insertion of pillow-made lace. Russian {Vologda district). 
 (Vienna Exhibition, 1873.) 3 ft. 9 in. by | in. Given 
 by the Agricultural Museum, St, Petersburg. 1591.-73. 
 
 Border of pillow-made lace, with waved edge. Russian 
 {Vologda district). (Vienna Exhibition, 1873.) 3 ft. 
 6 in. by | in. Given by the Agricultural Museum, St. 
 Petersburg. 1592.-73. 
 
 Border of pillow-made lace, with waved edge. Russian 
 {Vologda district). (Vienna Exhibition, 1873.) 2 ft. 
 10 in. by i in. Given by the Agricultural Museum, St. 
 Petersburg. 1593.-73. 
 
 Border of piUow-made lace, with waved edge. Russian 
 {Vologda district). (Vienna Exhibition, 1873.) 3 ft. 
 2 in. by | in. Given by the Agricultural Museum, St. 
 Petersburg. 1594,-73, 
 
RUSSIAN. 103 
 
 Vandyke of pillow-made lace. For church decoration, piliowmade 
 Russian {Bdev district). 19fch centy. L. 9 in., W. 5 J in. 
 Given by the late Mrs. Bury Palliser. 757.-68. 
 
 Border of pillow-made lace. Russian {Belev district). 
 (Vienna Exhibition, 1873.) 3 ft. 6 in. by | in. Given 
 by the Agricultural Museum, St. Petersburg. 1595.-73. 
 
 Insertion of piUow-made lace. Russian {Belev district). 
 (Vienna Exhibition, 1873.) 2 ft. 2i in. by 2 in. Given 
 by the Agricultural Museum, St. Petersburg. 1596.-73. 
 
 Insertion of pillow-made lace. Loosely plaited pattern 
 with fillings in of closely -plaited tyes forming a ground 
 somewhat similar to some of the Valenciennes " r^seaux." 
 Russian (Belev district). (Vienna Exhibition, 1873.) 
 23 in. by 3f in. Given by the Agricultural Museum, 
 Petersburg. 1597.-73. 
 
 Insertion of pillow-made lace. Russian (Belev district). 
 (Vienna Exhibition, 1873.) 2 ft. 2 in. by 2^ in. Given 
 by the Agricultural Museum, St. Petersburg. 1598.-73. 
 
 Border of pillow-made lace, scalloped. Russian (Belev 
 district). (Vienna Exhibition, 1873.) 2 ft. 6 in. by 
 3 1 in. Given by the Agricultural Museum, St. Peters- 
 burg. 1599.-73. 
 
 Border of pillow-made lace, scalloped, similar to 1615. 
 Russian (Belev district). (Vienna Exhibition, 1873.) 
 2 ft. 6 in. by 3i in. Given by the Agricultural Museum, 
 St. Petersburg. 1600.-73. 
 
 Border of piUow-made lace, scalloped. Russian (Belev 
 district). (Vienna Exhibition, 1873.) 2 ffc. 5 in. by 3 in. 
 Given by the Agricultural Museum, St. Petersburg. 
 
 1601.-73. 
 
 Border of pillow-made lace, scalloped. Russian (Belev 
 district). (Vienna Exhibition, 1873.) 2 ft. 2^ in. by 2^ in. 
 Given by the Agricultural Museum, St. Petersburg. 
 
 1602.-73. 
 Border of piUow-made lace, scalloped. Russiam, (Belev 
 district). (Vienna Exhibition, 1 873.) 2 ft .4 in. by 3| in. 
 Given by the Agricultural Museum, St. Petersburg. 
 
 1603.-73. 
 
 Border of pillow-made lace, with scallops. Russian (Belev 
 district). (Vienna Exhibition, 1873.) 2 ft. 2^ in. by 
 4 in. Given by the Agricultural Museum, St. Peters- 
 burg, 1604.-73. 
 
Laoe. 
 
 n 
 
 ]04< LACE. 
 
 piLLow-MABE Border of pillow-made lace, with large scallops. Russia,. 
 
 ^"'''^- (Belev district). (Vienna Exhibition, 1873.) 2 ft. 4 in. 
 
 by 7j in. Given by the Agricultural Museum, St. Peters- 
 burg. 1605.-73. 
 
 Border of pillow-made lace, with large scallops, similar to 
 1615. Russian (Belev district). (Vienna Exhibition, 
 1 873.) 2 ft. 7^ in. by 6 in. Given by the Agricultural 
 Museum, St. Petersburg. 1606.-73. 
 
 Border of pillow-made lace, scalloped, similar to 1610. 
 Russian (Belev district). (Vienna Exhibition, 1873.) 
 2 ft. 4 in. by 6| in. Given by the Agricultural Museum, 
 St. Petersburg. 1607.-73. 
 
 Boeder of pillow-made lace, scalloped, similar to 1610. 
 Russian (Belev district). (Vienna Exhibition, 1873.) 
 
 1 ft. 11 in. by 6^ in. Given by the Agricultural 
 Museum, St. Petersburg. 1608.-73. 
 
 Border of pillow-made lace, scalloped. Russian (Belev 
 district). (Vienna Exhibition, 1873.) 2 ft. 6 in. by 7i in. 
 Given by the Agricultural Museum, St. Petersburg. 
 
 1609.-73. 
 
 Border of pillow-made lace, scalloped, similar to 1612. 
 Russian (Belev district). (Vienna Exhibition, 1873.) 
 
 2 ft. 5 in. by 7 in. Given by the Agricultural Museum, 
 St. Petersburg. 1610.-73. 
 
 ]5oRDER of pillow-made lace, scalloped. Russiaoi (Belev 
 district). (Vienna Exiiibition, 1873.) 2 ft. 2 in. by 
 yi in. Given by the Agricultural Museum, St. Peters- 
 burg. 1611.-73. 
 
 Border of pillow-made lace, scalloped, similar to 1614. 
 Russian (Belev didrict). (Vienna Exhibition, 1873.) 
 2 ft. 5 in. by 5^ in. Given by the Agricultural Museum, 
 St. Petersburg. 1612.-73. 
 
 Border of pillow-made lace, scalloped. The filling in or 
 gi'ound of this piece is similar to that in No. 1597. 
 Russian (Belev district). (Vienna Exhibition, 1873.) 
 17 in. by 7i in. Given by the Agricultural Museum, 
 St. Petersburg. 1613.-73. 
 
 Border of pillow-made lace, scalloped, similar in style of 
 work to ] 613. Russian (Belev district). (Vienna Ex- 
 hibition, 1873.) 3 ft. by 7| in. Given by the Agricul- 
 tural Museum, St. Petersburg. 16J4.-73. 
 
RUSSIAN. ] 05 
 
 BoEDKR of pillow-made lace of unbleached thread, scalloped. £^ce°'''"^"^ 
 The filling in is similar to that of 1614. Russian 
 {Belev district). (Vienna Exhibition, 1873.) 2 ft. 1^ in. 
 by 6-j- in. Given by the Agricultural Museum, St. 
 Petersburg. 1615.-73. 
 
 Border of pillow-made lace of unbleached thread, scalloped. 
 Russian {Belev district). (Vienna Exhibition, 1873.) 
 2 ft. by 2| in. Giveii by the Agricultural Museum, St. 
 Petersburg. 1616.-73 
 
 Insertion of pillow-made lace of unbleached thread. Rus- 
 sian (Belev district). (Vienna Exhibition, 1873.) 2 ft. 
 1 in. by 2 in. Given by the Agricultural Museum, 
 St. Petersburg. 1617. 73. 
 
 Border of pillow-made lace of unbleached thread. Rus- 
 sian {Belev district). (Vienna Exhibition. 1873.) 2 ft. 
 by IJ in. Given by the Agricultural Museum, St. 
 Petersburg. 1618.-73: 
 
 Boeder of pillow-made lace of unbleached and red thread, 
 scalloped edge, similar to 1605. Russian {Blev district). 
 (Vienna Exhibition, 1873.) 23 in. by 3^ in. Given by 
 the Agricultural Museum, St, Petersburg. 1619.-73. 
 
 Insertion of pillow-made lace of unbleached, and red thread, 
 similar to 1605. Russian (Belev district). (Vienna Ex- 
 hibition, 1873.) 2 ft. 2 in. by 1| in. Given by the 
 Agricultural Museum, St. Petersburg. 1620.-73. 
 
 Border of pillow -made lace of unbleached and red thread, 
 narrow. Russian (Belev district). (Vienna Exhibition, 
 1873.) 2 ft. 9 in. by | in. Given by the Agricultural 
 Museum, St. Petersbiu-g. 1621.-73. 
 
 Border of pillow-made lace of white and red thread, and 
 scalloped. Russian {Belev district). (Vienna Exhibition 
 1873.) 2 ft. 2^ in. by 2^ in. Given by the Agricultural 
 Museum, St. Petersburg. 1622.-73. 
 
 Insertion of pillow-made lace of white and red thread. 
 Russian (Belev district). (Vienna Exhibition, 1873.) 
 2 ft. 1 in. by 1| in. Given by the Agricultural Museum, 
 St. Petersburg. 1623.-73. 
 
 Linen Towel, bordered with pillow-made lace, the ends 
 ornamented with insertions of darned netted work done 
 in floral patterns. In the central piece is tlie Imperial 
 Russian Eagle. Russian (Belev district). 1 8th centy. 
 L. 7 ft. 3 in., W. ]6f in. Bought, 31. 3s. 315.-76. 
 
106 
 
 LACE. 
 
 PltLOW-MADE 
 
 Lace. 
 
 PtENIXG OS 
 
 Xet. 
 
 Dkawx woek. 
 
 N'CEDLK-rOIXT 
 LlOB. 
 
 Linen Towel, edged with pillow-made lace, scalloped 
 border at each end ; above the scalloped border, an 
 insertion of similar lace. The ground of this lace is 
 composed of little circles with picots. The circles are 
 arranged to cut one another, and so form a series of 
 crosses. The plaiting of threads in this ground resembles 
 that in early Valenciennes " reseaux." The thread used 
 is of fine quality. The main lines of the design are 
 ornaments with little holes. On each side of the towel 
 is a border or trimming of pillow lace, like North French 
 and Buckinghamshire laces. Russi%n. I8th centy. 
 L. 8 ft. 8 in., W. 17^ in. Given by the Baroness de 
 Kaulla. 259.-75. 
 
 Boeder of pillow-made lace ; worked in a wavy pattern 
 including a cinquefoil flower device. The stems of the 
 pattern are done with stout threads. ? Russian. 19th 
 centy. 7;^ in. by 5j in. Given by the late Mrs. Bury 
 Palliser. 1156.-75. 
 
 Border of pillow-made lace, with scalloped edge ; worked 
 in a pattern of radiations, which are done in stout thread, 
 and held together by slight thread tyes or "brides." 
 ? Russian. 19th centy. Hi in. by 7i in. Given by 
 Mrs. Bury Palliser. ' 1159.-75. 
 
 LixEN Towel, fringed with a coarse pillow-made lace or 
 "torchon," with coloured silk outlines worked in; the 
 borders embroidei-ed with coloured sUk, in satin and 
 simple stitches, with conventional eagles and flowers. 
 
 Russian. 18th 
 Bought, 5l. 
 
 centy. L. 7 it. i in., W. Ui 
 
 in. 
 
 S13.-76. 
 
 LiNEX Towel, decorated with net-work darned with thread 
 in coloured silks, and gold thread in the msmes of the 
 archaic animals represented in the pattern. Rv.ssian. 
 
 ISth centy. L,. 9 ft. 5h in., W, 
 Baroness de Kaulla. 
 
 17i in. 
 
 Given by the 
 ■260.-'75. 
 
 Linen Towel, worked A\ith a pattern of flowers and fruit 
 and imperial eagles, in diaper and di'awn threads ; the 
 upper edge bordered with pinlc silk ribbon, the lower 
 odo-e scalloped. Ritssian. 18th centy. L. 6 ft. 6 in., 
 W. iiU in. (liven by the Baroness de Kaulla. 261.-75. 
 
 Portion of a Border of needle-point lace, "a brides 
 picot^es." Pattern of intertwined scrolls and flowers. 
 Reproduction of .i design of the 16th centy, Russian 
 
RUSSIAN. 107 
 
 {Am/hual International Exhibition, 1874). 8^ in. by nbedie-poini 
 i^ in. Given by Her Eoyal and Imperial Highness the 
 Duchess of Edinburgh. 1417.-74. 
 
 Portion of a Border of needle-point lace, "k brides 
 picotdes." Pattern of circles and lozenges, with floral 
 ornament introduced into them. Reproduction of a 
 design of the 16th centy. Russian {Annual Inter- 
 natioTial Exhibition, 1874). 6^ in. by 3f in. Given by 
 Her Royal and Imperial Highness the Duchess of Edin- 
 burgh, 1418.-74. 
 
 Piece of needle-point lace with ground of square meshes : 
 at each corner of which is a double looping. On the 
 two upper comers are quaint figures, that on the left of 
 a cock, that on the right of a crested and winged serpent 
 or dragon. In the centre is a motto in Russian characters. 
 This is said to be a modern reproduction of a design of the 
 16th centy. Russian (Annual International Exhibition, 
 1874). 14 in. by 9i in. Given by Her Roji^al and Imperial 
 Highness the Duchess of Edinburgh. 1419.-74. 
 
lOS LACE. 
 
 XII. 
 
 CRETAN. 
 
 PILLOW-MADE BoRDER ot" pillow-made crimson sUk lace, with pattern 
 worked ia treble lines of coloured silks. Acpired in 
 Crete. 18th centy. L. 2 ft. 9 ia., W. I J in. Bouo-ht 
 (1907 to 2066, 2.50^.) 1907.-76. 
 
 Border of pillow-made white silk lace, with pattern 
 worked in single and double lines of ci-imson and black 
 silks. Acquired in Crete. 18th cents'. L. 5 ft. 10 in. 
 W. 1| in. Bought (1907 to 2066, 2.50?.) 1908.-76. 
 
 Insertion of pillow-made yellow silk lace, with conven- 
 tional blossoms worked in single lines of red and black 
 silks ; with centres of green and white silks. Acquired 
 in Crete. 18th centy. L. 3 ft. 11 in., W. 1 in. Bought 
 (1907 to 2066, 2501.) 1909.-76. 
 
 Border of pillow-made yellow silk lace, with pattern 
 worked in double and treble lines of red and black silk, 
 and an edge of red, blue, and green silks twisted and 
 plaited. Acquired in Crete. 18th cent?. L. 2 ft. 2 in., 
 W. 3 in. Bought (1907 to 2066, 2.50?.) 1910.-76. 
 
 Border of pillow-made lace of black and yellow; silks, with 
 pattern worked in quadruple lines of rei, white, and 
 green silks. Acquired in Crete. 18th centy. L. 7 in., 
 W. 2 in. Bought (1907 to 2066, 2.50;.) 1911.-76. 
 
 Insert[ON of pillow-made, yellow silk lace, with conven- 
 tional flowers and human figures worked in single lines 
 of red and black silks. Acquired in Crete. 18th centy. 
 L. 3 ft. 11 in., W. If in. Bought (1907 to 2066, 2.50?.) 
 
 1912.-76. 
 
 Border of pillow-made black thread lace, with pattern 
 worked in treble lines of white, red, green, and yellow 
 silks. Acquired in Crete. 18th centy. L. 5 ft. 1 in., 
 \V. l\ in. Bought (1907 to 2066, 250?.) 1913.-76. 
 
 Border of pillow-made white silk lace, with running leaf 
 pattern upon a. " reseau," similar to that of 2007.-76, 
 and edL;es of blue and green twisted and plaited silks. 
 Acquired in Crete. 18th centy. L. .5 ft. 7h in., W. 2^ in. 
 Bought (1907 to 2066, 250?.) 1914.-76. 
 
CRETAN. 109 
 
 Border of pillow-made black silk lace, with pattern £^^'^°^'' 
 worked in treble lines of red and white silks. Acquired 
 in Crete. 18th centy. L. 2 ft. 11 in., W. If in. 
 Bought (1907 to 2066, 2501.) 1915.-76. 
 
 Compare patterns of this and 1913. 
 
 Border of piUow-made red thread lace, with pattern like 
 that of 1938, &c., worked in yellow and gold threads. 
 Acquired in Crete, 18th cent?. L. 20 in., W. 1| in. 
 Bought (1907 to 2066, 250?.) 1916.-76. 
 
 Border of pillow-made yellow silk lace, with pattern 
 worked in treble lines of red, black, and white silks. 
 Acquired in Crete. ISth centy. L. 4 ft 9 in., "W. 1^ in. 
 Bought (1907 to 2066, 250?.) 1917.-76. 
 
 Insertion of pillow-made white silk lace, with red zig-zag 
 pattern run into the lace. Acquii-ed in Crete. 18th 
 centy. L. 2 ft. 8i in., W. i in. Bought (1907 to 2066, 
 250?.) 1918.-76. 
 
 Insertion of pillow-made silk lace. A central white band 
 between two green borders. Acquired in Crete. 18th 
 centy. L. 4 ft. 4^ in., W. 1^ in. Bought (1907 to 2066, 
 250?.) 1919.-76. 
 
 Border of piUow-made silk lace. A white band between 
 two green borders, edged with a little Vandyke of red. 
 Acquired in Crete. 18th centy. L. 6 ft. 1 in., W. 1| in. 
 Bought (1907 to 2066, 250?.) 1920.-76. 
 
 Insertion of pillow-made black thread lace, with conven- 
 tional blossom ornament worked in treble and single 
 lines of red, yellow, and white silks. Acquired in Crete. 
 18th centy. L. 4 ft 2 in., W. 1^ in. Bought (1907 to 
 2066, 250?.) 1921.-76. 
 
 Border of pillow of yellow silk lace, with running leaf 
 pattern outlined in' red and black silks upon a circular- 
 meshed "r^seau." Acquired in Crete. 18th centy. 
 L 3 ft. 11 in., W. 2J in. Bought (1907 to 2066, 250?.) 
 
 1922.-76. 
 
 Border of pillow-made white thread lace, with pattern 
 worked in red, yellow, and green silks, and edge of 
 red silks plaited. Acquired in Crete. 18th centy. 
 L 4 ft. 3i in., W. U in. Bought (1907 to 2066, 250?.) 
 
 1923.-76. 
 
110 
 
 LACE. 
 
 DEATTIT llNEU. 
 
 Pillow-made 
 Lace. 
 
 Border of drawn linen embroidered in various coloured 
 silks, with archaic representations of galleys, animals, 
 wheels, leaves, blossoms, and other symbols, edged with 
 gold thread. Acquired in Crete, I7th or 18th cent?. L. 
 3 ft. 9 in., W. li in. Bought (1907 to 2066, 250?.) 
 
 1924.-76. 
 
