I n th e tim e o f M a rie A n to in e tt e . The Lace Diction ary

POCKET E D ITION

I N CLU DING HI ST OR I C A N D CO M M E RC IA L E M E N A T R S , T CH IC L E E F E T RMS , NATIV AND OR IGN

. ‘ ki ‘ a ” B Y R C . . CLI FFOR D 3

N E W Y O R K

C L F F O R D L A T O B S E R I W N , PU LI H S

1 E AS T T WE NTY - E I G HT H S T R E E T o r t 1913 ffor awton . C py igh , , Cli d L I NTRODUCTION

N PREPA RI NG thi s book it has been our ob j ect to give not on ly a complete diction ary o f rm hi s r n mm ial to so ar te s , to ic a d co e rc , but range th e matt er that on e m ay be able to an alyz e an iece o f lace and wi h li le ifficult ive it it s y p , t tt d y, g

r r l s ifi n p ope c as catio . ' I t i s un fo rtun ate that lace te rm s are ve ry con fu sing becau se so frequen tly coin e d arbit rarily an d w ithou t any reason an d the list m ultiplie d beyon d all c alculation by adj ective an d g eogr aphical te rm s an d r i thei r fo eign equ valen ts . Thousan ds o f year s be fore th e Ch ristian Era n n T F n h r plai ets we re u se d . h e re c te rm fo n et was

l e h n k e r n am nte i as c ll in fi t . W e wor d o o r e d t w a e d

Italy lacis .

We defi n e lace as an open - wo rk fabric an d di vi e th e subj ect in to eight m ain varieties ' d

A rawn - w or k a m an i ulation o f th e h ea s ( ) D , p t r d o f a woven mesh by drawing or tying to form pat

t e rn s .

B arn ed Wor k em roi e in or arn in ( ) D , b d r g d g

u on a mesh rovi in th us th e a te n . Run work p , p d g p t r

n h l fi a i n may go u der t is c assi c t o .

C Cu t - w or k formin a at e n b cu tin ( ) , g p t r y t g r h f ri away pa ts o f t e ab c .

D N e le - n Th e m ak in o f h l ( ) ed p oi t . g t e ace di

rect with the n eedle . 5

‘ 1 Q 1 01 fl 6 Th e Lace Di cti onary

B o A lai in or in erweavin . (E) bbi n . p t g t g

F Kn tt ( ) o ed w or k .

(G) Cr oche t wor k

(H ) M achi ne lace.

Th s arie ies a r s ill fu h i i n d ea e e v t e t rt e r d v de d , a ch

i n l l s sifi an n l z divi s o i s prope r y c a ed d a a y ed .

- D RAWN WORK .

’ Pnn to Ti ra to ( I t ) ; Op us Ti ratn m ; Fil Ti re

(A ) The re are thre e offshoots o f dr awn - work

' lain rawn - wo k embroi e re awn - work an d p d r , d d d r ,

awn - work wi h colo effec s : m roi er ed Sim d r t r t E b d ,

le D awn T on er . p r , d

D ARNED LACE .

Op us Fi latorimn ( I t ) ; Fil et Br odé

( B) The re are two offshoot s o f d arn ed lace s imple darn ing on a simple groun d o f coun t able

s i ch es an d arn e work o un coun a l e ch a ac e r . t t , d d f t b r t oin nté cou n a l n i hi P t Co ( t b e da r ed s t tc ng) . Spider Wo rk ( Op us A ran eum or Ou r/rag es

M as ches ) .

n i r M n A n u Clu y Gu pu e ( od e r tiq e ) .

- CUT WORK .

Op us S ci ss um (It ) ; P a n to Tagliato P oin t

Coupe.

( C ) Cut - wo rk prope r i s simply th e form whe rein th e d esign is obtai n ed by cut ting away pa rt o f h e fa r t b ic . I n tr odu cti on 7

- NEEDLE POI NT .

' ’ Pu n to i n A co Pain t a l aiguill e (D ) There are practi cally t en off shoot s o f

- n ee le oin t . e icella is th e e in n in an evolu ion d p R t b g g , t o f cut - work ; but th e mak ing ' o f lace with the n eedle alon e in e en en t o f a cu t - ou t ack rou n fabri c , d p d b g d ,

i A ia an d en wi h n et l c began with Pun to n r de d t a e .

lla reek r om an . Retice , G o R

a n to i n A r ia P Pun t a Reli evo Poi n t de M edi ci s o ( ,

ais e t l t F o a R d Pun o Tag i a o a g li mi .

Veni ce . G i n d R s P in Pt r os Po t an o e o t.

T ape Lace . ’ D A nglete rre ( combination of N eedle an d Bob Alen n in co . b )

B ru s A r n ll s el s . ge te a .

A n A li n rge tan . pp qué o N et .

BOBBI N . D e n tell e an Fus eau M erl etti F us clli e I M rle tti a Pi ombi ni ( t ) . ( E) We fi x seventeen varie ties or off shoots o f

h in ran h n r m a n i f in la s the t e bobb b c . U de a g y g g s

diff e ren ce be tween n eedle - poin t an d bobbin i s ve ry

clea r the n eedle - oin ein a se ie s o f loo s while , p t b g r p ,

th e bobbin is always a da rn e d - lik e or plait e d m esh h n wit out tyi g.

l e l n im le Bo in . A o . C u y. S p bb D Appliqué on Net . uchesse . T ape L ace .

Binche . Lille . T rolle Kan t .

Black Silk . M altese . Valen c ien n es .

Blond e Silk ; M echlin . H on iton .

r s l lai B us e s . P ted . ° 8 Th e La ce Di cti onary

T KNO TED . Pun to a Gr opp o ( F ) Knotted lace is eith e r o f the mac ramé or

in h ta tt g off s oot .

M a ram c é . T atti ng. T CROCH E .

ro h e is a b ran h h s ( G) C c t ch t at has off s oot .

rm fi n The te is sign i ca t . H M h n La ( ) ac i e ce . DI CTIONARY

- A P N T A c . a an for nee e o n . co. U o IN o It li dl p i t

r n n o o a e AFI COT. French nam e fO an i strume t t p lish r is d o portion s f lace.