 Border of pillow-made dark green silk lace, with conven- 
 tional blossom pattern worked in single lines of red, 
 white, and yellow silks. Acquired in Crete. 18th 
 centy. L. 4 ft. 4 in., W. li in. Bought (1907 to 2066, 
 250Z.) 1925.-76. 
 
 Insertion of pillow-made yellow thread lace, with lozenge 
 pattern worked in red, green, and amber threads. 
 Acquired in Crete. 18th centy. L. 6 ft. 5J in., W. 2 in. 
 
 Bought (1907 to 2066, 250Z.) 
 
 1926,-76. 
 
 lozenge pat- 
 Acquired in 
 
 in. Bought 
 1926a.-76. 
 
 Insertion of pillow-made red silk lace, with 
 tern worked in red, green, and amber silks. 
 Crete. 18th centy. L. 3 ft. 10 in., W. If 
 (1907 to 2066, 2501.) 
 
 Boeder of pillow-made black silk lace, with a lozenge 
 pattern worked in drab-coloured silk. Acquired in 
 Crete. 18th centy. L. 6 ft. 3i in., W. IJ in. Bought 
 (1907 to 2066, 2501.) 1927.-76. 
 
 Border of pillow-made red silk lace, with lozenge pattern 
 worked in single lines within blue, white, yellow, and 
 green silks. Acquired in Crete. 18th centy. Border, 
 L. 4 ft. 4 in., W. li in. Bought (1907 to 2066, 250?.) 
 
 1928.-76. 
 
 Insertion of piUow-made red silk lace, with lozenge pat- 
 tern worked in single lines of blue, white, yellow, and 
 green silks. Acquired in Crete. 18th centy. L. 14 in., 
 W. I in. Bought (1907 to 2066, 250?.) 1928a.-76. 
 
 Border of piUow-made light red, blue, and yellow silk 
 lace, with intertwined pattern of loops or knots. 
 Acquired in Crete. 18th centy. L. 21 in., W. IJ in. 
 Bought (1907 to 2066, 250?.) 1929.-76. 
 
 Border of pillow-made red silk lace, with pattern worked 
 in yellow, white, and black silks. Acquired in Crete. 
 18th centy. L. 3 ft. 3 in., W. f in. Bought (1907 to 
 2066, 250?.) 1930.-76. 
 
 Border of pillow-made ]-ed silk lace, with pattern worked 
 treble lines of green and yellow silks. Acquired in 
 Crete. 18th centy. L. 4 ft. 9^ in., W. 1| in. Bought 
 (1907 to 2066, 250?.) 1931.-76. 
 
CRETAN. Ill 
 
 Border of pillow- made black thread lace, with pattern like piliow-made 
 1915 and 194i2, worked in treble lines of gi-een, yellow, ^^°^' 
 and pink silks. Acquired in Crete. 18th cent?. L. 5ft. 
 4 in., W. li in. Bought (1907 to 2066, 250^.) 
 
 1932.-'76. 
 
 Border of pUlow-made light red silk lace, with pattern of 
 running band along the length of the pieces and small 
 off-shooting scrolls. Acquired in Crete. 18th centy. 
 L. 4 ft. 3i in,, W. 1 1 in. Bought (1907 to 2066. 250?.) 
 
 1933.-76. 
 
 Border of pillow-made gold-coloured silk lace, with pattern 
 outlined in blue and pink silks. Acquired in Crete, 
 18th centy. L. 5 ft., W. 1^ in. Bought (1907 to 2066. 
 250?.) 1934.-76. 
 
 Border of pillow-made yellow silk lace, with blossom or- 
 nament worked in single lines of black, white, and red 
 silks. Acquired in Crete. 18th centy. L. 5 ft. 7 in., 
 W. li in. Bought (1907 to 2066, 250?.) 1935.-76. 
 
 Border of pillow-made red silk lace, with pattern worked 
 in double and treble lines of blue, yellow, and white 
 silks with various colours ; green and yellow silk edge. 
 Acquired in Crete. 18th centy. L. 6 ft., W. IJ in 
 Bought (1907 to 2066, 250?.) 1936.-76. 
 
 Insertion of pillow-made red silk lace, with pattern 
 worked in single line of yellow, blue, green, and white 
 silks. Acquired in Crete. 18th centy. L. 4 ft. 7 in., 
 W. |in. Bought (1907 to 2066, 250?.) 1937.-76. 
 
 Insertion of pillow-made blue thread lace, with archaic 
 pattern, resembling a stem with branches and blossoms 
 or fruits growing from them, worked in double lines of 
 red, yellow, and green silks. Acquired in Crete. 18th 
 centy. L. 4 ft. 10 in., W. 1^ in. Bought (1907 to 2066, 
 250?.) 1938.-76. 
 
 Compare patterns of this and of 1977 and 1967. 
 
 Border of pillow-made light red, green, and yellow silk lace. 
 
 The pattern is of a conventional leaf and blossom 
 
 character. Acquired in Crete. 18th centy. L. 4 ft, 
 
 10^ in., W. 1| in. Bought (1907 to 2066, 250?.) 
 
 1939.-76. 
 
 The difference between this specimen and those which are embroidered 
 with silk lines should be noticed. 
 
112 LACE. 
 
 PiLLOTT-MADE BoRDER of pillow-iiiaJe red thread lace, with lozenge 
 pattern worked in single lines of black, green, white, 
 and yellow silks. Acquired in Crete. 18th cent?. L. 
 5 ft. 9 in., W. li in. Bought (1907 to 2066, 250?.) 
 
 1940.-76. 
 
 Border of pUlow-made black thread lace, with conventional 
 
 blossom pattern (as in 1921) worked in treble and single 
 
 lines of x-ed and white silks. Acquired in Crete. 18th 
 
 centy. L. 5 ft., W. ] i in. Bought (1907 to 2066, 250Z.) 
 
 1941.-76. 
 
 Border of pillow-made black thread lace, with pattern 
 worked in treble lines of green, yellow, white, and red 
 silks. Acquired in Crete. 18th cent?. L. 6 ft. 3 in., W. 
 If in. Bought (1907 to 2066, 250?.) 1942.-76. 
 
 Border of pillow-made green silk lace, with a pattern worked 
 in outline in silk of shades of red and yellow. Acquired 
 in Crete. 18th centx. L. 6 ft. 3^ in., W. 1| in. Bought 
 (1907 to 2066, 250Z.) 1943.-76. 
 
 Insertion of pillow-made green silk lace, with a pattern 
 worked in double lines of red, yellow, and white. Ac- 
 quired in Crete. 18th cent7. L. 4 ft. 4 in., W. If in. 
 Bought (1907 to 2066, 250?.) 1944.-76. 
 
 Compare patterns of this and 1942. 
 
 Border of pillow-made red silk lace, with lozenge pattern 
 closely worked in yellow, green, and white silks. Ac- 
 quired in Crete. 18th centy. L. 5 ft., W. 1| in. Bought 
 (1907 to 2066, 250Z.) 1945.-76. 
 
 Border of drawn linen, embroidered with white thread, in 
 a check pattern edged with gold thread. Acquired in 
 Crete. I7th centy. L. 4 ft. 9 in., W. li in. Bought 
 (1907 to 2066, 250Z.) " 1946.-76. 
 
 Border of red silk pillow-made lace. Dark red sUk, with 
 pattern worked in outline of green, yellow, white, and 
 black silks ; and a blue edge. Acquired in Crete. 18th 
 centy. L. 5 ft, 6 in., W. 1 in. Bought (1907 to 2066, 
 250/.) 1947.-76. 
 
 Border of pillow-made red silk lace, with conventional 
 blossom ornament worked in double lines of blue, yellow, 
 and green silks ; with yellow and green edging. Ac- 
 quired in Crete. l7th centy. L. 3 ft. 9 in., W. 1 in. 
 Bought (1907 to 2066, 250?.). 1948.-76. 
 
CRETAN. 113 
 
 BoKDER of pillow-made red silk lace, with tree or pine- phlow-made 
 apple pattern worked in blue and green silks ; with green ^°^' 
 silk-twisted edging. Acquired in Crete. 18th centy. 
 L. 4 ft. 1 in., W. If in. Bought (1907 to 2066, 250/.) 
 
 1949.-76. 
 
 Insertion of pillow-made black silk lace, with pattern 
 
 work in single lines of red, yellow, and white silks. 
 
 Acquired in Crete. 18th cent?. L. 4 ft. .3^ in., W. 1 in. 
 
 Bought (1907 to 2066, 250Z.) 1950.-76. 
 
 Border of pillow-made gold-coloured silk lace, with a 
 
 running pattern worked in single line of crimson silk. 
 
 Acquired in Crete. 18th cent?. L. 3 ft. 8 in., W. If in. 
 
 Bought (1907 to 2066, 250Z.) 1951.-76. 
 
 Compare pattern of this -with that of 1933. 
 
 Border of pillow-made red thread lace, with pattern of 
 leaves and human figures worked in single lines of 
 yellow, green, and white silks ; with edge of green and 
 yellow silks twisted and plaited. Acquired in Crete. 
 18th centy. L. 3 ft. 2 in., W. 2 in. Bought (1907 to 
 2066, 250?.) 1952.-76. 
 
 Border of pillow-made brown silk lace, with contiguous 
 hexagonal patterns worked in double white silk lines 
 and small diamonds of green, white, pink, and blue silks. 
 Acquired in Crete. 18th centy. L, 4 ft. 6 in., W. 2 in. 
 Bought (1907 to 2066, 250/.) 1953.-76. 
 
 Border of brown thread lace, with trefoil pattern worked 
 in single lines of green, red, and black silks. Acquired 
 in Crete. 18th centy. L. 5 ft. 10 in., W. If in. Bought 
 (1907 to 2066, 250/.) 1954.-76. 
 
 Insertion of pillow-made lace of white thread, blue and red 
 silk edging. The pattern is worked in single lines of black 
 silk upon the white thread. Acquired in Crete. 18th 
 centy. L. 2 ft. 1 in., W. 1^ in. Bought (1907 to 2066 
 250/.) 1955.-76. 
 
 Border of pillow -made white thread lace, with blue and red 
 edges, similar in style of lacework and design to 1963 
 and 1970. Acquired in Crete. 18th centy. L. 5 ft. 6 in., 
 W. 2f in. Bought (1907 to 2066, 250/.) 1956.-76. 
 
 Border of pillow-made white thread lace, with pattern 
 worked in black silk outline and filled up lozenges of 
 green and yellow silks. Acquired in Crete. I7th centy. 
 L. 5 ft. 8 in., W. 1| in. Bought (1907 to 2066, 250/.) 
 
 1957.-7G. 
 
 Q3787. 11 
 
114 LACE. 
 
 Pillow-made BORDER of pillow-made white thread lace, with diamond 
 pattern of worked double and treble lines of red and white 
 silks and black thread. Acquired in Crete. 18th centy. 
 L. 4 fb. 9i in., W. U in. Bought (1907 to 2060, 2,50J.) 
 
 1958.-76. 
 
 Border of piUow-made brown silk lace, with a conven- 
 tional blossom pattern worked in single outline of blue, 
 red, green, black, and yellow silks. Acquired in Crete. 
 18th centy. L. 6 ft. 2 in., W. 2i in. Bought (1907 to 
 206G, 250?.) 1959.-76. 
 
 Border of pillow-made white thread lace, with conven- 
 tional leaf pattern worked in double lines of red and blue 
 silks ; and little buds of green, _yellow, and red silks. 
 Acquired in Crete. ISth cent?. L. 4 ft. 4 in., W. 2J in. 
 Bought (1907 to 2006, 2301.). 1960.-76. 
 
 Border of white thread lace, with bands of green and red 
 silk pillow-made lace, and lines of silk worked into them. 
 Acquired in Crete. 18th cent?. L. 2 ft. 7 in., W. 2 in. 
 Bought (1907 to 2066, 250Z.). 1961.-76. 
 
 Border of pillow-made brown silk lace, with pattern 
 worked in treble lines in red, white, green, and black 
 silks. Acquired in Crete. 18th centy. L, 5 ft. 9 in., 
 W. 2 in. Bought (1907 to 2066, 250?.) 1962.-76. 
 
 Border of pillow-made lace of buff thread. The various 
 diamond patterns are outlined with white silk run into 
 the lace. The edge is stitched with red silk, and bordered 
 with plaited green silk. Acquired in Crete. 3 8th 
 centy. L. 5 ft. 1] in., W. 2i in. Bought (1907 to 2066, 
 250/,). 1963.-76. 
 
 Boeder of pillow-made brown silk lace, with blossom 
 pattern worked in treble lines of yellow and white silks. 
 Acquired in Crete. 18th centy. L. 4 ft. 6 in., W. IJ in. 
 Bought (1097 to 2066, 250Z.) 1964.-76. 
 
 Compare patterns of this and 1982. 
 
 Insertion of pillow-made white thread lace, with conven- 
 tional flowers closely worked in red, green, blue, and 
 yellow silks. Acquired in Crete. 18th centy. L. 3 ft. 
 9 in., W. If in. Bought (1907 to 2066, 2501.) 
 
 1966.-76. 
 
 Border of pillovir-made white thread lace, with contiguous 
 hexagonal natterns worked in double black silk lines and 
 
CRETAN. 115 
 
 central diamonds of yellow, red, and blue silks (see also f^^^""'^^^^ 
 1953). Acquired in Crete. 18th centy. L. 2 ft. 8 in., 
 W. If in. Bought (1907 to 2066, 2501.) 1966.-76. 
 
 Border of pillow-made white thread lace, with a pattern 
 like that of 1988, worked in single lines of black silk ; 
 with red edge. Acquired in Crete, 18th cent?. 
 L. 3 ft. 8 in., W. IJ in. Bought (1907 to 2066, 2501.) 
 
 1967.-76. 
 
 Border of pillow-made white thread lace, with lozenge 
 pattern, bordered with a sort of trellis-work of treble 
 lines of red and green silks. Acquired in Crete. 18th 
 centy. L. 2 ft. Si in., W. 2^ in. Bought (1907 to 2066, 
 250?.) 1968.-76. 
 
 Border of pillow-made white thread lace, with a leaf 
 pattern and border worked with treble and single lines 
 of red, yellow, and black silks. Acquired in Crete. 
 18th centy. L. 3 ft. 10 in., W. 21 in. Bought (1907 to 
 2066, 250Z.) ^ 1969.-76. 
 
 Compare patterns of this aud 1922. 
 
 Border of pillow-made lace of buff thread, with white 
 silk run into the lace to outline the various diamond 
 shapes. Acquired in Crete. 18th centy. L. 6 ft., 
 W. 3 in. Bought (1907 to 2066, 250L) 1970.-76. 
 
 Compare with No. 1963.-'76. 
 
 Border of pillow-made white thread lace, with lozenge 
 pattern worked in double and single lines of red and 
 black silks. Acquired in Crete. 18th centy. L. 19 in., 
 W. 2f in. Bought (1907 to 2066, 250Z.) 1971.-76. 
 
 Border of pillow-made white thread lace, with a conven- 
 tional pattern closely worked in red, green, and yellow 
 silks outlined with black. Acquired in Crete. 18th 
 centy. L. 5 ft. 4^ in., W. 1-i- in. Bought (1097 to 2066, 
 250?.) 1972.-76. 
 
 Border of pillow-made white thread lace, with a sort of 
 lozenge pattern worked in single lines of red, green, 
 black, yellow, and blue silks. Acquired in Crete. ] 8th 
 centy. L. 5 ft. 7 in., W. 2^ in. Bought (1907 to 2066, 
 2501.) 1973.-76. 
 
 Border of pillow-made white thread lace, with a lozenge 
 pattern closely worked with pink, yellow, blue, green, 
 and black silks and gold thread. Acquired in Crete. 
 18th centy. L. 5 ft. 6 in., W. 2 in. Bought (1907 to 
 2066, 250?.) 1974.-76. 
 
 The gold thread has become blackened. 
 
 H 2 
 
116 LACE. 
 
 piLLo-w-MADE Border of pillow-made white thread laee, with diamond 
 pattern (see 1958), worked in double and single lines 
 of black, blue, yellow, red, green, and brown silks. 
 Acquired in Crete. 18th centy. L. 3 ft. 9 in., W. 2| in. 
 Bought (1907 to 2066, 250/.) 1975.-'7G. 
 
 Boeder of pillow-made white thread lace, embroidered 
 with crosses and lozenges in black, green, red, yellow, 
 and other coloured silks. Acquired in Crete. 18th 
 centy. L. 5 ft. 11 in., W. 2i in. Bought (1907 to 2066, 
 250/.) ' 1976.-76. 
 
 Border of pillow-raadc white thread lace, with a pattern 
 like that of No. 1938, worked in single lines in red and 
 black silks ; with an orange coloured edge. Acquired in 
 Crete. 18th centy. L. 7 ft. 8 in., W. If in. Bought 
 (1907 to 2066, 250/.) 1977.-76. 
 
 Border of pillow-made white thread lace, with conven- 
 tional flowers embroidered in black, yellow, red, and fair 
 green silks. Acquired in Crete ISth centy. L. 6 ft. 
 91 in., W. If in. Bought (1907 to 2060, 250/.) 
 
 1978.-76. 
 
 Border of pillow-made white thread lace, with pattern of 
 sprays of flowers and leaves worked in single lines of 
 blue and red silks. Acquired in Crete. 18th centy. 
 L. 21|- in., W. 3i in. Bought (1907 to 2066, 250/.) 
 
 1979.-76. 
 
 Border of pillow-made white thread lace, with lozenge 
 pattern embroidered in gold thread and coloured silks. 
 Acquired in Crete. 17th or 18th centy. L. 3 ft., W. 
 If in. Bought (1907 to 2066, 250/.) 1980.-76. 
 
 Border of pillow -made white thread lace, with lozenge 
 pattern worked in single lines of black, red, .and green 
 silk. Acquired in Crete. 18th centy. L. 6 ft. 6 in., 
 W. 2^ in. Bought (1907 to 2066, 250/.) 1981.-76. 
 
 Insertion of pillow-made brown silk lace, with blossom 
 pattern work in treble lines of red, yellow, and white 
 silks. Acquired in Crete. 17 th centy. L. 3 ft. 6 in., 
 W. 1 in. Bought (1907 to 2066, 250/.) 1982.-76. 
 
 Insertion of pillow-made brown thread lace, with pattern 
 in crimsdH and black threads. Acquired in Crete. I7th 
 centy. L. 4 ft. 9 in., W. 1 in. Bought (1907 to 2066, 
 250/.) 1983.-76. 
 
CRETAN. , 117 
 
 Insertion of pillow-made white silk lace, with zig-zags pii.t.ow-made 
 worked in red silk and squares in green. Acquired in 
 Crete. 17th centy. L. 4 ft. 10| in., W. 1 in. Bought 
 (1907 to 2066, 2501.) 1984.-76. 
 
 Border of pillow -made white thread lace, with contiguous 
 hexagonal patterns worked in double brown silk lines 
 and central diamonds of blue, brown, and red silks 
 Acquired in Crete. 18th centy. L. 3 ft. 8 in., W. 1^ in. 
 Bouglit (1907 to 2066, 2501.) 1985.-76. 
 
 Compare pattern ofthis and 1953. 
 
 Insertion of pillow-made white thread lace, with a con- 
 tinuous archaic pattern worked in treble lines of green 
 yellow, and red silks. Acquired in Crete. 18th cent., 
 L. 3 ft. 3i in., W. 1^ in. Bought (1907 to 2066, 2-50^.) 
 
 1986.-76. 
 
 Border of pillow-made lace of white thread and crimson 
 silk edges. The pattern is worked in single lines in 
 black silk upon the white thread. Acquired in Crete. 
 18th centy. L. 4 ft. 1 in., W. If in. Bought (1907 to 
 2066, 250?.) 1987.-76. 
 
 Border of pillow-made white thread lace. The pattern 
 
 consists of a row of female figures joining hands, drawn 
 
 in an archaic style, and outlined with red, black, yellow, 
 
 and green silks. Acquired in Crete. 18th centy. L. 
 
 3 ft. 1 in., W. 2 in. Bought (1 907 to 2006, 250^.) 
 
 1988.-76. 
 
 The figures seem to be those of peasants with large puiFed sleeves, 
 embroidered skirts and necklaces, more suggestive of Italian peasants than 
 of Turkish women, thus indicating Italian influence. Compare patterns of 
 this and of 2006-76. 
 
 Insertion of pillow-made white thread lace, with con- 
 ventional flowers embroidered in black, red, yellow, and 
 fair green silks (see also 1978). Acquired in Crete. 
 18th centy. L. 3 ft. 10 in., W. 1 in. Bought (1907 to 
 2066, 250?.) 1989.-76. 
 
 Insertion of pillow-made white thread lace embroidered 
 with silver thread. Acquired in Crete. I7th or 18th 
 centy. L. 2 ft., W. 1 in. Bought (1907 to 2066, 250Z.) 
 
 1990.-76. 
 
 Border of pillow-made white thread lace embi-oidered 
 with silver thread. Acquired in Crete. l7th or 18th 
 centy. L. 19 in., W. 2i in. Boirght (1907 to 2066. 2n0l.) 
 
 1991.-76. 
 
118 LACE. 
 
 If^E^''^^^^ Border of pillow-made white thread lace, worked in oval 
 open shapes and edged with silver thread of similar work 
 and pattern. Acquired in Crete. I7th or 18th centy. 
 Each L. 2 ft. 6 in., W. 2 in, Bought (1907 to 2066, 250?.) 
 
 1992.-76. 
 
 Border of pillow-made white thread lace embroidered 
 
 with rude leaf pattern in gold thread. Acquired in 
 
 Crete. 17th or 18th centJ. L. 4 ft. 4 in. and 17 in., 
 
 W. 1| in. Bought (1907 to 2066, 2501.) 
 
 1993, 1993c6.-'76, 
 
 Border of pillow -made white thread lace, with green 
 
 edging, embroidered with gold thread. Acquired in 
 
 Crete. 17th or 18th centy. L. 6 ft. 3 in., W. ]|in. 
 
 Bought (1907 to 2066, 250?.) 1994.-76. 
 
 Border of pillow-made blue silk lace, with pink edging, 
 embroidered with narrow strips of gold. Acquired in 
 Crete. 16th or 17th centy. L. 6 ft. 11 in., W. If in. 
 Bought (1907 to 2066, 250?.) 1995.-76. 
 
 Cuff or Trimming to a Sleeve of i^illow-made lace of pale 
 red silk " reseau," with a flower pattern in silver thread, 
 edged all round with the same. Acquired in Crete. 
 18th centy. L. 22i in., W. 4 in. Bought (1907 to 2066, 
 250/,.) 1996.-76. 
 
 Border of pillow-made lace of pale red silk " rdseau," with 
 a flower pattern in gold thread, edged all round with the 
 same. The pattern is done in a sort of gold tape lace. 
 Acquired in Crete. ISth centy. L. 10 ft. 9 in., W. Si in. 
 Bought (1907 to 2066, 250?,) 1997.-76. 
 
 Border of pillow-made white thread lace, with a wavy- 
 pattern of gold thread and edging of the same. Acquired 
 in Crete. ] 8th cent?. L. 6 ft. 2 in., W. 3^ in. Bought 
 (1907 to 2066, 250?.) 1998.-76. 
 
 This is suggestive of the later Chantilly laces outlined with gold and 
 silver threads, see 678-'75. 
 
 Cuff or Trimming to a Sleeve. Oblong piece of pillow- 
 mado blue silk and gold thread lace in alternate band.s. 
 Acquired in Crete. ? 17th centy. L. 19i in., W. 2J in. 
 Bought (1907 to 2066, 250?.) " 1999.-76. 
 
 Cuff or Trimjiinu to a Sleeve of pillow-made lace of 
 dove-coloured silk "reseau," with flowers in gold thread, 
 edged all lound with the same. Acquired in Crete. 
 ]8th centy. L. 21 in., W. 2i in. Bought (1907 to 2066, 
 250?.) 2000.-76. 
 
CEETAN. 119 
 
 Boeder of pillow made of white thread lace, with con- pillow-madb 
 ventional flowers done in gold threads run into the lace. ^^°^' 
 Acquired in Crete. 18th centx. L. 4 ft, 6 in., W. 2^ in. 
 Bought (1907 to 2066, 250t.) 2001.-76. 
 
 Boeder of white linen, embroidered with a flower pattern embeoideeed 
 in silk and gold thread. Acquired Crete. 16th or I7th •^'^^^'*- 
 centy. L. 4 ft. 7 in., W. If in. Bought (1907 to 2066, 
 250/.) 2002.-76. 
 
 Border of pillow-made white silk lace, with pattern of pillow-made 
 conventional rose blossoms and lozenges upon a " re'seau." ^'*'''^' 
 Acquired in Crete. 18th centy. L. 2 ft. 6 in., W. 4 in. 
 Bought (1907 to 2066, 250Z.) 2003.-76. 
 
 Border of pillow-made white silk lace, with running leaf 
 pattern. Acquired in Crete. 18th centy. L. 5 ft. 
 6 in., W. li in. Bought (1907 to 2066, 2501.) 
 
 2004.-76. 
 Compare patterns of this and No. 1922. 
 
 IlsrSEETlON of pillow-made white silk lace. Pattern, a series 
 of blossoms on " r^seau." Acquired in Crete. 18th 
 ceuty.. L. 4 ft. 4 in., W. 1 in. Bought (1907 to 2066, 
 250?.) 2006.-76. 
 
 Boeder of piUow-made lace of white thread, with pattern, 
 
 a row of female figures joining hands, upon a "rdseau." 
 
 Acquired in Crete. 18th centy. L. 2 ft. 3-| in., W. 2i in. 
 
 Bought (1907 to 2066, 250?.). 2006.-76. 
 
 Compare patterns of this and 1988. 
 
 Boeder of pillow-made lace of white thread, with a large 
 pattern of conventional flowers upon a " rdseau " of 
 hexagonal meshes of plaited threads. In the sides of the 
 meshes little holes are left as ornament. Acquired in 
 Crete. 18th centy. L. of each, 2 ft. 11 in., W. 41 in. 
 Bought (1907 to 2066, 250?.) 2007.-76. 
 
 The tape of the pattern is similar to that in specimens 1358-'55, and 
 277-80. 
 
 BoEDEE of pillow-made pink and white silk, worked in 
 chevron pattern. ? Cretan. 18th cenf. 19^ in. by 
 If in. Given by Professor A. H. Church. S1.-79. 
 
 Boeder of pillow-made lace of white thread, with a large 
 pattern of conventional flowers, between which are 
 fillings-in of varieties of plaitings and twistings. Ac- 
 quired in Crete. 18th centy. L. 6 ft., W. 4^ in. Bought 
 (1907 to 2066, 250?.) 2008.-76. 
 
120 
 
 LACE. 
 
 PiiLow-MADE Tippet of muslin and silk, with insertion and border of 
 unbleached pillow-made thi-ead lace. Acquired in Crete. 
 18th centy. L. of outer edge, 7 ft. Bought (1907 to 
 2066, 250Z.) 2012.-76. 
 
 Amongst all the other specimens of Cretan laces there is none of a pattern 
 like that of this, although the " reseau " or ground is of the ordinary type 
 adopted in Crete. 
 
 woeS''^"^"™^ Boeder of needle-point work upon cut linen, " Eeticella," 
 with vandyked edge of embroidery. Acquired in Crete. 
 17th centy. L. 6 ft. 9 in., W. 3 in. Bought (1907 to 
 2066, 250?.) 2009.-76. 
 
 Border, with vandyked edge, of needle-point work upon 
 cut linen, " Reticella," with pattern of various sizes of 
 men and women in costume of the early I7th century ; 
 tlie men wearing trunk hose, set in the squares of the 
 upper part of tiie border, and in the Vandykes of the 
 edging. The design is held together by " brides a picots.' 
 Acquired in Crete. Early 17th centy. L. 19 ft. 6 in., 
 W. S in. Bought (1907 to 2066, 250?.) 2010.-76. 
 
 Compare this kind of work with that of specimens 7508-'61, &c. 
 
MALTESE. 121 
 
 XIII. 
 
 MALTESE. 
 
 Border of pillow-made lace. Maltese. 19tli centy. L. If^"^'"^^^ 
 6 ft. 10 in., W. 4|- in. Bought, 19s, 8d 1 164.-'55. 
 
 Border of pillow-made lace. Maltese. lOth centy. L. 
 4 in., W. 2i in. Bought, 7d 13 76.-55. 
 
 Scalloped Border of pillow-made lace. Maltese. 19th 
 centy. L. 15 in., W. 3-1- in. Bought, 2s. lOd. 
 
 1178.-'55. 
 
 Scalloped Border of pillow-made lace. Maltese. 19th 
 centy. L. 14 in., W. 3i in. Bought, 2s. 5f/. 1179.-55. 
 
 Border of pillow-made lace ; vandyked. Maltese. 19th 
 centy. L. 11 in., W. 4 in. Bought, 2s. 4d 1180.-'55. 
 
 Border Lace ; vandyked. Imitation of white Maltese. 
 Irish. L. 11 in., W. 4 in. Bought, 2s. 4d 1181.-'55. 
 
 Vandyked Border of pillow-made lace. Maltese. 19th 
 centy. L. 11 in., W. 4 in. Bought, 2s. 4<d. 1182.-55. 
 
 Parasol Cover of black pillow-made lace, with the in- 
 scription of " God save the Queen " round the border. 
 Maltese. 19th centy. Diam. 2ft. Jin. Bought, 2L 12s. 6d 
 
 828.-68. 
 
 This parasol cover, with the next, No. 829, were made for the International 
 Exhibition of 1862. Both are of excellent workmanship. 
 
 Parasol Cover of pillow-made silk lace, white, black, and 
 red silks are used. Maltese. Diam. 2 ft. 3 in. Bought, 
 2l.l2s.6d. '829.-68. 
 
 Veil of white silk pillow-made lace ; wheel pattern in 
 border. Maltese. 19th centy. Diam. 2 ft. 4 in. Bought, 
 11. Is. 830.-68. 
 
122 LACE. 
 
 XIV. 
 
 JAMAICAN, PHILIPPINE, AND PAEAGUAYAN. 
 
 spewmens.^°^^ Lace Baek. Specimen of the inner bark of the lace bark 
 tree, " Daphne Lagetta." Jainaican. L. 5 in., W. 5 in. 
 Given by Mrs. Bury Palliser. 235.-69. 
 
 Tattcng done in aloe thread or grass at Manila. PJiilip- 
 pme Islands. 19th cent?. 7i in. by 2| in. Given by 
 Mrs. Bury Palliser. ^ 1180.-75. 
 
 Towel, of bnen, with embroidery done in white thread in 
 satin-stitch, and also in button-hole stitch, upon drawn 
 threads. Para/juoyan. 19th centy. L. 5 ft. 6 in., W. 
 23 in. 6s. 3d 881.-54. 
 
 Shirt, of muslin, with embroidery done in white thread in 
 the style of the Danish cambric embroideries. (See Nos. 
 756.-'GS, 1574.-72.) Paraguayan. 19th centy. L. 
 3 ft., W. 6 feet. IZ. 13s. 4d 887.-'54. 
 
 Petticoat, of linen, embroidered with blue thread and a 
 border of " lacis " or darned netting. Paragiiayan. 
 19th centy. 8 ft. by 2 ft. 7i in. 12s. Gc?. 882.-'54. 
 
123 
 
 List of Books on Lace in the National Art Library, 
 South Kensington Museum. 
 
 ADDA (Makquis Gikolamo d') : 
 
 Le Lit de Castellazzo. (Gazette des Beaux Arts, 1863, Vol. 
 XIV. 97.) 
 
 ■ Essai bibliographique sur les anciens modeles de Lingerie, de 
 
 Dentelles et de Tapisseries. Gazette des Beaux Arts, 1863, Vol. XV. 
 342, 1864, Vol. XVIL 421. 
 
 ALVIN (L.): 
 
 Les anciens Patrons de Broderies, de Deutelle et de Guipure. 4to. 
 Bruxelles, 1863. 
 
 AUBRY (FiLix) : 
 
 Rapport sur les Dentelles, les Blondes, les Tulles et les Broderies, fait 
 h, la Commission Frangaise du Jury International de I'Exposition 
 Universelle de Londres. 8vo. Paris, 1854. 
 
 ■ Dentelles, tulles, broderies, et passementeries. Reports, Paris 
 
 Exhibition, 1867, IV. p. 233. 8vo, Paris, 1868. 
 
 BELIN (Anioine) : 
 
 Sensuyent Us patrons de Messire Antoine Belin, etc. Small 4to. 
 (28 designs on 14 leaves of lace patterns, 16th cent.) Lyons, n.d. 
 
 BONE LACE : 
 
 Some considerations, humbly offered to the Honourable House of 
 Commons, concerning the Proposed Repeal of an Act lately passed to 
 render the Laws prohibiting the importation of Foreign Bone lace, &c. 
 more effectual. 4pp. Small folio. 
 
 BOCK (Ekanz) : 
 
 Besohreibender Katalog einer Sammlung von Spitzen und Kanten, 
 darstellend den geschichtlichen Entwickelungsgang der gesammten 
 Spitzen-Industrie vom XVI. bisxzum XrX. Jahrhundert. 31 pp. 8vo. 
 Aachen, n.d. (Catalogue of Lace purchased by the New Museum at 
 Dresden). 
 
 CLERGET (Ch. Ernest) : 
 
 Tracings by, filled in as facsimiles, of the following lace and other 
 pattern books : 
 
 La fleur dela Science de Pourtraicture, et patrons de Broderie, 
 
 etc. Small fol. 60 pp . of designs. Paris, F. Pelegrin, 1.530. 
 
 Splendora del virtuoso giovane. Sm, obi. 4to. 42 pp. of 
 
 designs. Venise, Francesco Calepino, 1563. 
 
124 LIST OF iiOOKS UN LACE. 
 
 CLERGET (C:n. Erkkst) :— 
 Tracings by, &c. — cont. 
 
 Triompho di Lavori, rtc. Sm. olil. 4to. 9 designs. Tadoui;, 
 
 Fra Hioronimo da Cividad da Vridi. (1555.) 
 
 • Patrons pour Brodeurs, Lingijrcs, Massons, Verriers, et autres 
 
 gens d'esprit. Sm. obL 4to. (Six tracings.') Paris, Vtc. Jean Rudlc. 
 n.d. 
 
 -— Patrons de divers manieres, etc. Sm. obi. 4to. (11 tracings.) 
 
 Lyons, Pierre de Ste. Lucie, 1590. 
 
 ^—^— La vera perfezione del Dcsigno, etc. Sm, obi. 4to. (23 
 tracings.) Venice, Francesco Senose, 1591. 
 
 COCIIERIS (Hh'polyte) : 
 
 liecueii de documents graphiqucs pour servir a I'llistoire des Arts 
 Industriels. Patrons de Broderie et de Lingerie du XVl" siecle. 
 Reproduits par le procede Lefman et Lourdel et publics d'apres )es 
 editions conservees a la Bibliotliciiuo jMazarine. Small 4to. Paris, 
 1872. 2nd edition. Small 4to. Paris, 1873. 
 
 COLE (Al.vn Schjierlt): 
 
 Ancient needlepoint and pillow lace. With notes on the history of 
 lace making, and descriptions of 30 examples. By Alan S. Cole. Under 
 the Science and Art Department of the Committee of Council on 
 Education. 20 photographs. Fol. London, 1875. 
 
 Lace. Article in "The Magazine of Art," London, 1879. 
 
 pp. 249-251. 
 
 Cantor Lectures on the art of Lace making, delivered before 
 
 the Society of Arts, April and May, 1881. 8vo. London, 1S81. 
 
 DUBLIN : 
 
 Museum of Science and Art. Catalogue of lacc collection compiled 
 by Alan S. Cole. 1878. 
 
 FELKIN (William) : 
 
 History of Machine-wrought Hosiery and Lacc Manufactures. Royal 
 8vo. London, 1867. 
 
 FERTIAULT (Fkan^ois be) : 
 
 Histoire de la Dentelle. Par. il. de . . , With woodcuts. 12mo. 
 Paris, 1843. 
 
 FISCHER (Hugo) : 
 
 Teohnologische Studieu im Sachsischen Erzgebirge von Hugo Fischer. 
 Mit einem vorwort von Dr. E. Hartig. With 17 plates. 8vo. Leipzig, 
 1878. 
 
 FRANCO (GiAcoMo): 
 
 Nvova Inventione de diuerse mostre mostre cosl di punto in aere, etc. 
 Sm. obi. 4to. (6 pp. of designs and title.) Venice, 1596. 
 
 Facsimile reproduction of the above complete. Nvova Inventione de 
 
 diverse mostre cosi di punto in aere, etc. Sm. obi. 4to. (24 pp. lace 
 designs.) Venice, 1596. Edited by F. Ongania, Venice, 1876. 
 
 FRENCH (GilbektJ.): 
 
 The Tippets of the Canons Ecclesiastical. With illustrated woodcuts. 
 8to. London, 1850. 
 
 GOUBAUD (Madame) : 
 
 Madame Goubaud's book of Guipure d'Art. 98 illustrations. Small 
 4to. London, 1869. 
 
LIST OF BOOKS ON LACE. 125 
 
 GOUBAUD (Madame) : 
 
 Madame Goutaud's pillow lace patterns, and instructions in Honiton 
 lace mailing. Numerous illustrations. Small 41o. London, 1871. 
 