G an s for nee e - o n AGU'A . PUNTO DE A U'A . Sp i h dl p i t.

’ - E G E. re n for nee e o n . AIGUILL . POINT A L AI UILL F ch dl p i t

G . ro n ce o f a oas ra was in th e m e ALA OAS P vi Al g , B zil, , iddl r o f h ne een en r th e c e cen e r of th e o n ace t e Ni t th C tu y, hi f t b bbi l

in dustry . Th e w ork wa s cotton an d rath e r coar se .

n in a e e ea e e a e ALBISSOLA . A tow It ly wh r rly r tic ll lac s

' e re m a e as w e a s nt e a e laces an d oe ace . w d , ll A iqu pl it d Al l s L N H ES n i n r e r n e e o n ace A E C . Tow U ppe Auv g e wh r p i t l s

w e re at one tim e made .

E r na m a e I n en on ran ce AL N CON POINT. O igi lly d Al c , F ; the begi nn i n g of light net laces gain ing favor over the h eavy

A len con .

i n - fi n I tal an lace s . A eedl e po int l ace in which th e groun d is e n et th e a ern e n o n e a cor on ne rm e an , p tt b i g utli d by d t fi r th

o e co onn e n a co e re or e a . Th e o n th r rd ts, utilizi g v d h s h ir gr u d

r r n - n o n o n i s ma e at o réseau is he e show . T o day Ale c P i t d

a e rano an d o he r c e . B y ux, Bu t iti s 9 10 The Lace Di cti onary

ALL VERs e n t o h e n o r a n O . R lati g t e d sig which c ve s et as disti nguishe d from f ragm en tary m otifs o f b orders or

‘ stripes .

A n t ue ac e t h e m o e r n s u r a of O us A r a n e u m iq L , d viv l p ,

or Ou vr ag es M as ch es .

in ALOE. A form of bobbin lace ma de in many tow n s a an d a n e s ec a so a a ce ona en oa an d It ly Sp i , p i lly Albis l , B r l , G , a e in the ne an an d e n m a e o f th e e l t r Philippi Isl ds, , b i g d fib rs o f the a oe an m ucila en ous . a e w t a o n l pl t, it is g M d i h b bbi n also made by tatti g . Th e L ace Di cti onary 1 1

ALOST. A town i n France famous for simple b obbi n ace a enc en n e on on an d a ne ace l s, V l i s , H it s d r d l s .

se for a c ALTAR LACES . U d ltar de oration ; usually o f

M e e va a a t e r u a ar n e raw n r - di l ch r c , su lly d d , d o c ut w o rk ; m so etime s reti cella .

A e n on s ow n a e n t e e n e d c o r d on n e t e e t o att e r n . l c , h i g d fi i ly d fi d g p

ER C C E. A s ea r a 1 8 8 2 . n n w as AM I AN LA ly s A G . Je n i gs

m a n m ac n e ace an s ace an d u u re . I n 1 8 84 ki g hi l , Sp i h l g ip n m am u u n Loeb S ch oe feld ad e t bo r l ace c rtai n s i n Camde . I n 18 8 5 th e N ott i ngh am i n du stry w as starte d w ith on e ma chin e b rought ov e r by John Will oughby an d pu t up at For d

ham N ew o . , Y rk 12 Th e Lace Di cti on ary

n n a n h AMPTHILL. Quee Catheri e o f Ar gon i troduced t e m aking of l ace in to Bedfordshire dur ing h er residen ce at

Ampthill .

m r r o f n n AM STERDAM . Fa ous fo eproducti n o Fre ch Al e

on en an and e ace . en e e a la e n e c s, Arg t s Bruss ls l s D t ll R i w as a gen eric term applied t o th e s e Amsterdam n eedle - poin t laces .

’ D A n gl et e r r e .

’ A N GLETERRE A N GLE RRE r n s . POINT D T . O igi ally a Brussel lace smuggl ed i nto Englan d an d call e d A nglet e rre to av oid duty ; s ubs equen tly m ade i n En gl an d ; sometime s classifie d as n ee e - o n ace a o th e n et o ne th e e n dl p i t l , lth ugh is b bbi t, d sig s on ly bein g m ade w ith a n ee dle .

- G C . G C En u o AN LI ANUM OPUS AN LI ANU M . glish c t w rk, n e - w r an em ro r w r r n e dl e o k d b id e y o k a e i clude d in this term .

BERG am o for e a o n r ANNA . F us its rly b bbi lace s . B a bara

Uttman n wh o nt o ce o n ace - ma n n o e man , i r du d b bbi l ki g i t G r y , nn was buried at A aberg. The Lace Di cti onary 13

s A ran eu m . ANTIQUE LACE. See Opu

R n r s . ec n e r se an d A N TWE P ( Fl a de ) M hli , Lill , B us ls Trolle Kant laces made h ere as early as the Seve n teen th

n r Ce tu y .

E n i z an e e m c ace APPENZ LL. Tow n Swit erl d wh r u h l is m ade by th e p easan ts .

E a a n ace a ace in c APPLIQU . Appliqué or pplic tio l is l whi h th e motif o r th e de sign detail is made separate f rom th e

a e t A r a an A r abi an . L c bi .

ace m not be background an d applied th ereon . Appliqué l ust

am w c m a e o n on con fuse d with t bour, hi h is d by w rki g up

machi n e - made n et a de sign in chai n stitch ; n or must it be c on fuse d wit h run work which is m ade by run n i ng a thread o n i n an d out of th e n et i n a m an n er to make a de sign . P i t

- t e a s on a n et Appliqué is an applicati on of n eedle poi n d t il up ,

- h r o f old ace rac cal usually m achin e m ade . T e histo y l s p ti ly h n e ee n e n en en ds with th e begi nn i ng o f t e Ni t th C tury, wh n - a e I n 1 8 33 co to machin e made net or bobbine t was m d . t thread was substituted for flax and the English particularly 14 The Lace Di cti onary

uc n o f Old r s e en on s produce d many ch eap repr od ti o s B u s ls, Al c u and Argen tan s i n appliq és . R cu r a n ace u a of ARABIAN . POI N T A ABIAN . A t i l su lly drab col or ; tap e - like fi gu res h eavily cor d e d an d con nected

See u t at on . by brides . ( Ill s r i )

et on t or et B ro . Fil C é , Fil dé

n a ance a e cu ta n ARABIAN LACET. P ractically a Re iss t p r i a e the a e cor e i n m a on o f r a an or o n A ra l c , t p d d i it ti A bi P i t bian e ffect and col or .