 HAILSTONE (S. H. Lilla) : 
 
 Catalogue of a collection of lace and needlework, with a list of books 
 on the same subject, both formed by, and in the possession of Mrs. Hail- 
 stone, of Horton Hall. Illustrated by photographs. Small 4to. London. 
 Privately printed, 1868. 
 
 HAILSTONE (S. H. Lilla) : 
 
 Designs for Lacemaking. 40 coloured plates. 4to. London, 1 870. 
 
 HAWKINS (Daisy Watekhouse) : 
 
 Old Point Lace and how to copy and imitate it. By D. W. H. With 
 1 7 illustrations by the author. 8vo. London, 1878. 
 
 JESURUM (Michel Anqelo) : 
 
 Cenni Storici e Statistic! suU' Industria dei Merletti. 8vo. Venice, 
 1873. 
 
 LACE: 
 
 Statistics ofthe Bobbin Net Trade, &c. Pol. Nottingham, 1833-36. 
 
 LACE : 
 
 Lacemaking as a Fine Art. Prom the " Edinburgh Keview," January 
 1872. 8vo. 
 
 LACE MANUFACTCJRE : 
 
 Pabrication de la Dentelle dans le Departemeut du Khone, et les 
 departemeuts limitrophes. Industrie sp6ciale de la Maison Dognin ct cie. 
 4to. Lyon, 1862. 
 
 LACE: 
 
 The Queen Lace Book, a historical and descriptive account of the 
 handmade antique laces of all countries. Part I. — IMediEBval Lacework 
 and Point Lace. With 30 illustrations of lace specimens, and seven 
 diagrams of lace stitches. 4to. London, 1874. 
 
 LACE: 
 
 Traite de la Dentelle Irlandaise et des jours a 1' Aiguille (Point 
 d'Alen9on"). Ouvrage illustre de 149 gravures. Deuxifeme edition, 
 revue et augmentee). Post 8vo. Paris, 1876. 
 
 LACE AND OTHEE PATTERNS : 
 
 Verschiedene Modell zum Stricken und Nahen, verlegt und zu finden 
 bey Marx Abraham Eupprecht, Johaun Christoph. Haffher, seel. Erben 
 Kunstverbeger, in Augsburg. 14 plates. Small oblong fol. Augsburg, 
 n.d. 
 
 LACE AND OTHEE PATTERNS : 
 
 Venetian, 16th century. 12 leaves of woodcut designs from a Venetian 
 lace book of the end of the 16th century. Sm. obi. 4to. n.d. 
 
 LACE AND OTHEE PATTERNS : 
 
 Sensuyuent les Patrons de Messire Antoiue Belin, Reclus de sainct 
 Marcial de Ljon. Item plusiours aultres patrons normeaulx, qui ont 
 inuentez par frere Jehan mayol, Carme de Lyon. (22 patterns and title 
 4to. Lyon, n.d. 
 
 LACE AND OTHEE PATTERNS : 
 
 Wilhelm Hoffmann's Spitzen-Musterbuch. Nach der im Besitze des 
 k. k. Oesterr. Museums befindlichen original-aus gabe vom Jahre 1607 
 herausgegeben vom k. k. Oesterreichischen Museum fiir Kunst und 
 Industrie. Mit cinem borwort, Titelblatt und Musterbliittem. (18 
 photo-lithogr. plates, and frontispiece). Oblong fol. Wien, 1876. 
 
12G LIST OF BOOKS ON LACE. 
 
 LACE PATTERNS : 
 
 Gioiello corona per le nobili, e virtvose Donne, libro qvarto. Nel 
 quale si dimostra altri nuoui bellissimi dissegni di tulle le sorte di Mostre 
 di l^unti in Aria, Punti tagliati, & Punti a Retieello ; cosi per Freggi, 
 come per Merli & Rosette, che con I'Acs si vs ano hog gi di per tutta 
 Europa. Et molte delle quali Mostre possous seruire anchora per Opere 
 a Mazzette. Nuouameute posto in luce con molte bellissime inuentioni 
 non mai pui vsate, ne vedute. Con Privilegio. In Venetia, Appresso 
 Cesare Vecellio, in Frezzaria nelle Case del Preti, 1593. (Facsimile 
 Eliotipica dcUa stampa origiuale esistente nella R. Biblioteca Marciana 
 in Venezia). Obi. 4to. Venezia, 1876. 
 
 LACE PATTERNS : 
 
 Corona delle nobile et virtvose. 2nd edition of the facsimile edition by 
 F. Ongania. Oblong 4to. Venezia, 1879. 
 
 LACE PATTERNS : 
 
 Serena Opera Nova di Recami, nella qvale si ritrova varie & diuerse 
 sorte di punti in stuora, &. punti a filo, & medosimamente di puuto scritto 
 & a fogliami, & puuto in stuora a scachetti, & alcuni groppi iueordonati, 
 & rosete, done ogni virtuosa giouene potra facilissimamente fare ogni 
 sorte di bellisimo lauoriero. Opera non men vtile che necessaria. 
 Oblong 4to. Venezia, Domeuico de' Frauceschi, 1564. (27 patterns. 
 Facsimile, edited by F. Ongania, Venezia, 1879.) This forms Part X. of 
 the " Kaccolta di Opera antiche sui disegni dei Merletti di A^enezia." 
 
 LACE and CROCHET : 
 
 French patterns for crochet and lace borders, -with instructions for 
 ■workers. 4to. n.p. n.d. 
 
 LADIES ALBUM OF FANCY WORK : 
 4to. London, 1850. 
 
 LONDON EXHIBITION, 1851 : 
 
 Reports of the Juries. Class XIX., pp. 4G0-476. Tapestry, lace, 
 embroidery, &c. 8vo. London, 1 852. 
 
 LONDON EXHIBITION, 1862 : 
 
 Reports of the Juries. Class XXIV. Tapestry, lace, and embroidery. 
 8vo. London, 1863. 
 
 MACRAMfi LACE : 
 
 A knotted trimming, &c. By the Silkworm (the Silltworm series). 
 8to. London, n.d. (1875). 
 
 MERLI (Antonio) : 
 
 Origine ed uso delle Trine a Filo di Refc. With 100 examples on 
 6 lithograph plates. 4to. Geneva, 1864. 
 
 MINERVA: 
 
 Zierlich-webende Minerva, oder neu-erfundenes Kunst-unh Bild-Buch 
 der Weber-und Zeichner-Arbeit, &c. 12 pp. text ; 49 pi. ; uncut, 
 sm. sto, mounted in folio. Niimberg (Johaun Christ. Weigel). n.d. 
 
 MODELBUCH ; 
 
 New Modelbuch von allerhandt Art, nehens und Stickeus, etc. 
 153 woodcut patterns. Fcp. 4to. Frankfort a/m. Niclas Bassee. 1571. 
 
 MODELBUCH : 
 
 New Model Buch. Darinnen allerley Gattung schbner Mbdeln der 
 Newen aussgeschitnen Arbeit * * zu neyen, etc. (Woodcuts, Venetian 
 designs, nprint of the third book of Vecellio's "Corona.") Obi. 8vo. 
 St. Galleu, 1593. See Vecellio (Cesare). 
 
LIST OF BOOKS ON IjACE. " 127 
 
 MOBELBUCH: 
 
 New Modelbuch darinnen allerley aussgeschnittene Arbeit * * erst 
 newlieh erfundeu. Sm. 4to. (Woodcut patterns for lace.) Miimpelgarten 
 (Montbdliard). Jacob Foillet, 1598. 
 
 MODELBUCH : 
 
 Facsimile reproduction. Gantz new Modelbuch kiinstliclier und 
 lustiger Visirung und Muster, &c. Obi. fo. 18 pp. of lace designs. 
 Frankfurt a/m., 1607. Edit, by F. Ongania. Venice, 1878. 
 
 NEU UND STRICKBUCH (Neues) : 
 
 Eiir das scbone Geschlecht, &c. (27 plates of designs for Samplers 
 and other needlework). Obi. small fol. Niirnberg and Leipzig, 1874. 
 
 NOTTINGHAM : 
 
 Patterns of Nottingham lace, referred to in the report of the Notting- 
 ham School of Design, March 1850. (73 patterns in a folio cover.) 
 
 NOTTINGHAM : 
 
 Catalogue of Special Loan Exhibition of Lace at the Midland Counties 
 Fine Art Museum, 1878. By Alan S. Cole. 
 
 NUREMBERG (Geeman Museum) : 
 
 Katalog der im Germanischen Museum befindlichen Gewebe und 
 Stickereien, &c. "With 20 plates. Large 8vo. Niirnberg, 1869. 
 
 ORNAMENTO DELLE BELLE ET VIRUOSE DONNE, etc.: 
 
 .32 leaves, with woodcut designs on both sides. Venetian, 16th century. 
 Sm. 4to. n.p., n.d. 
 
 OSTAUS or OSTANS (Joannes) : 
 
 La vera perfettione del disegno di varie sorti di Ricami, et di cucire 
 de punti a fogliami punti tagliati, punti a fill e rimessi, punti in cruciati, 
 etc. 4to. Venetia, 1567. 
 
 OSTAUS (Gio) : 
 
 Facsimile reproduction. La Vera Perfettione del disegno di varie Sorti 
 di Recami, etc. xxx., in Venetia appresso Gio Ostaus, 1567. Obi. 4to. 
 5 pp., title, &c., and 35 pp. of designs. Edit, by F. Ongania, Venice, 
 1878. 
 
 PAGANINO, Ai-ESSANDEO : 
 
 Libro primo. De reohami p elquale se impara in diuersi modi 
 lordine e 11 modo de recamare, cosa no mai piu fatta ne stata mostrata, 
 el qual modo se insegna al lettore voltando la carta. Opera noua. Fac- 
 simile of the original edition of 1527, edited by F. Ongania. 8vo. 
 Venezia, 1878. This forms Part IX. of "Raccolta di Opere antiche sui 
 disegui dei Merletti di Venezia." 
 
 PAGANI (Matio) : 
 
 L'honesto Essempio del uertuoso desiderio " * circa lo imparare i 
 punti tagliati a fogliami (Woodcut designs for lace.) 32 pp Post 
 8vo. Venice, 1550. 
 
 PALLISEE (Mrs. F. Buet) : 
 
 History of lace. 8vo. London, 1865. 3rd edition. 8vo. London 
 1869. 3rd edition. 8vo. London, 1875. ' 
 
 Lace. From the Quarterly Review, July, 1868. 
 
128 LIST OF BOOKS ON LACE. 
 
 PALLISER (Mrs. F. Bury) : 
 
 Notes oa the history of lace, by Mrs. B. P., to which is added a 
 catalogue of specimens of lace, selected from the Museum at South 
 Kensingtou. Contributed as a loan to the Midland Counties Museum 
 of Science and Art, Nottingham. With 1 4 illustrations. 8vo. London, 
 1872. 
 
 PARIS EXHIBITION (1867): 
 
 Report by M. P. Aubry. (.Jury Reports, IV., p. 223.) See also 
 Aubry (F.) 
 
 PARIS EXHIBITION (1807): 
 
 Report by Mrs. PaUiser. Vol. 3., p. 109. .S\'c; also Palliser (Mrs. 
 F. B.) 
 
 RIEGO DE LA BRANCHARDIERE (.Mile.) : 
 
 The Netting Book for Guipure d'Art, &e. By Mile. Riego de la 
 Brauchardieie. Obi. IGrao. London, 1868. 
 
 DE RECHA.MI 
 
 Per elquale se impara in diversi modi, Torduie el il modo de recamare, 
 &c. Libro. Secondo ... terzo .. quarto. (Reprint.) (Plates of em- 
 broidery patterns.) 8vo. n.p., n.d. 
 
 EOMANA (LucKETLi) . 
 
 Facsimile reprint. Ornamento, Nobile, per ogni gentil Matrona, etc. 
 (folio, U pp. lice designs). Venice, IGJJ. Elit. by P. Ongania, 
 Venice, 1876. 
 
 SAINTE-CROIX (Dr. Le Roy ni:) 
 
 Parement d'Autel ancien en Dentelle et Broderie, appartenent a Mrs. 
 Hailstone. 8vo. Wakefield and Paris. 1874. 
 
 SCOTT (E.) . 
 
 Flowers in point lace, by E. S. Obi. 4to. London, n.d. 
 
 SEGTJIN (,JosEi-ii) : 
 
 La Dentelle ; histoire, description, fabrication, bibliographie, oruee de 
 cinquante Planches phototypographiques facsimile de Dentelles de toutes 
 les cpoques. Passements aux Fuseaux-Points coupes h 1' Aiguille-Points 
 de Venise, de Genes, de France, Guipures, Valenciennes, Malines, Points 
 d'Alengon, de Sedan, de Bruxelles, d'Angleterre, Blondes, Chantilly, etc., 
 et de nombreuses Gravures d'apres les meiileurs Maitres des XVI" el 
 XVIP Sifecles. Fol. I'aris, 1875. 
 
 SIBMACHER or SIEBMACHER (H.VNs) : 
 
 H. Silmiacher's Stick-und Spitzen Musterbueh. Nach der Ausgabe 
 vom Jahre 1597. (Scbou Neues Modelbuch von allerley lustigne 
 Modeln naczunehen Ziiwiircken vii Ziisticke) in facsimilirten Copien 
 
 heraus gegeben vom k. k. Oesterreichischen Museum With 35 
 
 plates. Obi. 8vo. Wicn, 1866. 
 
 Neu Modelbuch. With 58 plates. Obi. 8vo. Niirnberg, 1G04. 
 
 • J. Sibmacher's Neues Stick-and Spitzen -Musterbueh in 60 
 
 BliUtern. Nach der Ausgabe vom .Jahre 1604 herausgegeben von 
 Dr. J. G. Georgens. Obi. 8vo. Berlin, 1874. {Reprint.} 
 
 Facsimile reproduction. Stick-und Spitzen Musterbueh (Reprod. of ed. 
 1597). 35 plates. Obi. 8vo. Wien, 1866. 
 
 Thirty-seven plates from Hans Sibmacher's " Newes Modelbuch." 
 Obi. Bvo. Niirnberg, 1604. 
 
 Twenty plates from Hans Sibmacher's " Sohija Neues Modelbuch 
 von allerley Instigen Modeln natzunehen zu wiircken vn zu sticke." 
 Obi. 8vo. Niirmberg, 1597. 
 
 Nineteen plates from Hans Sibmacher's "Modelbuch." Obi. Bvo. 
 Niirnberg, 1601. 
 
LIST OF BOOKS ON LACE, 129 
 
 STASSOF (W.) : 
 
 L'Ornement National Eusse. , Ime. Livraison, Broderies, Tissus, 
 Dentelles. (Coloured illustratioks, text in Russian and French.) Fol. 
 St. Petersburg, 1872. - 
 
 TOUCHE (V.) : 
 
 The Handbook of Point Lace. 4th ed. Pub. by Wm. Barnard. 
 Obi. 4to. London, 1869. 
 
 TREADWIN (Mrs.) : 
 
 Antique point and Honiton lace. Containing plain and explicit in- 
 structions formaking, transferring, and cleaning laces of every description. 
 With about 100 illustrations, outlines, and pickings of the principal 
 Antique point stitches and Honiton springs. Sm. 4to. London, n.d. 
 
 URBANI (G. M., DE CfHELTOp) : 
 
 I Merletti a Venezia. Sm. 4to. Venezia, 1876. 
 
 VAVASSORE (Gio. Andrea) : 
 
 Opera Nova Universal intitulata corona di raeammi, etc. (Woodcut 
 designs for lace, 16th cent.) 36 pp. Sm. 4to. Venice, n.d. 
 
 • Facsimile reprint of the above. Sm. 4to. Edit, by F. Ongania. 
 
 Venice, 1878. 
 
 VECELLIO (Cesaee) 
 
 Corona deUe Nobili et Virtuose Donne". (22 pp. of lace designs from 
 the 1st and 2nd books of the original edition.) Obi. 8vo. Venice, 
 1600. 
 
 - Corona delle Nobili et Virtuose Donne. Libro terzo. Obi. 8vo. 
 
 (Reprint in 1620 of Venetian 16th century patterns for lace.) 27 pp. 
 Venice, 1620. 
 
 Facsimile reprint. Gioiella della Corona per le nobile, e 
 
 Virtuose Donne. Libro quarto. (30 pp. of lace designs.) Venice, 1593. 
 Edit, by F. Ongania. Venice, 1876. 
 
 ■ Facsimile reprint. Corona della nobili et Virtuose Donne, etc. 
 
 (3 books, 78 pp. of lace designs.) Obi. 4to. Venice, 1600. Edit, by 
 F. Ongania. Venice, 1876. 
 
 Q 3787. 
 
130 
 
 Photographs of Lace in the Art Library, South 
 Kensington Museum. 
 
 Portfolio 
 No. 
 LACE. Design. Exhibited at the Paris Exhibition, 1867, Class 8. 819 
 
 PILLOW MADE LACE. Devonshire. 19th century. Made for 
 Messrs. HoweU and James, shown at the Paris Exhibition, 
 1878 602 
 
 HEALD. Design for lace. By Heald, of Nottingham 428 
 
 ENGLISH NEEDLE-POINT LACE. Early 17th century. Two 
 
 Photographs ■ - 428 
 
 OLD BRUSSELS LACE. The property of Her Majesty the 
 
 Queen - - 111 
 
 LACE, shown in the Exhibition of the 22nd September 1872 at the 
 
 "Institut des Beaux Arts," Malines, Belgium. 20 Photographs 428 
 
 BRUSSELS PILLOW LACE. Date 1770-1780. The property of 
 
 Mrs. Greville - 428 
 
 LAPPET. Mechlin lace. Flemish. 17th century 428 
 
 PIECE OF LACE. Fine Mechlin. 18th century 428 
 
 LAPPET. Muoliliu lace, close flower pattern. J 8th century 428 
 
 LAPPETS, a pair. Mechlin lace, -with large scroll pattern of flowers 
 
 and leaves, and waved edge. 18th century - 428 
 
 PORTION OF A TABLIER OF PILLOW LACE. Full size. 
 Flemish. Commencement of 18th century. Lent hy Mrs. 
 Greville 428 
 
 BLACK BAYEUX LACE. Exhibited by Messrs. Lefebure, 
 
 Bayeux. Paris Exhibition, 18G7, Class 33 319 
 
 LACE. Bedfurniture, said to have belonged to Marie Antoinette 116 
 
 POINT COLBERT. Reproduction of Venetian Point. By Messrs. 
 
 Lefebure, Bayeux. Paris Exhibition, 1867, Class 33 - 319 
 
 POINT D'ALENgON. Period of Louis XIV. Rheims Cathedral 333 
 POINT D'ALEN^ON. 18th century. {Masie retrospective.) In 
 " I'Art ancien. Photographies des collections celebres, par 
 Franck." Paris (1868) 366 
 
 ALENfON POINT. 18th century 360 
 
 FLEMISH PILLOW LACE. Maleque et Aymard. In " Album 
 
 Photographique." 78 
 
 LACE. 16th century. In A. von Minutoli's " Vorbilder fiir Hand- 
 werker und Fabrikanten." (Liegnitz, 1853), Vol. 1. 
 
 PILLOW LACE. Genoese. 17th century. Lent by Mrs. C. S. 
 
 Roundell - - 428 
 
 FICHU. Venetian. About 1680-1700. Lent by Mrs. Greville - 428 
 
 VENICE POINT AND POINT D'ARGENTAN, on loan at the 
 
 Museum of Industrial Art, Milan, 1874 - 559 
 
 RUSSIAN LACE, belonging to H.R.H. the Duchess of Edinburgh 539 
 
131 
 
 Table of Reference from the Register Numbers of the 
 Specimens to the pages in which they are described. 
 
 Number. 
 
 Page. 
 
 Number. 
 
 Page. 
 
 Number. 
 
 Page 
 
 25 ('65.) 
 
 16 
 
 152 ('80.) 
 
 3 
 
 205 ('75.) 
 
 - 74 
 
 29 ('69.) 
 
 - 35 
 
 153 ('80.) 
 
 3 
 
 206 ('75.) 
 
 74 
 
 30 ('69.) 
 
 - 45 
 
 163 ('65.) 
 
 63 
 
 207 (75.) 
 
 74 
 
 30 ('78.) 
 
 - 88 
 
 164 ('65.) 
 
 34 
 
 208 ('75.) 
 
 74 
 
 31 ('79.) 
 
 - 119 
 
 165 ('65.) 
 
 - 40 
 
 209 ('75.) 
 
 73 
 
 31 ('80.) 
 
 61 
 
 166 ('65.) 
 
 34 
 
 210 (75.) 
 
 73 
 
 32 ('80.) 
 
 61 
 
 167 ('65.) 
 
 63 
 
 211 ('75.) 
 
 73 
 
 33 ('80.) 
 
 61 
 
 176 ('75.) 
 
 - 37 
 
 212 (75.) 
 
 73 
 
 34 ('80.) 
 
 18 
 
 178-178a('75 
 
 )- 70 
 
 213 ('75.) 
 
 73 
 
 35 ('80.) 
 
 47 
 
 179 ('75.) 
 
 70 
 
 214 (75.) 
 
 73 
 
 36 ('80.) 
 
 47 
 
 180 ('75.) 
 
 70 
 
 215 ('75.) 
 
 73 
 
 37 ('80.) 
 
 65 
 
 181 ('75.) 
 
 71 
 
 216 ('75.) 
 
 74 
 
 38 ('80.) 
 
 - 52 
 
 182 ('75.) 
 
 71 
 
 217 (75.) 
 
 77 
 
 39 ('74.) 
 
 19 
 
 183 ('75.) 
 
 - 70 
 
 218 ('75.) 
 
 74 
 
 39 ('80.) 
 
 - 50 
 
 184 ('75.) 
 
 70 
 
 219 (75.) 
 
 79 
 
 40 ('80.) 
 
 - 47 
 
 185 ('75.) 
 
 71 
 
 220 ('75.) 
 
 76 
 
 41 ('80.) 
 
 - 50 
 
 186 ('75.) 
 
 - 78 
 
 221 ('75.) 
 
 76 
 
 45 ('66.) 
 
 - 82 
 
 187 ('74.) 
 
 18 
 
 222 (75.) 
 
 76 
 
 47 ('79.) 
 
 - 20 
 
 188 ('74.) 
 
 32 
 
 223 ('75.) 
 
 74 
 
 57 to 57/ ('70.) 82 
 
 188 ('75.) 
 
 71 
 
 224 ('75.) 
 
 - 74 
 
 58 ('70.) 
 
 45 
 
 189 ('75.) 
 
 78 
 
 225 ('75.) 
 
 ' 74 
 
 59 ('70.) 
 
 35 
 
 190 ('75.) 
 
 79 
 
 226 (75.) 
 
 75 
 
 60 ('70.) 
 
 58 
 
 191 ('75.) 
 
 72 
 
 227 ('75.) 
 
 74 
 
 61 ('70.) 
 
 17 
 
 192 ('75.) 
 
 72 
 
 228 (75.) 
 
 76 
 
 66 ('71.) 
 
 - 36 
 
 193 ('75.) 
 
 72 
 
 229 ('69.) 
 
 67 
 
 76 ('79.) 
 
 23 
 
 194 ('75.) 
 
 72 
 
 229 ('75.) 
 
 75 
 
 79 ('79.) 
 
 96 
 
 195 ('74.) 
 
 - 88 
 
 230 ('69.) 
 
 67 
 
 117 ('77.) 
 
 95 
 
 195 ('75.) 
 
 72 
 
 230 ('75.) 
 
 75 
 
 118 ('77.) 
 
 - 95 
 
 196 ('74.) 
 
 84 
 
 231 ('69.) 
 
 67 
 
 128 ('70.) 
 
 - 35 
 
 196 ('75.) 
 
 72 
 
 231 ('75.) 
 
 79 
 
 129 ('70.) 
 
 - 36 
 
 197 ('74.) 
 
 46 
 
 232 ('69.) 
 
 66 
 
 130 ('70.) 
 
 - 63 
 
 197 ('75.) 
 
 72 
 
 232 ('75.) 
 
 79 
 
 131 ('70.) 
 
 63 
 
 198 ('75.) 
 
 72 
 
 233 ('69.) 
 
 19 
 
 136 ('69.) 
 
 14 
 
 199 ('75.) 
 
 72 
 
 233 ('75.) 
 
 75 
 
 139 ('80.) 
 
 7 
 
 200 ('75.) 
 
 71 
 
 233 ('80.) 
 
 80 
 
 141 ('80.) 
 
 23 
 
 201 ('75.) 
 
 - 73 
 
 234 ('69.) 
 
 99 
 
 149 ('80.) 
 
 3 
 
 202 ('75.) 
 
 71 
 
 234 ('75.) 
 
 75 
 
 150 ('80.) 
 
 3 
 
 203 ('75.) 
 
 71 
 
 235 ('69.) 
 
 122 
 
 151 ('80.) 
 
 3 
 
 204 ('75.) 
 
 73 
 
 235 ('75.) 
 
 76 
 
 I 2 
 
132 
 
 TABLE OF REFERENCE. 
 
 Number. 
 
 Page. 
 
 Number. 
 
 Page. 
 
 235 ('80.) 
 
 80 
 
 318 
 
 ('69.: 
 
 84 
 
 236 ('75.) 
 
 77 
 
 319 
 
 ('69.' 
 
 ) 84 
 
 237 ('75.) 
 
 76 
 
 319 
 
 (•78.- 
 
 88 
 
 238 ('75.) 
 
 75 
 
 320 
 
 ('69.' 
 
 84 
 
 239 ('75.) 
 
 75 
 
 321 
 
 ('66. 
 
 ) 14 
 
 240 ('75.) 
 
 75 
 
 322 
 
 ('66.; 
 
 14 
 
 241 ('75.) 
 
 75 
 
 321 
 
 ('69. 
 
 84 
 
 242 (-75.) 
 
 76 
 
 322 
 
 ('69.' 
 
 ) 84 
 
 243 ('75.) 
 
 76 
 
 323 
 
 ('66. 
 
 ) 52 
 
 243 ('79.) 
 
 61 
 
 323 
 
 ('69. 
 
 ) 35 
 
 244 ('75.) 
 
 76 
 
 323 
 
 ('72. 
 
 ) 82 
 
 244 ('79.) 
 
 40 
 
 324 
 
 ('69. 
 
 ) 45 
 
 245 ("75.) 
 
 76 
 
 325 
 
 ('69. 
 
 ) 62 
 
 245 ('79.) 
 
 65 
 
 326 
 
 ('69. 
 
 ) 66 
 
 246 ('75'.) 
 
 77 
 
 327 
 
 ('69. 
 
 ) 40 
 
 246 ('79.) 
 
 47 
 
 339 
 
 ('80. 
 
 ) 88 
 
 247 ('75.) 
 
 77 
 
 340 
 
 ('80. 
 
 ) 88 
 
 247 ('79.) 
 
 18 
 
 341 
 
 ('80. 
 
 88 
 
 247a ('79.) 
 
 47 
 
 343 
 
 ('80.; 
 
 40 
 
 248 ('75.) 
 
 77 
 
 354 
 
 ('68.; 
 
 57 
 
 248 ('79.) 
 
 18 
 
 364 
 
 ('76.; 
 
 57 
 
 249 ('75.) 
 
 77 
 
 370 
 
 ('76.; 
 
 22 
 
 249 ('79.) 
 
 40 
 
 375 
 
 ('77.; 
 
 23 
 
 250 ('75.) 
 
 78 
 
 376 
 
 ('77.; 
 
 23 
 
 250 ('79.) 
 
 19 
 
 377 ('77. 
 
 ) 23 
 
 251 ('75.) 
 
 78 
 
 378 ('77. 
 
 ) 23 
 
 252 ('75.) 
 
 78 
 
 379 
 
 ('77. 
 
 23 
 
 253 ('66.) 
 
 21 
 
 380 
 
 ('77.; 
 
 23 
 
 253 ('75.) 
 
 78 
 
 381 
 
 ('77. 
 
 ) 24 
 
 254 ('75.) 
 
 78 
 
 382 
 
 (•77. 
 
 ) 24 
 
 256 ('75.) 
 
 40 
 
 383 
 
 (•72, 
 
 46 
 
 259 ('75.) 
 
 106 
 
 383 
 
 (•77. 
 
 ) 24 
 
 260 ('75.) 
 
 106 
 
 384 
 
 ('72. 
 
 ) 51 
 
 261 ('75.) 
 
 106 
 
 384 
 
 ('77. 
 
 ) 24 
 
 263i ('80.) 
 
 80 
 
 385 
 
 ('72.' 
 
 51 
 
 267 ('80.) 
 
 80 
 
 385 
 
 ('77. 
 
 ) 24 
 
 270 ('80.) 
 
 48 
 
 386 
 
 ('72.' 
 
 51 
 
 274 ('75.) 
 
 10 
 
 386 
 
 ('77.' 
 
 24 
 
 284-284a('80.) 
 
 - 80 
 
 387 
 
 ('72. 
 
 51 
 
 304 ('78.) 
 
 98 
 
 387 
 
 ('77. 
 
 ) 24 
 
 313 ('69.) 
 
 8 
 
 388 
 
 ('77. 
 
 ) 24 
 
 313 ('76.) 
 
 106 
 
 389 
 
 ('77. 
 
 ) 24 
 
 314 ('69.) 
 
 7 
 
 390 
 
 (•77. 
 
 ) 24 
 
 314 ('76.) 
 
 1U3 
 
 391 
 
 (•77. 
 
 ) 25 
 
 315 ('69.) 
 
 10 
 
 392 
 
 ('77. 
 
 ) 25 
 
 315 ('76.) 
 
 105 
 
 393 
 
 ('77. 
 
 1 2. J 
 
 316 ('69.) 
 
 9 
 
 394 
 
 ('77. 
 
 ) - 25 
 
 317 ('69.) 
 
 84 
 
 395 
 
 ('77. 
 
 1 25 
 
 317 ('78.) 
 
 91 
 
 396 
 
 (•77. 
 
 ) 25 
 
 Number. 
 
 397 ('77.) 
 
 398 ('77.) 
 
 399 ('77.) 
 
 400 ('77.) 
 
 401 ('77.) 
 
 402 ('77.) 
 
 403 ('77.) 
 
 404 ('77.) 
 
 405 ('77.) 
 
 406 ('77.) 
 
 407 ('77.) 
 
 408 ('77.) 
 
 409 ('77.) 
 
 410 ('77.) 
 
 411 ('77.) 
 
 412 ('77.) 
 
 413 ('72.) 
 
 413 ('77.) 
 
 414 ('77.) 
 
 415 ('77.) 
 
 416 ('72.) 
 
 416 ('77.) 
 
 417 ('77.) 
 
 418 C??.) 
 
 419 ('77.) 
 
 420 ('77.) 
 
 421 ('77.) 
 
 422 ('77.) 
 
 423 ('77.) 
 
 424 ('77.) 
 
 425 072.) 
 
 425 ('77.) 
 
 426 ('72.) 
 416 ('77.) 
 
 427 ('72.) 
 
 427 ('77.) 
 
 428 ('77.) 
 
 429 ('77.) 
 
 430 ('77.) 
 
 431 ('72.) 
 
 431 ('77.) 
 
 432 ('72.) 
 
 432 ('77.) 
 
 433 ('72.) 
 
 433 ('77.) 
 
 434 ('77.) 
 
 435 ('77.) 
 
 436 ('77.) 
 
 437 ('77.) 
 
 Page. 
 
 25 
 25 
 25 
 25 
 26 
 26 
 26 
 20 
 26 
 26 
 26 
 26 
 26 
 26 
 27 
 27 
 46 
 27 
 27 
 27 
 63 
 27 
 27 
 27 
 
 27 
 28 
 28 
 28 
 15 
 28 
 15 
 28 
 15 
 28 
 28 
 28 
 28 
 89 
 28 
 89 
 28 
 89 
 28 
 29 
 29 
 29 
 29 
 
TABLE OF EEFERENCE. 
 
 133 
 
 Number. 
 
 Pago. 
 
 Number. 
 
 Pase. 
 
 Number. 
 
 Pago. 
 
 438 ('77.) 
 
 29 
 
 560 ('75.) 
 
 38 
 
 600 ('54.) 
 
 1 
 
 439 C'77.) 
 
 29 
 
 561 ('75.) 
 
 12 
 
 600 ('76.) 
 
 - 39 
 
 444 ('71.) 
 
 39 
 
 562 ('75.) 
 
 52 
 
 601 ('54.) 
 
 19 
 
 44.5 ('77.) 
 
 47 
 
 563 ('75.) 
 
 11 
 
 601 ('75.) 
 
 39 
 
 505 ('72.) 
 
 - 7 
 
 564 ('75.) 
 
 23 
 
 602 ('54.) 
 
 14 
 
 506 ('72.) 
 
 '- 7 
 
 565 ('75.) 
 
 20 
 
 603 ('64.) 
 
 11 
 
 507 ('72.) 
 
 20 
 
 566 ('75.) 
 
 16 
 
 604 ('54.) 
 
 53 
 
 508 ('72.) 
 
 10 
 
 567 ('75.) 
 
 16 
 
 605 ('53.) 
 
 - 9 
 
 509 ('72.) 
 
 94 
 
 568 ('75.) 
 
 - 18 
 
 606 ('53.) 
 
 9 
 
 510 ('72.) 
 
 94 
 
 569 ('75.) 
 
 17 
 
 607 ('53.) 
 
 10 
 
 529 ('75.) 
 
 60 
 
 570 ('75.) 
 
 16 
 
 608 ('53.) 
 
 5 
 
 530 ('75.) 
 
 46 
 
 571 ('75.) 
 
 12 
 
 609 ('53.) 
 
 10 
 
 530 ('75.) 
 
 37 
 
 572 ('75.) 
 
 12 
 
 610 ('53.) 
 
 10 
 
 531 ('75.) 
 
 37 
 
 573 ("75.) 
 
 12 
 
 611 ('53.) 
 
 20 
 
 532 ('75.) 
 
 37 
 
 574 ('75.) 
 
 12 
 
 612 ('53.) 
 
 30 
 
 533 ('75.) 
 
 62 
 
 575 ('75.) 
 
 39 
 
 613 ('53.) 
 
 52 
 
 535 ('75.) 
 
 - 85 
 
 576 ('64.) 
 
 19 
 
 613 ('53.) 
 
 63 
 
 636 ('75.) 
 
 66 
 
 576 ('75.) 
 
 46 
 
 6136 ('53.) 
 
 44 
 
 537 ('75.) 
 
 59 
 
 577 ("64.) 
 
 14 
 
 613c ('53.) 
 
 31 
 
 538-538a. ('75.) 60 
 
 577 ('75.) 
 
 50 
 
 613rf ('53.) 
 
 83 
 
 539 ('75.) 
 
 59 
 
 578 ('64.) 
 
 14 
 
 619 ('64.) 
 
 - 3 
 
 540 ('75.) 
 
 37 
 
 578 ('75.-) 
 
 31 
 
 620 ('64.) 
 
 3 
 
 541 ('54.) 
 
 57 
 
 579 ('64.) 
 
 14 
 
 621 ('64.) 
 
 68 
 
 541 ('75.) 
 
 38 
 
 580 ('64.) 
 
 83 
 
 622 ('64.) 
 
 69 
 
 542 ('71.), 
 
 61 
 
 681 ('64.) 
 
 14 
 
 624 ('64.) 
 
 1 
 
 542 ('79.) 
 
 59 
 
 582 ('64.) 
 
 20 
 
 625 ('64.) 
 
 1 
 
 543 ('75.) 
 
 59 
 
 583 ('64.) 
 
 20 
 
 630 ('77.) 
 
 90 
 
 544 ('75.) 
 
 59 
 
 584 ('64.) 
 
 11 
 
 673 ('75.) 
 
 68 
 
 545 ('75.) 
 
 1 
 
 585 ('64.) 
 
 11 
 
 698-698C ('68.) 86 
 
 546 ('75.) 
 
 4 
 
 586 ('64.) 
 
 30 
 
 699 ('68.) 
 
 86 
 
 547 ('75.) 
 
 2 
 
 587 ('64.) 
 
 30 
 
 713 ("68.) 
 
 - 61 
 
 548 ('75.) 
 
 95 
 
 588 ('64.) 
 
 30 
 
 714 ('68.) 
 
 - 60 
 
 549 ('75.) 
 
 16 
 
 589 ('64.) 
 
 31 
 
 715 ('68.) 
 
 60 
 
 550 ('68.) 
 
 62 
 
 590 ('64.) 
 
 30 
 
 716 ('68.) 
 
 62 
 
 550 ('75.) 
 
 12 
 
 591 ('64.) 
 
 30 
 
 717 ('68.) 
 
 34 
 
 551 ('68.) 
 
 62 
 
 592 ('64."l 
 
 31 
 
 718 ('68.) 
 
 44 
 
 551 ('75.) 
 
 16 
 
 593 ('54.) 
 
 33 
 
 719 ('68.) 
 
 - 34 
 
 552 ('75.) 
 
 13 
 
 593 ('64.) 
 
 31 
 
 720 ('68.) 
 
 44 
 
 653 ('68.) 
 
 57 
 
 594 ('54.) 
 
 33 
 
 721 ('68.) 
 
 44 
 
 553 ('75.) 
 
 38 
 
 594 ('64.) 
 
 81 
 
 722 ('68.) 
 
 45 
 
 554 ('68.) 
 
 34 
 
 595 ('54.) 
 
 81 
 
 723 ('68.) 
 
 45 
 
 554 ('75.) 
 