A ARA N EU M . coa e o en o of AR N EU M . OPUS A rs , p f rm

n r e o in a e a n e n darned work. At a ea ly p ri d It ly r gul r tti g The L ace Di cti onary 1 5 darned in a way to show a design was call ed Lacis or Opu s i u m n an e h m o e rn a a F latori . I Fr c t e d surviv l is c ll ed Fil et

En ar e A r e n t n s ow n t h e f at t r eat m en t t us s t n u s n i t l g d g a , h i g l , h di i g i hi g fr om A e n o n w c h a s th e c or on n e t e e . l c , hi h d dg

n o n a e n et or e ro em o e e or Co té ( C u t bl ) , Fil t B dé ( br id r d a n et A ran eu th e o en an d re a o d r e d n ) . Opus m, p ir gul r f rm o f a n n was om e m e ca e ra e s M asche s e d r i g, s ti s ll d Ouv g , Guipur ’ A d a n o ce in ance n e. d rt an l ter wh e repr du d Fr , Clu y Guipur ” To day the same thi ng is called Antique or spider work . 16 The Lace Di cti onary

’ RGE AR TA N n n n an A NTAN . POINT d GEN . I 16 50Ale co d Argen tan laces we re gen e rally known as Point de France h r a n n w r t en h m eo e laces . T e wo kers t Arge ta e e of t e sa e p pl wh r n n h r n an n nd o wo ked at Ale co . T e A ge t et is firmer a large r than othe r n ee dl e- p oi nt n ets ; th e pattern is b olde r an d

a er n ot e m o n th e fi n e co on n e of en on . A r fl tt , pl yi g rd t Al c

en an e ce s in e or ar art c ar i n the six - o n e g t x l brid s b s, p i ul ly p i t d sta r m oti fs to whi ch are adde d three or fou r pearls on e ach

e . n o f bar e brid in l sid This ki d is call d e ep g e.

E r ARGEN TELLA POINT . a ly Ital

i an n eedl e - poi nt n et l ace res embli ng Argen tan an d Al en con an d foll owi ng th e e ff orts o f th e Itali an s to com pete w ith th e Frenc h in light n et

l ace s . The re is n o raise d outline an d the de sign s are con spicuous in sm all

c a s m ra e n ircle s , ov l , s all sp ys ; oft

ca e an o o nt . The e n s A r ge n t ell a Poi n t . ll d Bur p i d sig are er e ca e the t rea e cee v y d li t , h d x d in l w t e n o a e wo r e r n fl g y hi ; r is d k, ev ythi g at .

R . PU N To R . ean n oa i n A IA IN A IA M i g, br dly, stitches ” h ir m e o h - t e a . A ter appli d t t e earliest form of n eedle poin t ace o ow n re ce a w c e e an e o t on of ut l s f ll i g ti ll s , hi h w r v lu i c un t n A ia w a m work . P o i r as cco plished with out cuttin g any o n S n n n backgr u d . ee Ve etia Poi t .

- R E . Ch i fl a low a e A M NIAN c y gr d crochet . S ee Asi a.

RRA o n i n r n e r ear a n en n re A s . T w F a ce wh e ly V le c i es w e ma e d .

’ A RT I R R . S e A n e m . GU PU E D A T e Opus ra u .

R F E t rm a A TI IC IAL LAC . A e applied to a l ce that is n ot w o en or e m ro e e ro ce e n t e c em ca m e v b id r d, p du d ir ly by h i l th ods re en m a e o f ce u o or . , f qu tly d ll l id pulp

BE E m / AS STOS LAC . A co me rci al term t o des ign ate a n on

m a T m n er h n n o co bustibl e l ce . he i al asbestos as bee w ove in t

ace but on s a cu o . t i s n a c m m e r r l ly a ri sity I ot o c ial a ti cl e .

18 Th e Lace Di cti on ary an d m an y modern Clun y an d simple bobbin laces and Malte se l aces as well as poi nt l aces are still m ade here.

RRE a e om m e e n e e a e or . AUXE . L c s eti s call d Lu vill l c St e a e f e m n he n Mich l l ace . M d o h p o t bobbi .

R n m en th an a e o AVE MA IA . A a e giv by e peas ts t Diepp t a bobbi n lace of Valen ci en nes vari ety.

- V R n o. erm a n i n a t o nee e o n t A O IO, Pu t T pplyi g It ly dl p i

Sixteen th Ce ntury l ace.

ER n m e e f h on AXM INST . At o e ti e h adquart rs o t e Dev shi re l ace trade .

E B R n in En n l n AYL S U Y . Tow gla d where o d cotton bobbi r e lac es w e e mad .

BABY. A term for n arrow an d light l aces .

B R r s BA Y I ISH . I i h crochet of deli cate character .

E m f s n BAD N . Fa ous or pea a t laces .

BANTA. A lace tie worn by Italian s early in th e Eigh teen th Cent ury.

RBE i w r n BA . A lace t e o n in It aly and Fra ce in the early a r o f th e n n r p t Ni etee th Centu y . t BARCELONA . Ci y in Spai n famous for its h eavy plaite d o n ace on e ac and m a te e ace m c t at b bbi l s, bl d , bl k silk l s l s ; u h ti ng is also m ade at B arcelon a .

E - i BARM N ( Ge rm an y) . M achi n e made torch on s i n im t ation of the F ren ch and Be lgian design s and braids from w c n - ma a e r m a hi h ha d de l c s a e de . R n n n n a in BA S . Co necti g threads o rname ti ng Ope sp ces ace om e m e ca e r e c a re co com e an d e . l , s ti s ll d b id s, l i s, x bs, l gs ti s

En n e n BATH ( gla d ) . D vo shire bobbin lace is som e m r s ti e s call ed B ath b us els lace .