 38 
 
 595 ('64.) 
 
 30 
 
 723 ('75.) 
 
 93 
 
 555 ('68.) 
 
 44 
 
 596 ('54.) 
 
 81 
 
 724 ('68.) 
 
 - 66 
 
 555 ('75.) 
 
 - 59 
 
 596 ('64.) 
 
 30 
 
 725 ('55.) 
 
 5 
 
 556 ('68.) 
 
 - 7 
 
 597-5970. ('54.) 50 
 
 725 ('68.) 
 
 65 
 
 556 ('75.) 
 
 16 
 
 597 ('64.) 
 
 31 
 
 726 ('68.) 
 
 65 
 
 557 ('75.) 
 
 38 
 
 598 ('54) 
 
 65 
 
 727 ('68.) 
 
 65 
 
 558 ('68.) 
 
 50 
 
 599 ('54.) 
 
 41 
 
 728 ('68.) 
 
 66 
 
 558 ('75.) 
 
 - 17 
 
 599 ('75.) 
 
 - 13 
 
 729 ('68.) 
 
 65 
 
134 
 
 TABLE OF REFERENCE. 
 
 Number. 
 
 PflgO. 
 
 Number. 
 
 Page. 
 
 Number. Page- 
 
 735 ('68.) 
 
 83 
 
 834 ('68.) 
 
 44 
 
 870 ('75.) 
 
 54 
 
 731 ('68.) 
 
 9 
 
 835 ('68.) 
 
 17 
 
 871 ('52.) 
 
 87 
 
 733 ('68.) 
 
 86 
 
 836 ('68.) 
 
 60 
 
 871 ('75.) 
 
 54 
 
 733 ('68.) 
 
 86 
 
 837 ('68.) 
 
 64 
 
 872-872a. ('53.) 
 
 33 
 
 734 ('68.) 
 
 86 
 
 838 ('68.) 
 
 59 
 
 872 ('75.) 
 
 54 
 
 735 ('68.) 
 
 86 
 
 839 ('68.) 
 
 17 
 
 873 ('53.) 
 
 66 
 
 736 ('68.) 
 
 87 
 
 840 ('68.) 
 
 67 
 
 873 ('75.) 
 
 54 
 
 737 ('68.) 
 
 87 
 
 840 ('70.) 
 
 64 
 
 874 ('53.) 
 
 33 
 
 738 ('68.) 
 
 87 
 
 840 ('70.) 
 
 32 
 
 874 ('75.) 
 
 54 
 
 739 ("68.) 
 
 - 87 
 
 841-lA ('68.) 
 
 66 
 
 875-875a. ('53.) 
 
 92 
 
 740 ('68.) 
 
 86 
 
 841 ('70.) 
 
 45 
 
 875 ('75.) 
 
 54 
 
 741 ('68.) 
 
 84 
 
 842 ('68.) 
 
 42 
 
 876 ('53.) 
 
 92 
 
 742 ('68.) 
 
 84 
 
 842-842a ('70.) 
 
 22 
 
 876 ('75.) 
 
 54 
 
 743 ('68.) 
 
 63 
 
 843 ('68.) 
 
 42 
 
 877 ('47.) 
 
 44 
 
 743 ('70.) 
 
 15 
 
 844 ('53.) 
 
 5 
 
 877 ('75.) 
 
 55 
 
 744 ('68.) 
 
 45 
 
 844 ('68.) 
 
 ■ 68 
 
 878 ('75.) 
 
 55 
 
 744 ('70.) 
 
 15 
 
 845 ('53.) 
 
 11 
 
 879 ('75.) 
 
 55 
 
 745 ('68.) 
 
 - 64 
 
 845 ('68,) 
 
 68 
 
 880 ('75.) 
 
 55 
 
 745 ('70.) 
 
 15 
 
 846 ('53.) 
 
 13 
 
 881 ('54.) 
 
 122 
 
 746 ('68.) 
 
 64 
 
 847 ('53.) 
 
 13 
 
 .881 ('75.) 
 
 55 
 
 746 ('70.) 
 
 15 
 
 848 ('63.) 
 
 14 
 
 882 ('75.) 
 
 122 
 
 747 ("68.) 
 
 64 
 
 849 ('53.) 
 
 16 
 
 88G ('75.) 
 
 55 
 
 747 ('70., 
 
 56 
 
 850 ('53.) 
 
 66 
 
 887 ('54.) 
 
 122 
 
 747 ('75.) 
 
 83 
 
 851 ('53.) 
 
 5 
 
 887 ('75.) 
 
 55 
 
 748 ('68.) 
 
 64 
 
 852 ('53.) 
 
 7 
 
 888 ('75.) 
 
 55 
 
 749 ('68.) 
 
 G4 
 
 852 ('68.) 
 
 56 
 
 889 ('75.) 
 
 55 
 
 750 ('68.) 
 
 64 
 
 853 ('53.) 
 
 57 
 
 890 ('75.) 
 
 55 
 
 751 ('68.) 
 
 45 
 
 854 ('53.) 
 
 57 
 
 900 ('77.) 
 
 85 
 
 752 ('68.) 
 
 45 
 
 855 ('53.) 
 
 40 
 
 900-900e ('64.) 
 
 31 
 
 753 ('68.) 
 
 99 
 
 856 ('53.) 
 
 32 
 
 906 ('76.) 
 
 68 
 
 754 ('68.) 
 
 99 
 
 857 ('53.) 
 
 52 
 
 969 ('64.) 
 
 41 
 
 755 ('68.) 
 
 - 97 
 
 858 ('53.) 
 
 51 
 
 970 ('64.) 
 
 11 
 
 756 ('68.) 
 
 97 
 
 859 ('53.) 
 
 63 
 
 971 ('64.) 
 
 11 
 
 757 ('68.) 
 
 103 
 
 860 ('63.) 
 
 53 
 
 972 ('64.) 
 
 31 
 
 758 ('68.) 
 
 - 96 
 
 861 ('53.) 
 
 53 
 
 973-3a ('64.) 
 
 32 
 
 759 ('68.) 
 
 4 
 
 862 ('53.) 
 
 63 
 
 974-4a ('64.) 
 
 32 
 
 760 ('68.) 
 
 56 
 
 863 ('63.) 
 
 32 
 
 975 ('64.) 
 
 32 
 
 785 ('64.) 
 
 87 
 
 863 ('53.) 
 
 44 
 
 975 ('64.) 
 
 63 
 
 805 ('77.) 
 
 - 83 
 
 864 ('53.) 
 
 32 
 
 976 ('64.) 
 
 83 
 
 806 ('77.) 
 
 39 
 
 865 ('53.) 
 
 33 
 
 977-7e ('64.) - 
 
 32 
 
 807 ('77.) 
 
 40 
 
 866 ('53.) 
 
 33 
 
 1016 ('77.) 
 
 81 
 
 825 ('68.) 
 
 86 
 
 866 ('75.) 
 
 53 
 
 1035 ('55.) 
 
 3 
 
 826 ('68.) 
 
 35 
 
 867 ('53.) 
 
 33 
 
 1036 ('55.) 
 
 65 
 
 827 ('68.) 
 
 86 
 
 867 ('75.) 
 
 53 
 
 1040 ('55.) 
 
 3 
 
 828 ('68.) to 830 
 
 868 ('53.) 
 
 66 
 
 1041 ('55.) 
 
 5 
 
 ('68.) 
 
 121 
 
 868 (75.) 
 
 54 
 
 1041 ('71.) 
 
 4 
 
 831 ('68.) 
 
 43 
 
 869 ('53.) 
 
 87 
 
 ] 042 ('56.) 
 
 5 
 
 832 ('68.) 
 
 43 
 
 869 ('75.) 
 
 54 
 
 1042 ('71.) 
 
 80 
 
 833 ('68.) 
 
 44 
 
 870 ('52.) 
 
 87 
 
 1043 ('55.) 
 
 68 
 
TABLE OF REFERENCE. 
 
 135 
 
 Number. 
 
 1044 ('55.) 
 
 1045 ('55.) 
 
 1093 ('75.) 
 
 1094 ('75.) 
 
 Page. 
 
 - 68 
 
 - 66 
 62 
 
 - 42 
 
 1095-1095a('54.) 92 
 
 1095 ('75.) 42 
 
 1132 ('75.) 2 
 
 1133 ('75.) - 56 
 
 1 134 ('75.) 56 
 
 1135 ('75.) 4 
 
 1136 ('75.) 22 
 
 1136 ('7.5.) - 4 
 
 1137 ('75.) 85 
 
 1138 ('75.) 85 
 
 1139 ('75.) 85 
 
 1140 ('75.) 85 
 
 1141 ('75.) 85 
 
 1142 ('75.) 85 
 
 1143 ('75.) 85 
 
 1144 to 1144 k 
 ('75.) - 2 
 
 1154 ('55.) 92 
 
 1155 ('55.) 92 
 
 1155 ('75.) 52 
 
 1156 ('55.) - 91 
 
 1156 ('75.) 106 
 
 1157 ('55.) 91 
 
 1157 ('75.) 50 
 
 1158 ('55.) - 92 
 
 1158 ('58.) - 52 
 
 1159 ('55.) 92 
 
 1159 ('75.) 106 
 
 1160 ('55.) 90 
 
 1161 ('55.) - 91 
 
 1161 ('77.) 20 
 
 1162 ('55.) - 92 
 
 1162 ('7.5.) - 89 
 
 1163 ('5.5.) 91 
 
 1163 ('75.) - 89 
 
 1164 ('55.) 121 
 
 1164 ('75.) 89 
 
 1165 ('55.) - 90 
 
 1165 ('75.) 89 
 
 1166 ('55.) 91 
 
 1166 ('75.) - 89 
 
 1167 ('55.) - 92 
 
 1167 ('75.) - 90 
 
 1168 ('55.) 43 
 1168 ('75.) 91 
 
 Number. 
 1169 ('55.) 
 
 1169 ('75.) 
 
 1170 ('55.) 
 
 1170 ('75.) 
 
 1171 ('55.) 
 
 1171 ('75.) 
 
 1172 ('55.) 
 
 1172 ('75.) 
 
 1173 ('55.) 
 
 1173 ('75.) 
 
 1174 ('55.) 
 
 1174 ('75.) 
 
 1175 ('55.) 
 
 1175 ('75.) 
 
 1176 ('55.) 
 
 1176 ('75.) 
 
 1177 ('55.) 
 
 1177 ('75.) 
 
 1178 ('55.) 
 
 1178 ('75.) 
 
 1179 ('55.) 
 
 1179 ('75.) 
 
 1180 ('5.5.) 
 
 1180 ('75.) 
 
 1181 ('55.) 
 
 1182 ('55.) 
 
 1183 ('55.) 
 
 1184 ('55.) 
 
 1185 ('55.) 
 
 1186 ('.55.) 
 
 1187 ('55.) 
 
 1188 ('55.) 
 
 1189 ('55.) 
 
 1190 ('55.) 
 
 1196 ('75.) 
 
 1197 ('75.) 
 
 1198 ('75.) 
 
 1249 ('75.) 
 
 1250 ('75.) 
 1291 ('71.) 
 
 1294 ('72.) 
 
 1295 ('72.) 
 
 1296 ('72.) 
 
 1297 ('72.) 
 
 1298 ('72.) 
 
 1299 ('71.) 
 
 1299 ('72.) 
 
 1300 ('72.) 
 
 1301 ('72.) 
 
 Page 
 43 
 
 - 91 
 43 
 92 
 43 
 91 
 43 
 66 
 43 
 65 
 43 
 96 
 65 
 96 
 
 121 
 96 
 67 
 46 
 
 121 
 46 
 
 121 
 62 
 
 121 
 
 - 122 
 121 
 121 
 
 67 
 67 
 68 
 68 
 68 
 67 
 67 
 67 
 69 
 69 
 63 
 84 
 84 
 22 
 60 
 36 
 36 
 46 
 58 
 36 
 46 
 36 
 
 eo 
 
 Number. 
 
 1302 
 1307 
 1308 
 1309 
 1310 
 1311 
 1312 
 1313 
 1314 
 1321 
 1326 
 1354 
 1355 
 1356 
 1357 
 1358 
 1358 
 1359 
 1359 
 1360 
 1360 
 1361 
 1361 
 1362 
 1362 
 1363 
 1364 
 1365 
 1366 
 1367 
 1368 
 1370 
 1373 
 1400 
 1407 
 1417 
 1418 
 1419 
 1419 
 1464 
 1558 
 1559 
 1560 
 1561 
 1562 
 1563 
 1564 
 1565 
 1566 
 
 ■72.) 
 '77.) 
 77.) 
 77.) 
 '77.) 
 '77.) 
 '77.) 
 77.) 
 77.) 
 '71.) 
 .'71.) 
 
 ^•) 
 '54.) 
 '54.) 
 '54.) 
 ;'55.) 
 '64.) 
 '55.) 
 '71.) 
 '55.) 
 '71.) 
 55.) 
 '74.) 
 '55.) 
 '74.) 
 '55.) 
 '55.) 
 '55.) 
 '55.) 
 55.) 
 55.) 
 '55.) 
 '74.) 
 '74.) 
 '73.) 
 74.) 
 74.) 
 '71,) 
 '74.) 
 70.) 
 72.) 
 72.) 
 72.) 
 72.) 
 72.) 
 72.) 
 72.) 
 72.) 
 T2.) 
 
 Page 
 
 36 
 
 4 
 
 4 
 
 - 2 
 93 
 
 2 
 2 
 2 
 
 - 2 
 8 
 
 94 
 6 
 
 - 90 
 90 
 
 - 90 
 
 - 21 
 48 
 
 - 19 
 
 - 69 
 20 
 69 
 20 
 82 
 
 - 20 
 82 
 
 - 21 
 21 
 21 
 
 5 
 57 
 33 
 33 
 
 - 58 
 46 
 89 
 
 107 
 
 - 107 
 
 - 69 
 107 
 
 36 
 95 
 
 ■ 95 
 
 - 95 
 
 - 93 
 64 
 31 
 37 
 
 ■ 41 
 
 ■ 53 
 
136 
 
 TABLE OF REFERENCE. 
 
 Number. 
 
 1567 ('72.) 
 
 1568 ('72.) 
 
 1569 ('72.) 
 
 1569 ('73.) 
 
 1570 ('72.) 
 1570-1570a (' 
 
 1571 ('"2.) 
 
 1571 ('73.) 
 
 1572 ('72.) 
 
 1572 ('73.) 
 
 1573 ('72.) 
 
 1573 ('73.) 
 
 1574 ('72.) 
 
 1574 ('73.) 
 
 1575 ('72.) 
 
 1575 ('73.) 
 
 1576 ('72.) 
 
 1576 ('73.) 
 
 1577 ('72.) 
 
 1577 ('73.) 
 
 1578 ('72.) 
 
 1578 ('73.) 
 
 1579 ('72.) 
 
 1579 ('73.) 
 
 1580 ('72.) 
 
 1580 ('73.) 
 
 1581 ('72.) 
 
 1581 ('73.) 
 
 1582 ('72.) 
 
 1582 ('7.3.) 
 
 1583 ('72.) 
 
 1583 ('73.) 
 
 1584 ('72.) 
 
 1584 ('73.) 
 
 1585 ('72.) 
 
 1585 ('73.) 
 
 1586 ('72.) 
 
 1586 ('73.) 
 
 1587 ('72) 
 
 1587 ('73.) 
 
 1588 ('72.) 
 
 1588 ('73.) 
 
 1589 ('72.) 
 
 1589 ('73.) 
 
 1590 ('72.) 
 
 1590 ('73.) 
 
 1591 ('72.) 
 1591 (^S.) 
 
 Page. 
 
 42 
 
 42 
 
 43 
 
 100 
 
 43 
 
 73.) 
 
 100 
 
 96 
 
 100 
 
 97 
 
 100 
 
 97 
 
 100 
 
 98 
 
 100 
 
 98 
 
 100 
 
 50 
 
 101 
 
 - 50 
 101 
 
 49 
 101 
 
 - 49 
 101 
 
 41 
 
 101 
 
 41 
 
 - 101 
 
 41 
 
 - 101 
 
 41 
 101 
 
 42 
 101 
 
 86 
 101 
 
 49 
 102 
 
 62 
 102 
 
 60 
 102 
 
 - 98 
 
 - 102 
 . 94 
 
 - 1112 
 
 - 22 
 102 
 
 Number. 
 1592 ('72.) 
 
 1592 (^'73.) 
 
 1593 ('72.) 
 
 1593 ('73.) 
 
 1594 ('72.) 
 
 1594 ('73.) 
 
 1595 (72.) 
 
 1595 ('73.) 
 
 1596 ('72.) 
 
 1596 ('73.) 
 
 1597 ('72.) 
 
 1597 ('73.) 
 
 1598 ('72.) 
 
 1598 ('7.3.) 
 
 1599 ('72.) 
 
 1599 ('73.) 
 
 1600 ('72.) 
 
 1600 ('73.) 
 
 1601 ('72.) 
 
 1601 ('73.) 
 
 1602 ('72.) 
 
 1602 ('73.) 
 
 1603 ('72.) 
 
 1603 ('73.) 
 
 1604 ('72.) 
 
 1604 ("73.) 
 
 1605 ('73.) 
 
 1606 ('73.) 
 
 1607 ('73.) 
 
 1608 ('73.) 
 
 1609 ('73.) 
 
 1610 ('73.) 
 
 1611 ('73.) 
 
 1612 ('73.) 
 
 1613 ('73.) 
 
 1614 ('73.) 
 
 1615 ('73.) 
 
 1616 ('73.) 
 
 1617 ('73.) 
 
 1618 ('73.) 
 
 1619 ('73.) 
 
 1620 ('73.) 
 
 1621 ('73.) 
 
 1622 ('73.) 
 
 1623 ('73.) 
 
 1907 ('76.) 
 
 1908 ('76.) 
 19119 ('76.) 
 1910 ('76.) 
 
 Page. 
 
 - 8- 
 102 
 
 22 
 
 - 102 
 
 18 
 102 
 
 31 
 103 
 
 94 
 
 - 103 
 
 94 
 
 103 
 
 94 
 
 - 103 
 
 48 
 
 103 
 
 10 
 
 103 
 
 8 
 
 103 
 
 9 
 
 103 
 
 93 
 
 - 103 
 
 4 
 
 - 103 
 
 - 104 
 104 
 104 
 104 
 104 
 
 - 104 
 104 
 104 
 1(14 
 104 
 105 
 
 - 105 
 106 
 105 
 105 
 105 
 105 
 105 
 105 
 
 - 108 
 108 
 108 
 108 
 
 Number. 
 
 1911 ('76.) 
 
 1912 ('76.) 
 
 1913 ('76.) 
 
 1914 ('76.) 
 
 1915 ('76.) 
 
 1916 ('76.) 
 
 1917 ('76.) 
 
 1918 ("76.) 
 
 1919 ('76.) 
 
 1920 ('76.) 
 
 1921 ('76.) 
 
 1922 ('76.) 
 
 1923 ('76.) 
 
 1924 ('76.) 
 
 1925 ('76.) 
 
 1926 ('76.) 
 
 1927 ('76.) 
 
 1928 ('76.) 
 
 1929 ('76.) 
 
 1930 ('76.) 
 
 1931 ('76.) 
 
 1932 ('76.) 
 
 1933 ('76.) 
 
 1934 ('76.) 
 
 1935 ('76.) 
 
 1936 ('76.) 
 
 1937 ('76.) 
 
 1938 ('76.) 
 
 1939 (,'76.) 
 
 1940 ('76.) 
 
 1941 ('76.) 
 
 1942 ('76.) 
 
 1943 ('76.) 
 
 1944 ('76.) 
 
 1945 ('76.) 
 
 1946 ('76.) 
 
 1947 ('76.) 
 
 1948 ('76.) 
 
 1949 ('76.) 
 
 1950 ('76.) 
 
 1951 ('76.) 
 
 1952 (,'76.) 
 
 1953 ('76.) 
 
 1954 ('76.) 
 
 1955 ('76.) 
 
 1956 ('76.) 
 
 1957 ('76.) 
 1.958 ('76.) 
 1959 ('76.) 
 
 Page. 
 108 
 108 
 
 - 108 
 108 
 109 
 
 - 109 
 109 
 109 
 109 
 109 
 109 
 109 
 109 
 
 - 110 
 110 
 110 
 110 
 110 
 110 
 
 - 110 
 110 
 111 
 111 
 111 
 111 
 111 
 111 
 111 
 111 
 112 
 112 
 
 - 112 
 112 
 112 
 112 
 112 
 112 
 112 
 113 
 113 
 113 
 113 
 113 
 113 
 113 
 113 
 113 
 114 
 
 - 114 
 
TABLE OF REFERENCE. 
 
 137 
 
 Number. 
 
 1960 ('76.) 
 
 1961 ('76.), 
 
 1962 ('76.) 
 
 1963 ('76.) 
 
 1964 ('76.) 
 
 1965 ('76.) 
 
 1966 ('76.) 
 
 1967 ('76.) 
 
 1968 ('76.) 
 
 1969 ('76.) 
 
 1970 ('76.) 
 
 1971 ('76.) 
 
 1972 ('76.) 
 
 1973 ('76.) 
 
 1974 ('76.) 
 
 1975 ('76.) 
 
 1976 ('76.) 
 
 1977 ('76.) 
 
 1978 ('76.) 
 
 1979 ('76.) 
 
 1980 ('76.) 
 
 1981 ('76.) 
 
 1982 ('76.) 
 
 1983 ('76.) 
 
 1984 ('76.) 
 
 1985 ('76.) 
 
 1986 ('76.) 
 
 1987 ('76.) 
 
 1988 ('76.) 
 
 1989 ('76.) 
 
 1990 ('76.) 
 
 1991 ('76.) 
 
 1992 ('76.) 
 
 Page. 
 114 
 114 
 
 - 114 
 114 
 114 
 114 
 115 
 115 
 
 - 115 
 
 - 115 
 115 
 115 
 115 
 115 
 115 
 116 
 116 
 116 
 116 
 116 
 116 
 116 
 116 
 
 - 116 
 117 
 117 
 
 - 117 
 117 
 117 
 117 
 117 
 117 
 118 
 
 Number. 
 
 1993 ('76.) 
 
 1994 ('76.) 
 
 1995 ('76.) 
 
 1996 ('76.) 
 
 1997 ('76.) 
 
 1998 ('76.) 
 
 1999 ('76.) 
 
 2000 ('76.) 
 
 2001 ('76.) 
 
 2002 ('76.) 
 
 2003 ('76.) 
 
 2004 ('76.) 
 
 2005 ('76.) 
 
 2006 ('76.) 
 
 2007 ('76.) 
 
 2008 ('76.; 
 
 2009 ('76.) 
 
 2010 ('76.) 
 2012 ('76.) 
 
 2458 ('55.) 
 
 2459 ('55.) 
 
 2460 ('55.) 
 
 2461 ('55.) 
 3268 ('55.) 
 3544 ('52.) 
 
 4218 ('57.) 
 
 4219 ('67.) 
 
 4220 ('57.) 
 4459 ('58.) 
 4761 ('54.) 
 5664-5664a 
 7247 ('75.) 
 7427 ('61.) 
 
 118 
 118 
 118 
 118 
 
 - 118 
 118 
 118 
 118 
 
 - 119 
 
 - 119 
 119 
 
 - 119 
 
 - 119 
 119 
 
 - 119 
 119 
 120 
 120 
 120 
 
 9 
 
 9 
 
 9 
 
 9 
 
 34 
 
 61 
 
 1 
 
 1 
 
 1 
 
 95 
 
 63 
 
 ('59.) 56 
 
 2 
 
 - 34 
 
 Number. 
 
 7429 ('61.) 
 
 7430 ('61.) 
 
 7503 ('61.) 
 
 7504 ('61.) 
 
 7505 ('61.) 
 
 7506 ('61.) 
 
 7507 ('61.) 
 
 7508 ('61.) 
 
 7509 ('61.) 
 
 7510 ('61.) 
 
 7511 ('61.) 
 
 7512 ('61.) 
 
 7513 ('61.) 
 
 7514 ('61.) 
 
 7515 ('61.) 
 
 7516 ('61.) 
 
 7517 ('61.) 
 
 7518 ('61.) 
 
 7519 ('71.) 
 
 7520 ('61.) 
 
 7521 ('61.) 
 
 7522 ('61.) 
 
 7523 ('61.) 
 
 7524 ('61.) 
 
 7525 ('61.) 
 
 7526 ('61.) 
 8280 ('63.) 
 8698 ('63.) 
 8709 ('63.) 
 
 9140 ('63.) 
 
 9141 ('63.) 
 
 34 
 
 34 
 
 11 
 
 5 
 
 6 
 
 6 
 
 6 
 
 6 
 
 6 
 
 6 
 
 21 
 
 21 
 
 21 
 
 21 
 
 10 
 
 6 
 
 21 
 
 21 
 
 32 
 
 41 
 
 7 
 
 8 
 
 8 
 
 8 
 
 8 
 
 8 
 
 93 
 
 48 
 
 98 
 
 87 
 
 87 
 
GENERAL INDEX. 
 
 Aiguille, Point ^ 1' - - xvi. 
 
 Aix-la-Chapelle, Treaty of, 1668 
 
 XXVIII. 
 
 Alen9on - - xviii., xxiv. 
 ■ , Colbert favoured lace- 
 making at • XXIV. 
 , lace-inalang of, described 
 
 XXT. 
 
 , needlepoints of, preceded 
 
 by pillow laces of Mech- 
 lin and Brussels 
 
 XX., XXI. 
 
 ■ , Point d', specimens of 
 
 p. 56-62. 
 Alost, handspuu flax thread made at 
 
 XXI. 
 
 Alva, persecutions of xxx. 
 
 Angleterre, Point d' xxii. 
 
 Anglo-Saxon gold thread xl. 
 
 Antwerp, thread from xxxi. 
 
 , lace from p. 42, 43. 
 
 " Applique " to net p. 91. 
 
 Ai'gentan, lace described xvm., xxvi. 
 
 , Point d', specimens of 
 
 p. 58, 59. 
 Argentella xviii, 
 
 , specimen of p. 58. 
 
 Aria, Punto in xii., xiv., xv,, xvii., 
 
 XVIII., XXV., xxxii., 
 
 XXXIX. 
 
 specimens of - p. 9, 10. 
 
 Arras - xxviii. 
 
 specimens of lace p. 66. 
 
 Lille and laces made at xxviii. 
 
 Art of lace making, cosmopolitan 
 
 XIX. 
 
 Assimon & Co., laces made by 
 Messrs. xxx. 
 
 , specimens 
 
 p. 70-79. 
 AurUlac, gold lace from - xli. 
 
 Auvergne, lace making in xxix. 
 
 B. 
 
 Baby lace 
 
 specimen - 
 
 Barcelona silk lace 
 Bayeux, lace making at 
 , laces from 
 
 xxx. 
 
 p. 84. 
 
 .XXXV. 
 XXIX. 
 
 , p. 07. 
 
 Bedfordshire, laces made in xxx. 
 Belev, lace made in x.xxvii. 
 
 , laces from p. 103-105. 
 
 Belfast, Venetian Rose I'oint iniitatfd 
 at - xxxiii. 
 
 66-68. 
 xviii. 
 
 XXXI. 
 XV. 
 
 XIV. 
 
 Belgian and French lace-makers in 
 employ of Messrs. Lefebure xxx. 
 
 Belgian laces, specimens of - 30-47. 
 
 Belgian and Flanders, account of 
 lace-making in xix. 
 
 Belgium, Valenciennes lace made in 
 
 XXVII. 
 
 Blonde laces • 
 Bone pins possibly used 
 Boot laces 
 Bride or tie - 
 
 picotee - 
 
 ground of Argentan lace xxvi. 
 
 Erode, Filet - - - xi. 
 
 Brussels and Mechlin pillow laces 
 
 preceded Needlepoints of Alen^on 
 
 XX. XXI. 
 
 Brussels, beauty of ground of lace 
 from - - XXI. 
 
 laces, meshes of Mechlin 
 
 and, compared - xxiii. 
 
 lace, " Point d' Angleterre " 
 
 old name for xxii. 
 
 lace, thread of extraordi- 
 nary fineness used for 
 
 XXI. 
 
 laces, fiUings-in or modes, 
 
 in XXII. 
 
 Pillow lace - xviii. 
 
 specimens of 
 
 p. 32-39,40. 
 
 — Point XVIII. 
 
 Needlepoint lace p. 35-6. 
 
 "reseau" - xxi. 
 
 Buckinghamshire, lace made in xxx. 
 , laces speci- 
 mens of - p. 84, 85. 
 Burano point- - - xviii. 
 
 Needlepoint lace p. 19. 
 
 Button hole stitch xi., xii., xiv., 
 
 XV., XXV., XXVI. 
 
 c. 
 
 Cadenetas or chain stitch - xxxiv. 
 Caen, laces from - p. 67. 
 
 Calais, Machine made laces at xxx. 
 Campos, Fr. Marcos Antonio 
 
 da, upon embroidery - xxxiv. 
 
 Caudia or Crete, lace made in 
 
 XXXVIII. 
 
 Carrickmacross, lace imitations 
 
 XXXIII. 
 Catholic Schools, lace made in 
 
 Irish - XXXIII. 
 
 Chain stitch or Cadenetas - xxsit. 
 
GENERAL INDEX. 
 
 139 
 
 Chantily, lace made at xxviii., xxxi. 
 
 . laces - p. 66. 
 
 Charles I., falling collar of - xiii. 
 v., Emperor, reputed to 
 
 have ordered teaching of lace- 
 making in schools - xx. 
 
 Chateau de I'Onray near Alengon 
 
 XXV. 
 
 Thiery ■ xxiv. 
 
 Children in -workhouse in Dublin 
 taught to make lace - xxxiii. 
 
 Church lace, specimens of 42-50-51. 
 Clarke's, Miss Jane, lace school 
 
 XXXIII. 
 
 Colbert favoured lace-making at 
 Alengon - xxiv. 
 
 Commercial relations between 
 Venice and the Netherlands 
 
 XIX., XX. 
 
 Compte, Point - xi. 
 
 Convents, lace made in xiv. 
 
 , laois madejn French xxx. 
 
 , specimen patterns in 
 
 progress of being worked from 
 
 p. 9. 
 Cordonnet - - xv. 
 
 of button stitches - xxii. 
 
 , plaited - xxii. 
 
 Cost of pins in 16th century - xlii. 
 Countries, origin of laces in 
 
 various, often conjectural - xviii. 
 Cr^ponne, lace-making at - xxix. 
 Cravats trimmed with lace in 17th 
 
 century - - xxi. 
 
 Crete or Candia, lace made in 
 
 XVIII., XXXVIII. 
 
 , PiUow laces from pp. 108-120. 
 
 Crotchet, specimens of p. 92. 
 
 Curragh Point xxxiii. 
 
 Cut or drawn work xi. 
 
 pp. 5, 6, 7, 8, 9,48, 66, 77, 78, 81, 
 82, 88, 89, 90, 91, 94, 95, 97, 98, 
 99, 106, 110, 122. 
 
 Cut work or Holesom in Sweden 
 
 XXXVII. 
 
 specimen of p. 99. 
 
 Cypriote, Punto, in pattern books 
 
 XXXVIII. 
 
 Cyprus, celebrated for gold em- 
 broidery XXXVIII. 
 
 D. 
 
 Dalecarlia, pillow lace making in 
 
 XXXVII. 
 
 , lace from -p. 99. 
 
 Danish lace - - pp. 97, 98. 
 
 Darning on net or lacis xi., xxx. 
 
 p. 1-4, 56, 80, 82, 89, 93, 106, 122. 
 
 Denmark, lace-maklng in xxxvi. 
 
 Denny, Lady Arabella and Irish 
 laces - - XXXII. 
 Dentelle au fuseau - xvi. 
 Design allied to handicraft - ix. 
 , lack of, in provincial laces 
 
 XXXIII. 
 
 , similarity of in laces xviii. 
 
 , imitation of Alengon, in 
 
 Brussels lace - p. 37. 
 
 Devonshire, His Grace the Duke of, 
 
 lace belonging to xiv. 
 
 Devonshire laces made in xxx. 
 
 specimens 
 
 p. 36, 86. 
 Drawn work. See Cut wokk. 
 Dublin, lace-making taught to chil- 
 dren in Workhouse in xxxiii. 
 Dutch lace - 53-55 
 
 E. 
 
 Education, lace-making a subject of, 
 in Belgium xx. 
 
 Elizabeth's, Queen, ruff - xii. 
 
 Elizabeth, Queen, Sister of Emperor 
 Charles V. xxxvi. 
 
 Embroidery an occupation in 16th 
 century ■ - s. 
 
 Embroideries from Denmark xxxvii. 
 
 on net - p. 89-94. 
 
 England and Ireland, lace-making in 
 
 xxx., XXXIV. 
 
 , lace smuggled into xxii. 
 
 , machine-spun thread from, 
 
 used in Belgium - xxi. 
 • , Machine-made laces of 
 
 XXXIII. 
 
 , Venetian fashions in xxxi. 
 
 English and Irish laces, specimens of 
 82-92 
 
 Lille lace - xxx. 
 
 needle-point lace - xxxii. 
 
 Parliament in 1662, and lace 
 
 trade xxii. 
 
 laces - - xviir. 
 
 EntredoB or insertions - xxxiv. 
 
 Erne, Lady, and Irish lace-making 
 
 xxxiii. 
 Erzgebirge, lace-making in districts 
 
 of - XXXVI. 
 
 Espagne, Point d' - xli. 
 
 Europe, countries of Northern, in- 
 debted to the Netherlands for art 
 of lace-making - xx. 
 
 Exeter, lace made at - xxxiv. 
 
 Explanation of terms used in speak- 
 ing of laces - sv. 
 
 F. 
 
 Eausse Valenciennes xxviii. 
 
 specimens of 
 
 63-65. 
 
140 
 
 GENERAL INDEX. 
 
 Ferdinand aod Isabella, lieputed 
 gift of lace to Cathedral at 
 Granada by -xxxiv. 
 
 rilet Erode xi. 
 
 Fillings-in or modes in Brussels lace 
 
 XXII. 
 
 Fine joining xxi. 
 
 Fircnzuola, and needle-point lace 
 
 XIII. p. 13. 
 Flanders adopted art of lace-making 
 
 from Venice xx. 
 and Belgium, account of 
 
 lace-making in xix. 
 
 galleys - xx. 
 
 the home of linen weaving 
 
 XIX. 
 
 , Spanish - xxxiv., p. 49. 
 
 Flat Venetian point lace, xill., xxxv. 
 
 , specimens 
 
 of, p. 11, 12. 
 
 Flax thread, hand spun, made at 
 
 Alost ■ XXI. 
 
 , spinning of xix. 
 
 Flemish laces, specimens of, p. 48-52 
 
 "a brides," erroneously 
 
 called Guipure.s xxi. 
 
 pillow laces - xvni. 
 
 Flowers, Brussels, made with needle 
 and on pillow xxii. 
 , imitated in Brussels lace 
 
 XXI. 
 
 Foliami, Punto tagliato, a xvii. 
 
 ., specimens of 
 
 p. 12-18. 
 France, lace-making in xxiv. 
 
 . — , Point de xviii., xxiv. 
 
 , Valenciennes transferred to 
 
 xxvii. 
 , Venetian lace v/orkers in 
 
 XXV. 
 
 French and Belgian lace, makers in 
 employ of Messrs. Lefebure 
 
 XXX. 
 
 convents, laois made in 
 
 XXX. 
 
 laces - 56-79. 
 
 , Venetian influence in 
 
 XXV. 
 
 , needle-point laces xviii. 
 
 , specimens 
 
 of p. 56-62, 71-73. 
 
 pillow laces xviii. 
 
 , specimens of 
 
 62-68, 74. 
 , Venetian laces often con- 
 sidered to be XIX, 
 Fuseau, Dentelle an xvi. 
 Fusi, Merletti a piombini or a xviii- 
 
 G. 
 
 Genoa, lace-making at xl. 
 
 Genoese pillow lace - xv^II., xl. 
 
 , specimens of 
 
 p. 21, 22. 
 Geometric design in early laces 
 
 XIII., XV., XLI. 
 
 Gei-man laces - 93-96. 
 
 Germany, lace-making in xxxv., 
 
 XXXVI. 
 
 Gimp or gaipure p. 20, 53, 68, 69. 
 Gimp or " toile " - xv., xvi. 
 Gold and silver thread lace xl. ,xliii. 
 jSpecimens 
 
 of - pp. 53-55, 69, 96. 
 
 Gold embroidery, Cyprus celebrated 
 
 for its - - XXXVIII. 
 
 Gold lace makers in Russia, xxxviii. 
 Granada, alb said to have been given 
 
 by Ferdinand and Isabella to 
 
 Cathedral at xxxiv. 
 
 Granada, ordinances as to industries 
 
 at - XXXIV. 
 
 Grecian Archipelago, lace from 
 
 XXXIX. 
 
 Greek lace xii. 
 
 Groppo, Punto a - - xviu. 
 
 , specimen of p. 88. 
 
 Gros point de Venise xiii. 
 
 — , specimens of 
 
 p. 13. 
 
 Guipures, Flemish laces " h, brides," 
 
 erroneously called xxi. 
 
 H. 
 
 Holesom or cut work in Sweden 
 
 xxxvii. 
 
 Holland, lace made in - xxiii. 
 