BATTEN BERG. A nam e applied to Renaissan ce lace wh en ma e o f a en r ra d B tt be g b id or tape.

V R n n r n re m in Ba BA A IAN . I expe sive to cho laces a ade v ar ia .

E ran e n on a w m a BAY UX ( F ce ) . Al c l ce as de here as n w e ll as blon de silk a d bl ack silk laces . The Lace Di cti onary 19

e BEAD EDGE. A series o f l oop d threads edging a lace . E w BEDFORDSHIRE. Old nglish to n which followed Lill e an d ec n ec n e c e cotta e wo m e a e rn M hli t h iqu ; hi fly g rk, si pl p tt s ;

Often baby widths . ’ f n m f r n a f BEGGAR S . Term o co te pt o simple bobbi l ce o the Sixteen th an d Sev enteenth Cen tu r i es . I n Fran ce called s m e n g uese ; o etimes call d peasa t l ace .

B i n c h e .

E G m m r l t e n ro n ce s B L IAN . Be lgiu co p ise s th e o d sou h r p vi of th e e er an n c u n an e r an d the rea c e o f N th l ds , i l di g Fl d s g t iti s en e e r e ec n o n a o rt ra r e s Gh t, Li g , B ug s, M hli , T ur i , C u i , B uss l and n e r an d the ace n c e r e s m ec n o e A tw p l s bi h , b uss l , hli , tr ll kant

C E. a n a ro n ce old e e r an n ear an BIN H H i ult p vi , N th l ds , Fl r n n n r n a n Sev de s . B obbi n lace r es embli g Val e c i e n e s . O igi ti g en teenth en t r w en n c e ac was a a o f u s e . C u y, h bi h l e riv l br s ls

E E. en c o n ace o f th e ea an r e en BIS TT A Fr h b bbi l p s t y, S v t eenth en r coa an d n a n om m f m C tu y, rse rrow a d s eti es o etalli c thread .

C K . o n ace n ow m a e at a e an BLA K SIL A b bbi l d B y ux, Ch a a aen an d a n a tilly, M lt , C C talo i .

BLANDFORD. B obbin l ace at one tim e fam ous i n Engl an d . 20 Th e Lace Dicti on ary

E. o n ace o n a i n co o c eam or BLOND B bbi l rigi lly silk, l r r w t t h hi e . La e r t e term w as applie d t o th e silk type which w as ca e on e en n ll d bl d ev whe bl ack . Black bl onde m ade Chan

am ou See ae n . arc on r tilly f s . ( C ) B el a p oduce d fi n e bl ack or te on e so a s o a eu an d e n ce an d m ac n e whi bl d s ; l B y x V i , hi m a e on es ar e r u e i n n d bl d p od c d Lyo s .

Fr en ch or SDan i sh bl on de .

n on e . BLONDE DE F I L. See Mig ett

r t on a e f ne BLONDE NET LACES . Te m applied o bl de l c s o t

- n h groun d. Frequen tly l oosely woven silk thread is used i t e r darn ing of a patte n . BOBBIN LACE. Made on a pillow or s n f n cu hi on by m ea s o bobbi s . A vari ety o f nt e a n a t n th e m i rl ci g or pl i i g, but e t r pl ait i ng was droppe d du ring the Six t een h n r w en r ar tmann t Ce tu y, h Ba b a Ut or n 1 514 e 1 57 5 n o ce bob ( b , di d ) i tr du d n bi s in to Ge r man y. She is credited w a n n en e me o al ith h vi g i v t d this th d, though the cl aim is den ie d by th ose wh o belie ve that she l earn e d th e use o f o n in an a H Bobbi n groun d . b bbi s Fr ce or It ly. er w ork Th e L ace Di cti onary 21

I n as was adopted an d prosecute d by th e Flemish . n Ve i ce early as 1 557 a book o f patte rn s for bobbin laces was pub

r f r o n ac den tell e an F us eau . lished. The Fr en c h te m o b bbi l e is

- n t Br e s or T es . Bo n Br s cot s. Nee dle Poi id i bbi ide . Bobbin Pi

Italian a Pi ombini re fers to weighte d bobbin s an d M erletti a

Fus elli o n ace . o n ace is ma e on o s th e b bbi l B bbi l d up pill w , e n e n ai out mean o f n s a o n h c the d sig b i g l d by s pi , r u d w i h

B obbin n et showin g B obbi n n et s h owin g di amon d orm ati on . i c Mec hlin f for m n Lill e l a e .

t ea a n an d n e ace . e o e the use of n s hr d is dr w i t rl d B f r pi , fi n e fi shbon es w e e u e ence th e e rm r s d, h t bon e lace. I n th e Sixteenth and S eventeenth Centuries bobbi n lace was known 22 Th e L ace Di ctionary

Cl u n y l at e t he p ill ow.

Th e ab ov e give s s ome ide a of t h e i n t r ic ac y o f bobbi n lac e weav i n . For e en t h e s m e e s n sh own n e ar l e t o n s are g v i pl d ig u y igh y b bbi e r r ws t s e a ou W t n n - e ra . r qu ire d . A n e xpe t t h o he b t i h light i g lik pidit y Th e Lace Di cti onary 23

’ ’ as orc on e ar ace eternell e fi sh erm an s ace uese t h , b gg s l , , l , g ,

ea an ace an d o n ec e r . was ma e the ea p s t l , p i t p h u It d by p s ant r and e en ma e oo en th e ame o o f y, fr qu tly d p rly ; wh s s rt n was m a e a e e e a e on e a e thi g d littl b tt r, littl str g r, with r is d a e ee an d c c e or a are n own as a e pl it d wh ls ir l s , wh t k p ddl s, it is called Clun y ; but with litt l e or n o relat ion ship betw een th e ancien t Cluny guipure an d m odern Clun y.

BB E n n n e BO IN T. Th e et m a de by the bobbi as disti guish d

m h n m a n e m ta on . fro t e eedl e. M ode rn bobbinet is a chi i i ti t The re are seve ral forms of net. See N e s .

E rm s t nct e t o th e n of BOH MIAN . A te appli e d di i iv ly ki d bobbin lace m ade in B oh em i a un de r gove rn m en t auspices i n imitati on o f old Ital ian o n a b bbi l c e. Th e di sti ngui s hi ng fea t ur es a re the tape

n like desig s . Whil e lace s o f oth er styl e s ar e m ade in B0 h i em a, th e t e r m B oh em ian h as bee n Bo e m an h i con fin ed o f l at e t o s a e - e c a thi t p lik har cte r o f bobbi n l ace o r i mitat ion s h f t e reo .

N E CE. O t a an oc m en es ec a BO LA ld I li d u ts , p i lly on e o f 1493 n , a n ent or i n th e or a am i v y Sf z f ily, re fe rr e d con t in u ally to on e ace and on e a b l , b l ce i n aft e r yea r s w as un de r s tood

E E E BONN F M M . A styl e o f lace cur t ai n h avi ng a flounce d ca o s ll ped bottom.

R E . a e ace c rt a n s om B AID D Br id d l u i , s etim es call e d Bon n az c ai n con of a n urt s , sist bobbi et groun d on w hi ch a pat 24 The Lace Di cti onary

e m s ace of coarse u c e sse t e c a e i n th e t ra e B ru e s ace . Fl i h l D h yp , ll d d , g l

Excee din gly coar se Bruges for cu rtain pu rpose s.

26 Th e Lace Di cti on ary side d button hole bar f r i nge d w ith a littl e row o f three or fou r purls .

R E- E ace c ta n t at co e the o e win B IS BI S . A l ur i h v rs l w r

- dow sas h on ly .

R E E . re n c r e ro uct on o f o n t ont B OD , FIL T F h p d i P i C é ,

r e fi l t ld a n arn e n popula ly call d e ; o It lia work d d et .

E o n a e f e n BRODERIE D MALINES . All light b bbi l c s o M chli or er we re ca e m a ne an d m tat on o f c ace a e d ll d li s , i i i s su h l s m d n w r ro e s by embroideri g e e called B d ri e de M alin e .

R ER E DE C . a n - o em ro e re fre B OD I NAN Y Dr w w rk, b id d quently in col ore d silk.

R GE . an e n ow c of e m . I n th e B U S Old Fl d rs , a ity B lgiu Sixt eenth Cen tu ry on e o f th e best exam pl es of bobbin lace was ca e re de e . I n m e the e m c an e ll d guipu Brug s ti t r h g d, the fi ne e ecom n n o n as c e e the coa e e typ b i g k w Du h ss , rs typ r retain ing the te m Bruge s .

u BRUGGEN . Se e Br ges .

R E t of e m for B USS LS . Ci y B lgiu , me of old a an a o n n rly Br b t , dj i i g an e on e o f the o e rn o Fl d rs, s uth pr v n ot i n ces of old N etherl a ds . B h needle - point an d bobbi n l ace s w ere m a e e e the orm e ca e o n d h r , f r ll d p i t

th n a . e gaze, e latt er poi t pl t Bruss ls lace - m ake rs us e d a fi n e flax th read .

Th e earliest n eedle - poi n t patt e rn s

B r u ss e s N e e - followed th e I talian m ethods but l dle Poi n t . soon the l ace - m ake r s adopte d th e techn ique o f the Fren ch an d th e t e rm t o - day applie s strictly h or on n e n h r t o a net lace . T e c d et dgi g t e patte n in needl e o n r e not co e re w t on o n ac e p i t B uss ls is v d ith but h li g, but is t k d e down flat . S ometimes Bruss ls l ace sh ow s b obbin an d nee dl e point combined . I t is this type t hat was kn ow n as Point ’ - d A n l eterre c se e. T o da m c of the e ace g , whi h y u h Bruss ls l a e in e a a e ece th e o e and o e e a e n is m d s p r t pi s, fl w rs th r d t ils b i g

- assembled. Machine made net was promptly adopted in Th e La ce D icti ona ry 27

- Old B ru ss e l s N e e dl e Poi n t .

B r us sels w ork ; the design s w ere m ade separately an d ap l n h n r p iquéd o t e e t . B uss els l ace h as th e de fect o f dis

o e r B r u s N - n t M d n se ls e e dl e Poi . 28 Th e L ace Di cti onary

coloration . The flax fo r th e m anufacture of old Brussels lace wa s grown i n Braban t an d th e term Brabancon w as o ften

used.

R E . a on r e e I n th e B USS LS S x y B uss ls , Swiss B russ ls . curtain t rhde e ffects th at are beauti ful at a little distance are produced i n what is k n own as S axony Brussels an d Swiss

- B r sse s cu rt a n . w B ru sse s r Saxon y or double ne t u l i S iss l cu tain .

he ne o n for o e n a e ac ne i n Brussels, t t gr u d b th b i g m d by m hi ry a n a N ottingh am . I n S xo y Brussels the design is h n d worke d

n a a o m . I n a e c e at . a the o t mb ur dru Swiss , m d hi fly St G ll,

embroidering in chai n stitch is done by machi ne . I n th e Saxony Brussels patte rn s a fi ne mesh e ffect is produce d by

overlaying one net m esh upon another. Pa rts o f the upper e ar u awa ea n the a e n a a en f a m sh e then c t y, l vi g p tt r pp r tly o Th e Lace Di cti onary 29

- n e c a ac e . e e e n et e ffec are a e ffic fi r h r t r Th s doubl ts r th r di ult, the trimming close to th e appliqué requiri ng skill . N ovelty me shes are i ntroduced i nto the pattern of both th e Saxony Brussels and the Swiss Brussels by run work or darn i ng by han d . The mai n disti nction between the Saxony and the Swiss is that the Swiss Brussels i s single net throughout an d es ac ner in th e a o o e the a on utiliz m hi y t mb ur w rk, whil S x y h as double net i n the pattern an d th e stitchi n g is done by

Old Bu r an o i n i m i t at on of B ru sse l s . , i

n i a e the o e - net han d. The Swiss Bruss els curtai mit t s d ubl i hin h ra on ere e ffect by a machi ne ove rst tc g . T e illust ti s h sho w th e tech n ique ; th e curtai n s w he n hung h ave a beaut iful e ffect . LL BRu xE ES . See Brussels.

n . BRYONY. Tulip desig

E n n a e e r BUC KINGHAM SHIRE ( ngl a d ) . B obbi l c s made h e a e r th e em m e t o s lille s m a e e an d ro . ft Fl ish h d , , lt s t lly

m n BUC KLE STEM STITC H . Ter used in Hon ito lace. Be ’ n n e rs em uc e e m an d ste m t c . gi st , b kl st s it h 30 Th e Lace Di cti onary

n BULLION . Lace of gold a d silve r .

m r an a he BUNT LACE. I n 17 52 wo en f om Fr ce t ught t Scotch peasants how t o m ake bobbin lace s an d they were n t call ed bu lace .