 Honiton, flounce by, Messrs. Howell 
 
 and James - xxxi. 
 
 laces made at xxx. 
 
 , specimens of - pp. 86, 
 
 87,88. 
 
 sprigs XXXI. 
 
 , specimens of pp. 86, 
 
 87. 
 
 Howell and James, Honiton flounce 
 
 by Messrs. - xxxi. 
 
 I. 
 
 Imitation Valenciennes made at 
 Ypres xxiii. 
 
 Industries, ordinances as to, at 
 Toledo and Granada xxxiv. 
 
 Insertions or Entredos xxxiv. 
 
 Ireland and England, lace-making in 
 
 XXX., XXXIV. 
 
 Ireland, Lady Arabella Denny and 
 
 lace-making in - xxxii. 
 
 Irish and English laces pp. 82-92. 
 
GENERAL INDEX. 
 
 141 
 
 Irish laoe-making and Lady de Vere 
 
 XXXIII. 
 
 and Lady Erne 
 
 XXXIII. 
 
 Normal lace school, laces from 
 
 XXXIII. 
 
 Italian laces - p. 1-29. 
 
 North, convents developed 
 
 art of lace-making in 16th 
 century xix. 
 
 Itinerant lace-makers xxx., xxxiv. 
 
 J. 
 
 Jamaican bark lace - 
 James II., lace of period of 
 
 K. 
 
 Kant, Potten lace 
 Knotted work 
 
 122. 
 
 XIV. 
 
 42. 
 
 L. 
 
 Lace, primitive arrangement of 
 threads, plaited, twisted, tied, or 
 looped - IX. 
 
 Lace, as a Fine Art ix. 
 
 as applied to costume curtains, 
 
 altar cloths ix. 
 
 worked in monastery and con- 
 vent ; use of, prohibited by 
 Venetian Coancils ix. 
 
 in public collections x. 
 
 , two classes — needle-point and 
 
 pillow - X. 
 
 , the first, partook of character 
 
 of linen embroidery xi. 
 
 , geometric designs in early 
 
 XIII., XV., XLI. 
 
 , imitations fromCarrick macross 
 
 XXXIII. 
 
 specimens p. 90. 
 
 — — ", gold and silver thread 
 
 XL., XLIII. 
 
 , making ordered by Charles V . 
 
 to be taught in schools xx. 
 of Alen9on, described 
 
 XXV. 
 
 of Argentan described 
 
 XXVI. 
 
 in Auvergne xxix. 
 
 at Bayeux - xxix. 
 
 in Bedfordshire xxx. 
 
 a part of education in 
 
 Belgium xx. 
 
 in Buckinghamshire 
 
 xxx. 
 in Candia or Crete 
 
 XXXVIII. 
 
 at Chantilly 
 
 XXVIII., XXIX. 
 
 at Craponne ■ xxix. 
 
 Lace-making in Denmark 
 in Devonshire 
 
 XXXVI. 
 ■ XXX. 
 
 in Dublin by workhouse 
 
 children - xxxiii. 
 
 in England and Ire- 
 land - XXX., XXXIV. 
 
 in district of the Erz- 
 
 gebirge xxxvi. 
 
 , Northern counties of 
 
 Europe indebted to 
 the Netherlands for 
 Art of XX. 
 
 at Exeter xxxrv. 
 
 , account of in Elanders 
 
 and Belgium xix. 
 
 , Art of, adopted in 
 
 Flanders from Venice 
 
 XX. 
 
 in France - xxiv. 
 
 in Germany 
 
 XXXV., XXXVI. 
 
 , Grecian Archipelago 
 
 XXXIX. 
 
 — ■— in Holland xxin., xxiv. 
 
 at Honiton xxx. 
 
 in Italy - ix., xv. 
 
 at Leamington xxxiv. 
 
 - — ■ at Le Puy xxix. 
 at Lille and Arras . 
 
 XXVIII. 
 
 in Lorraine xxix. 
 
 at Malta • xt. 
 
 in islands of the Medi- 
 terranean XXXVIII. 
 
 in Normandy xxix. 
 
 in Northampton xxx. 
 
 Russia - xxxvii. 
 
 in South Italy xxxix. 
 
 in Spain and Portugal 
 
 xxxiv. 
 
 in Sweden xxxvii. 
 
 , Tender - xxxvii. 
 
 , Valenciennes described 
 
 XXVII. 
 
 in Venice xiii., xix, 
 
 school. Miss Jane Clarke's 
 
 XXXIII. 
 
 , silk, of France - xxviii. 
 
 of Spain - - XXXV. 
 
 smuggled into England xxii. 
 
 trade and English Parliament 
 
 in 1662 - XXII. 
 
 Lacet from Ireland xxxiii. 
 
 Lacis. See Darning on net - xi. 
 
 made in French convents xxx. 
 
 Leamington, lace made at xxxiv. 
 Lefebure, laces made by Messrs. xxx . 
 Le Puy, lace made at - xxix. 
 
 Lille and Arras, lace made at xxviii. 
 
 specimens of 
 
 p. 65, 66. 
 Lille, English - xxx. 
 
142 
 
 GENERAL INDEX. 
 
 Limerick lace - xxxiii. 
 
 Linen weaving, in Flanders - xix. 
 Longueville, Duchess de xxix. 
 
 Lorraine, lace making in xxix. 
 
 Loudun . - _ XXIV. 
 
 Louis XIV., lace of the period of 
 
 xrv., XXV. 
 Lyons, gold lace from xli. 
 
 M. 
 
 Machine made laces at Calais xxx. 
 ' — ' laces of England 
 
 XXXIII. 
 
 nets used in place of 
 
 hand-made " reseaux " 
 
 XXII. 
 
 spun thread from England 
 
 used in Belgium - xxi. 
 
 Maglia Punto a. See Darning on net 
 
 XI. 
 
 Malta, lace making at xl. 
 
 Maltese laces, specimens of 121 
 
 Matignon, Mademoiselle de xxv. 
 
 Mechlin and Brussels pillow laces 
 
 preceded Needlepoints of 
 
 Alen9on xx., xxi. 
 
 -, meshes of Brussels and, 
 
 laces compared xxiii. 
 
 pillow lace - xviii., xxiii. 
 
 , specimens of p. 44-47. 
 
 , Queen of laces - xxiii. 
 
 Medicean ruff - - xiii. 
 
 Mediterranean, islands of the, lace 
 
 making in ■ - xxxviii. 
 
 Merletti a Fusi or a Piomhini xviii. 
 
 a Piomhini - xxxii. 
 
 , specimens of 4, 
 
 7, 8, 21, 24, 48. 
 Meshes of Brussels and Mechlin laces 
 
 compared . - xxin. 
 
 Milanese, pillow lace - xviii. 
 
 Modes XVI. 
 
 ■ in Brussels laces xxii. 
 
 Musee de Cluny, Paris, lace coUar in 
 
 XIV. 
 
 Mzensk, lace made in xxxvii. 
 
 N. 
 
 Needle, Brussels flower made with 
 
 XXII. 
 
 Needlepoint lace - x. 
 
 pp. 9-19, 3.5, 36, 37, 
 40, 66,57-62,71-73, 
 81, 82, 83, 90, 106, 
 107. 
 
 — , method of working 
 
 XII. 
 
 of Alengon, preceded by 
 
 pillow laces of Mechlin 
 and Brussels, xx.,xxi. 
 
 ■ lace made at Alen9on 
 
 XXIV. 
 
 Needlepoint lace and the poet Kren- 
 zuola XIII. 
 
 French - xviii. 
 
 worked by school 
 
 children x. 
 
 ■• from Youghal 
 
 XXXIII. 
 
 Neige point de, or " Snow point " 
 
 XIII. 
 
 Net, " applique " to. See applique. 
 — ■, embroidery on. See embroidery. 
 
 , specimens of from 
 
 Isle of Wight - pp, 89-90 
 
 , machine made, used instead of 
 
 handmade " reseaux " xxii. 
 Netherlands, commercial relations 
 
 between Venice and the- xix., xx. 
 Netherlands, every country of 
 
 Northern Europe indebted to, for 
 
 art of lace making - xx. 
 
 Nimeguen, Treaty of, 1678 xxviii. 
 Normandy, lace made in xxix. 
 
 Northampton, laces made in - xxx, 
 Nurnberg, manufacture of metallic 
 
 threads at XLiii. 
 
 o. 
 
 Oncagnia, reproductions of pattern 
 books by Signer - x. 
 
 Onray, Chateau de 1', near Alenpon 
 xxv. 
 
 Opus Araneum, or Spider work xi. 
 
 Ordinances as to industries at Toledo 
 and Granada xxxiv. 
 
 Pai'asole, designer of patterns x. 
 
 Paraguayan " lacis," &c. 122 
 
 Paris, gold laces from xli., xlii. 
 
 , Point de, ground p. 36. 
 
 Parliament, English in 1662 and lace 
 trade - - xxii. 
 
 Passements aux fuseaux - xxxii. 
 
 , Eevolte des - xxxix. 
 
 Pattern books designed by VeceUio, 
 Vinciolo, Parasole x. 
 
 for embroidery, hooks of - x. 
 
 books from Germany xxx^^. 
 
 , perished in use x. 
 
 , Punto Cypriote in 
 
 xxxviii. 
 
 Patterns in Cretan laces xxxvni. 
 
 , methods of working, on 
 
 linen cut or drawn - x., xi., xii. 
 
 Peter the Great xxxviii. 
 
 Phillipine tatting 122 
 
 Picots - - XVI. 
 
 Picotees, brides - - xiv. 
 
 PiUow case of needlepoint lace re- 
 puted to have belonged to Cardinal 
 Wolsey ... XXXV. 
 
GENBEAL INDEX. 
 
 143 
 
 Pillow laee - - x., svi. 
 
 pp. 21-35, 36, 37-40, 
 42-47, 48, 49, 50- 
 53, 62-68, 74, 80, 83- 
 88, 95,. 96, 97, 99, 
 100-106, 108-121. 
 — — , Brussels - - xviii. 
 
 — _ of Brussels and MecHin 
 
 preceded Needlepoints 
 
 of Alen9on 
 
 XX., XXI. 
 
 from Crete 
 
 - XVIII. 
 
 -, English 
 
 - XVIII. 
 
 -, Erencli 
 
 - XVIII. 
 
 -, Genoese - 
 
 XVIII., XL. 
 
 -, Mechlin - 
 
 - XVIII, 
 
 , Mechlin described xxin. 
 
 , Provincial - xviii. 
 
 .■^^^ from Kussia - xviii. 
 
 from Saxony - xviii. 
 
 , Valenciennes - xviii. 
 
 Pillow, Brussels flower, made on 
 
 XXII. 
 
 , Brussels ground made on 
 
 XXI. 
 
 Pins, bone probably used - xviii. 
 
 , cost of in 16th century - xLii. 
 
 not in common use early in 16th 
 
 century - xx. 
 
 Piombini, Merletti a - xviii. 
 
 Plaited and twisted thread work 
 
 p. 20, 21, 80. 
 Plat, or flat point, de Venise xni. 
 
 , Venetian point - xxxv. 
 
 Point lace or " point a 1' Aiguille " 
 
 XVI. 
 
 Point d'Alengon - xviii. 
 
 — — d'Angleterre, old name for 
 
 Brussels lace xxii. 
 
 d' Argentan - xviii. 
 
 de Burano - - xviii. 
 
 Compte - XI. 
 
 d'Espagne xxxiv., xli., xliii. 
 
 de France xviii., xxiv. 
 
 de Genes - xl. 
 
 , Gros de Venise xm. 
 
 de Neige - xni. 
 
 , Plat de Venise xiii. 
 
 de Kaguse xxxix. 
 
 , Kose - xin. 
 
 —, Venetian - xiii. 
 
 Portugal and Spain, lace making in 
 
 XXXIV. 
 
 Portuguese and Spanish lace - 80-81 
 lace, like Venetian flat- 
 point - - xxxv. 
 Pot, or Potten Kant lace p. 42. 
 Prague, work from Cathedral at p. 7 
 Provincial pillow laces - xviii. 
 —— — laces, lack of design in 
 
 XXXIII. 
 
 Punto in aria - xii., xiv., xv., xvii., 
 
 XVIII., XXV., XXXII., 
 XXXIX. 
 
 Punto in Aria, specimens of p. 9, 10 
 Punto Cypriote, in pattern books 
 
 XXXVIII. 
 
 a Groppo - xviii. 
 
 a Maglia - xi., xvii. 
 
 Reale - xi. 
 
 a Rete - - xi. 
 
 a EeticeUa xn., xiii., xiv., 
 
 XVII., XXV., XXXIX. 
 
 specimens of, p. 4, 5, 6, 7, 8, 10 
 
 Tagliato a Foliami - xvii. 
 
 Tirato - p. 7. 
 
 Puntas, or Vandykes - xxxrv. 
 
 Purlings ' xxxi. 
 
 Q. 
 
 Queen of Laces, Mechlin xxiii. 
 
 E. 
 
 Kaguse, Point de - xxxix. 
 
 Rarity of modern needle-point la(!e 
 
 XX VII 
 
 Reale, Punto - xi. 
 
 Reims xxiv. 
 
 Reseau xv., xvi., xvii. 
 
 of Brussels lace - xxi. 
 
 , making of, in gold threads 
 
 XLII. 
 
 , Point de Venise ^ - xviii. 
 
 Kete, Punto 5, xi. 
 
 EeticeUa xii., xm., xiv., xvii., xxv., 
 
 XXXIX. 
 
 , specimens of p. 4, 5, 6, 7, 
 
 8, 10. 
 Rezeuii, net-work of square meshes 
 
 XI. 
 
 Revolte des Passements xxxix. 
 
 Riauo, Senor, as to Spanish lace 
 
 xxxiv. 
 Riazan, lace made in - xxxvii. 
 
 Rose point - - xiii. 
 
 Ruflf, Medicean - xiii. 
 
 , Queen Elizabeth's xii. 
 
 Russia, pillow laces from xviii. 
 
 , lace-making in xxxvil. 
 
 , Specimens of laces from 
 
 100-107. 
 S. 
 
 Sam cloths or Samplers x. 
 
 Samplers, specimens of p. 82, 83. 
 Saxony, pillow laces from - xviii. 
 Scania, pillow-lace making in 
 
 XXXVII. 
 
 Schools, lace-made in Irish Catholic 
 
 XXXIII. 
 
 , lace making in, ordered by 
 
 Charles V. - - xx. 
 Scroll patterns in lace xxi. 
 Seaming lace - xm. 
 Sedan - xxiv. 
 Point de 35. 
 
144 
 
 GENERAL INDEX. 
 
 Seguin, Mons. - -■ p. 35. 
 
 Seignelay, Marquis de - xxv. 
 
 Silk, Cretan, laees, chiefly made with 
 
 XXXIX. 
 
 , lace made of xxviii., xxix. 
 
 , lace of Spain xxxv. 
 
 Silver and goldthread lace xl., xliii. 
 Smuggling of lace into England xxii. 
 Soutli Italian laces xxxix. 
 
 , specimens of 
 
 p. 22. 
 Spain and Portugal, lace-making in 
 
 XKXIV. 
 
 Spanish Tlanders " xxxiv. 
 
 and Portuguese laces 
 
 p. 80,81. 
 
 SeHor RiaSio, as to xxxiv. 
 
 , Venetian lace, often con- 
 sidered to be XIX. 
 Spider work, or Opus Araneuni xi. 
 Spinning flax threads xix. 
 Sprigs, Honiton - - xxxi. 
 State aid in practice of lace making 
 
 XIX. 
 
 Sumptuary edicts as to costume xr,. 
 Suffolk laces, specimens of p. 84. 
 Sweden, lace-making in - xxxvii. 
 Swedish laces, specimens of - p. 99. 
 
 T. 
 
 Tagliato, Punto, a Foliami xvii. 
 
 Tape lace, specimens of, p. 19, 20, 
 41,42, 49, 50,70, 71,83. 
 Tatting - - xxxiii. 
 
 Terms used in speaking of laces, 
 explanation of xv. 
 
 Thread, cotton, used xx^iv. 
 
 from Antwerp xxxi. 
 
 of extraordinary fineness, used 
 
 for Brussels lace xxi. 
 , handspun flax, made at Alost 
 
 XXI. 
 
 , machine spun, made in Eng- 
 land and used in Belgium xxi. 
 Tirato, punto P- 7- 
 Toil^, or gimp - - x"^'- 
 Toledo, ordinances as to industries at 
 xxxiv. 
 Tender laces - xxxvii. 
 Treaties of Aix-la-Chapelle and 
 Nimeguen xxviii. 
 
 u. 
 
 Uttmann, Barbara, and lace in Ger- 
 
 XXXV. 
 
 many 
 
 V. 
 
 Valenciennes transferred to France 
 
 XXVII. 
 
 Valenciennes, so-called " fausse " 
 
 XXVIII. 
 
 , imitation, made at 
 
 Ypres XXIII. 
 
 7 lace described xxvii. 
 
 lace made in Belgium 
 
 XXVII. 
 
 , specimens of p. 62-65. 
 
 Vandykes or puntas xxxiv. 
 
 Veeellio, designer of patterns x. 
 
 Venetian Councils, prohibition of use 
 
 of lace by ix. 
 
 fashions in England xxxi. 
 
 Flat points, Portuguese 
 
 work like" - xxxv. 
 
 influence over Crete xxxix. 
 
 in French laces 
 
 xxv. 
 
 ' lace workers in France 
 
 xxv. 
 
 laces often considered to be 
 
 Spanish or French xiv. 
 
 point xiii., XVII. 
 
 point a reseau - xviii. 
 
 ^ rose-point imitated at 
 
 Belfast ■ XXXIII. 
 
 Venice, art of lace-making adopted 
 
 by Flanders from xx. 
 
 , commercial relations between 
 
 the Netherlands and 
 
 XIX., XX. 
 
 , developed the art of lace- 
 making in the 1 6th century 
 
 XIX. 
 
 Vere, Lady de, and Irish lace-making 
 
 XXXIII. 
 
 Vinciolo, designer of patterns x. 
 
 Virgin, lace with symbol of p. 42, 51. 
 Vologda, lace made in xxxvii. 
 
 w. 
 
 Wadstena, Convent of, and lace 
 
 making xxxvii. 
 
 Weaving fine textiles - xix. 
 
 Westminster Abbey, sculpture of 
 
 lace in - - p. 7. 
 
 Wight, Isle of, laces from p. 89, 90. 
 Wolsey, Cardinal, pillow-case reputed 
 
 to have belonged to - xxxv. 
 
 Workhouse, children in, in Dublin 
 
 taught to make lace xxxiii. 
 
 Y. 
 
 Youghal, needlepoint lace-making at 
 
 XXXIII 
 
 Ypres, lace made at xxiii. 
 
 [12707.— 1000, 50, & 12.— 12/81.] 
 

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