R N in a am for n n n BU A O. Town It ly f ous its Ve eti a poi t

ace its e ro c on en on r en an and e . l s , r p du ti Al c s , A g t s Bruss ls n n o f e n M a y ki ds lac s ar e ow m ade there .

r r c m c r o s A l i e C a i k a s pp q u .

- n a m a e m BURNT OUT LACE. Te r m applyi g to l c e d by e o e m e o s th e e m ro e r e n o f on e m ate a the br id ry th d , b id y b i g ri l, f n m a r a a o n backgroun d be i n g o a oth er te i l . This b ckgr u d sus e tibl e o f e r c on ac at e a n u a ace the c p d st u ti by id b h l vi g th s l , mate r i al o f th e emb roidery be i ng u n a ff ected .

- E C . s e i n n ee e o n ace as BUTTONHOL STIT H U d dl p i t l , dis h rn n n u n n r ting ui sh e d fr om t e da i g t ech iq e i b obbi wo k .

m u f r lon de an la ace . CAEN . Fa o s o b d b ck silk l s

R n o t e a e now m a e in a a r a. CALA B IA . A k t d l c d C l b i Used f r n n r e an d rnam e n t o o n e or t imm i g u de rd ess s o al h useh ld li n s .

n m an u act r n e n am CALAIS . Fre ch f u i g c ter f ous for ve ry Th e Lace Di cti on ary 31

fi n ace m a e on th e o t n am o - r o m ac ne ac e l s d N t i gh g th ugh hi , bl k or white .

V ran e Ear e n on s w ere m a e ere an d CAL ADOS ( F c ) . ly Al c d h also Campan e l ace .

G E CE o n - ace e n e r nar r ow CAMPA N LA . A b bbi l dgi g, v y ,

ort o f cot ace s om e t m e m a e o f o an d co o re . s pi l , i s d g ld l d silk

C ar r ickm ac r oss G u i pu re .

a e i n an c e n m es I doea a te rw ar ret e CANDIA . C ll d i t ti , f ds C ,

te . on e o f the l argest isl an ds i n the M e dit er ran ean . Se e Cre

N E E u on a e . CAN TILL . B lli l c

CA RN A S S I ERE FI L DE . ta an n o te ace . , I li k t d l

n r an d a m o r a CARNAVAL . Reti cella l ace s h ow i g c e st s r i l

ear n e ec a o rn th e n o t c a e arn a a b i gs , sp i lly w by bili y , is ll d C v l

a r a . lace. Wh en use d for trousse ux it is call ed b id l l ace

RR C CR . a rr c m ac ro ace e all r ace CA I K MA OSS C i k ss l , lik I ish l , h a f o n r ere w e re two was a copy o f t e l ce o oth er c u t ie s . Th

n a an d re . T h e a wo e on a ki ds, ppliqué guipu ppliqué is rk d up h u r m or o f an em machi ne f made net . T e g ipu e is e broidery an w fi ne m o r aw n i n c the th a l ace, m ade ith ull l , whi h n r un r n h ou design is t race d . T he thread is the a ou d t e t 32 The Lace Di cti onary

ne o f the e n t he cen er are cut aw a u on o e li s d sig ; t s y, b tt h l d n e a d fill d with open stitches .

A A r CART S N E. A parchm ent or velum co d covered with r o r or a a e n silk o gold silve r thread . Use d to f m p tt r .

mm n r m . a a o e i n a CASCADE. Tri i g te M te ri l f ld d zigz g form .

n mo fo i n on e s CATALONIA ( Spai ) . Fa us r t s bl ack a d bl d ilk

- laces . T o day the ter m Catal on ia appli es t o laces O f a fine n r Clu y cha acte r .

ER R a m em n the na a CAT PILLA LACE. L ce ade by ployi g tur l web of th e ca er ar a rea ace on occa on a a e t pill , f k l ly si lly m d by expe rim en talists ; som etim es th e spide r is employe d in like m an n e r .

ER ZE e rn ace . CAUT I D. S e Bu t L

EVE E . e for th e ace ma e at a e C NN S Whit silk silk l s d B y ux , aen an d an a o n m m r m n n e en e C Ch tilly , t e ti e ca e f o Ceve s , h c h t e te rm Ceven n es l ace .

E e r C YLON . M altese laces we re made h e .

E a a u n ace - m a r a CHANSONS A TOIL . B ll ds s g by l ke s t work.

n t CHANTILLY . Th e Cha illy white l aces much re sem bl e

- n r n h lisl e . A thick silk looki g th ead outli i n g t e patte rn . Bl ack silk Chan tilly app eared about th e middl e o f the Eighteenth en r c arac e e fi ne ro n and e e ance of o a C tu y, h t riz d by g u d l g fl r l n T m i n h d festoo s. he silk l aces a de t e natural color an calle d on e e e ma e at an an d as th e e m on e w as Bl d w r d Ch tilly, t r Bl d accepte d by m an y as applyi ng to s ilk the te rm Black Blon de w s o n e m in a fte use d to m ean bl ack silk. Thes e lac s ade

a n - a e Ch ntilly w e re call e d Chantilly laces . Littl e ha d made l c now a e in an th e n o c on Of mac n er is m d Ch tilly, i tr du ti hi y n h r killi g t e in dust y.

GG CE. a e at the an o f o a n ea CHIO IA LA M d isl d Chi ggi , r en e Th n t a m V ic . e i dus ry w s revived in 18 7 2. Rese bl es Old

Flemish laces.

34 Th e Lace Di cti onary

o for a e e aces . CINGALESE. Fam us M lt s l

e CLINQU AN T. The flat kin d o f bullion lace is t rme d

Clinquant .

- n n le CLOSE STITC H . A n ame s ometimes give t o butto ho stitch .

o ern n coa e c ron o n CLUNY . M d Clu y is rs , thi k , st g, b bbi , w e ma e i n e m e r man an d a . c a ac e hit , d B lgiu , G y It ly It is h r t r

r h e m n fi Real C oc t ( ag i ed) . ize d by paddl es o r wh eel s i nt ro duced upon what is otherwise a i to rchon . Th e m od e rn n am e s de rive d from th e mus eum Clu ny an d there is little relation ship betwe en th e m odern Clun y an d th e an cient Clun y Guipure . See A ran eum .

Th fe ence e ee n the rea an d the m a i on n e dif r s b tw l i it t Clu y, r n r m n ace ma e e i e t o cho o si ilar bobbi l s y b det cted n thr e w ays . r th e m a on ma e o n a mac ne o n e the ma Fi st , i it ti d hi sh ws u d r g n ifyin g glass th e use o f two sizes o f th read in stead o f on e e as in the ea econ the rea s ro n in a mac ne siz , r l ; s d, th d th w hi are n a ra cr n re a an d oo e n ea Of a , tu lly, i kly, ir gul r, l s , i st d str ight and a ea ma e on a o et een r n taut , s with r l , d pill w b w igid pi s ; The Lace Di cti onary 35

ir th e a on ua o f co on the ea ua n en . th d, imit ti is us lly tt , r l us lly li See orc on h o o e o f n t h , t e pr t typ Clu y.

B L n n m i COL ERT AND CO BERTA N . Sy o y ous terms der ve d

r m h nam e of C o er the l o s me n er o f f o t e lb t, i lustri u pri mi ist T ha an a Fran ce in the Seventeen th Century. he lace s irregul r groun d a fte r the fashion of Veneti an lace precedi ng the in t roduction of nets.

I m t at on roc e m i i C h t ( agnifie d) .

COLY FORT. An English town at on e ti me active I n th e n maki g o f bobbin laces.

n h e COMO. Much exce llen t moder Cluny lace is made in t neighborhood of Como.

E a ne ne n in co n a e c e as CONT , POINT. D r d tti g u t bl stit h s, di stingui shed from i rregular stitchi ng of spider work or

Opus A raneum .

R E ea a an nee e - o n ace on e of the CO ALIN . A h vy It li dl p i t l , n a n variety of flat Venetian poi t . Its p tte r is cordlike . 36 Th e Lace Di cti onary

CORDELLA . A fi n e n et lace with raise d co rd outli n ing the pattern .

CORDO N NET. Th e cord outlin e applied to a pattern.

CORFU . A coarse Greek lace of littl e value for artistic

RN en a o o rn a ace e e f n i CO ISH . A c tury g C w ll l s w r o co s d e rable va riety .

ret e a c u rt a n m at e r a . C , i i l

- E re nc e m for cut or . COUP , POINT. F h t r w k

n m n o the o onn e o n e - COURONN ES . Or a e ts t c rd t f e dl e point

R CE a enc en ne c a ac e m n COU TRAI LA . O f V l i s h r t r ade i the o n f r a e i m t w O Cou tr i , B lg u .

C B . a e o en e for a the connec COX OM S N m ft substitut d b rs, t en S a i ng th reads thrown across Op p ces .

- COYLTO N . Tow n in Engl an d whe re a few old l ace m aker s are still empl oye d in th e m an ufacture of H on iton sprigs. Th e La ce Di cti ona ry 37

R C - n or C A KLE OR CRAC KLY . A m ode rn machi n e made et mesh to lace or ve ili n g re s embling the crackle in the gl aze of old p ottery .

e on CREPE. A thin cr impe d stu ff o f wa rp silk gumm d h t e m ill.

o an d dra o of CREPE DE CH IN E. A n exquisitely s ft py f rm c e e a n e o r r n e . r p ; pl i , figur d p i t d

o n a e m a e in an a or CRETE. Lace of l ose b obbi v ri ty d C di s eom e ca ro n co o e or Crete . De ign s gen e rally g tri l , g u d l r d silk

n - a n the e e n a flax with a c ol ore d ch ai stitch, l o g dg , givi g

Cr oche t .

gay e ffect. I n the upholste ry trade to - day th e te r m Crete a e to a - e c a n ma e a ppli s light w ight urt i t ri l ,

RE E The e m e e en a C T . t r Cr t is Oft ppli e d to l ac e similar to ace om e m e ca e om an om e m e s ee Cyprus l , s ti s ll d R , s ti Gr k l ac e .

REV . ra n - or as m a e i n r C A D w w k, d B azil by th e negroe s.

e en a ro co of a r It is vi d tly ugh py It lian d aw n .

R C E . oc e ace n o ce in e an C O H T Cr h t l i tr du d Ir l d about 1820. n e croc et t c a m a n It is disti guish d by h sti h , usu lly i it ti g o e n e e a an d e n an o n I i m d r r tic ll s V eti p i t . t s wrought with a ’ ” oo e n ee e and s om et m es a n n r h k d dl is i c ll e d u s wo k . Th e “ ” n a e i s er e om the ren c croc e c oc an d h m d iv d fr F h h t, r k, t e “ ” old an k rook e or oo Th e t n n ma D ish , h k. dis i guishi g rk o f Irish crochet which h as n eve r been imitated is the fi ne c rochet stitch follow e d by eve ry thread of the w ork. S ome 38 Th e Lac e Di cti onary tim es the croche t is calle d raised Rose point or Point de Trico o r H on iton c rochet to in dicate the characte r o f the

e n m ore an th e n e . Th e flat a e o e e d sig th e t ch iqu v ri ty, h w v r,

C r ochet .

e e n o n t o - da as a as n e o is b tt r k w y b by I rish, disti guish d fr m the raised or heavy vari ety. The an ac e of is c oc e o e e is not con m uf tur I r h r h t, h w v r, The Lace Di cti onary 39

n fine d en tirely to Ire lan d. The Syrian s in thi s count ry a d he an f a a e r an e an d ance t peas ts o It ly, Austri , G m y, Turk y Fr are all at work upon the same sort of lace .

Old En glish C ut - W ork.

I n re an w e e far the e c roc e ma e th e I l d, h r by b st h t is d ,

C ut - Wo rk . T h e begi n n i n g of Re tic e lla . wo rk is n ow a n ation al in dustry with its main centers at n m r Cork and Monaghan . At o e ti e the e were n o l ess than women i n the n eighborhood o f Cork alone engaged 40 The Lace Di cti onary in the makin g of crochet collars an d cuffs and yard laces a e n n n e n ft r Spa ish a d Ve etian patt rn s . I n Austria the gove r

en h a e a e ace - m a n as a n a ona in s r m t s st blish d l ki g ti l du t y,

peasan t worker s be ing en gage d un de r royal auspices . The Austrian crochet w ork follows strictly the Irish ex

m - a pl es . A han d made gown of Irish crochet passes be fore it is fin ally complete d through as man y as a hun dre d di fferent an an d n c e in ma e a ea a e of o h ds, i lud s its k up gr t v ri ty m tifs

The g radual disappe aran ce of Cut - Work.

e f r h a n r des ign e d esp ci ally o t e g rme t . These m oti fs a e made ffe r n n a a e m e an d o et e at o e by di e t i dividu ls, ss bl d put t g h r s m c enter with raco rd stitches . Th ese racord stitche s are o f

e era e n s com n i n the enc n s an d s v l d sig , i g Fr h , E glish, Iri h large Open - me sh patte rn s . ffi Irish croch et is di cult to imitate. Un de r a gl ass an d h n a e the n frequen tly t o t e ked ey deceptio is perfectly clea r. Th e stitch of the c rochet is pu rely a croc het stitch or button - h ol e stitch while th e imitations aim at the e ffect with a per fectly straight ove r - an d- ove r stitch . Recently some im

42 The Lace Di cti onary du e a h c o he e a h is o ten a ied c d at Curr g s h ols, t t rm Curr g f ppl in disc ri minately to Irish lace s .

- CUT OR . - w o h W K Cut rk ad great v ogue durin g 1400. It was nown in he a e - n k t e rli st stage s of lace makin g. One ca readily understan d that the earliest en deavor at lace - makin g e an the a n f b g with dr wi g o f threads. Then the divi ding o the ea n o an s en o i n e in o a t erns or thr ds i t str d , th w rk g th m t p t o e - c n e or a n n or a we to- da ca hem v r stit hi g th m d r i g, wh t y ll stitching. I t was a logical step from this form o f w o rk to the cut n a a o f om h he ut ti g w y s e o f t e threads . Littl e by little as t c

Cyp ru s. work came m ore in to vogue and the de sign s more an d more com e an e ff or was a e to o ce ese o en - o pl x , t m d pr du th p w rk pattern s in a mo re direct m an ne r an d as a result we have

- e ce a c was the e e nn n o f nee e oi n ace . R ti ll , whi h v ry b gi i g dl p t l

The first example s o f cut - work we re doubtless used on ly for ecc e i as ca o e and n the i n f he l s ti l purp s s, u til dissolut o o t

na r e was re ar e as a c c sec et. n ee as mo s te i s it g d d hur h r I d d, ’ ear ly as 1400Nun s Wo rk was a t erm applied generally to cut - work in Great Britain .

R . a o of i n the M e es CYP US L ce highly th ught iddl Ag ,

m ma o f o an d ve man act e now e inct . fo r e rly de g ld sil r, uf ur xt

Peasants make a coarse thread lace. The Lace Di cti onary 43

n ace s a co fee n ed. DALECARLI AN . A bobbi l , u u lly f ti t

o n ace na o and coa e DALMATIAN . Simple b bbi l , rr w rs , made by th e Dalmatian peasants . a o for an DAM MARTIN . Village f m us Ch tilly

r n ac e or et B r o w c see . Da e d l Fil dé , hi h

- n n i n en a on be DANISH . Cut w ork was k ow D m rk l g a on e aces e e fore bobbin l ace was i nt roduced . E rly T d r l w r

n a a e a ec e - O f on e ace i s a n Flemish i ch r ct r, but sp i s T d r l ki d

- o e o e e de anc . I n wo nee e o f drawn w rk, lik Br d ri N y this rk dl po int and bobbi n lace s are imitate d in a re marka bly clever 44 The Lace Di cti onary

anne r o o i n th n cac e of o e and a a e e de m , f ll w g e i tri i s fl w r r b squ n ne sig ns . S ometimes a thin cordonnet is i troduced to outli

a r - m n i n the p tte rn . A g eat lace aki g epoch n Jutl a d existed i n 16 47 .

R E a ne a il ri um e DA NED LAC . D r d l ce ( Opus F ato ) is divid d into a n umber o f cl assification s . Whe re the darn in g is ve ry regular upon a fixed backgroun d of countable threads the w ork

Exafn le of oun t a e St tc an d arn e N e tt n s ow n on e - a f p C bl i h D d i g , h i g h l uc i on red t .

ca e o n on o e me e o . hen the is ll d P i t C té, s m ti s Fil t Br dé W ’ work is irregular it is call e d spider work or guipure d art T n m f i c a a f or cluny guipure . he mode r te r or th s h r cter o m n u work i s simply An tique. The old ter is Opus Ara e m or

M s A raneum. Ouvrages asche . See

E E E I n an e at the end of the i t een h Cen D NT LL . Fr c , S x t

aces we e ca e en e e . e o e t a e the erm tury, l r ll d D t ll B f r h t tim t

Passement was largely used.

DENTELLE. French term for scallope d border.

DENTELLE A LA REINE. N eedle - poin t lace s m ade i n Am The Lace Di ctionary 45 ste rdam by the re fugees a fte r the revocati on of the Edict of l ne N antes we re called Dentelle a a Re i .

DENTELLE A LA VIERGE. A style in simple bobbin lace a n m ade in the ne ighborhood of Dieppe by the pe sa ts . f DENTELLE AU FUSEAU . French te rm or bobbi n l ace.

E ELLE DE FI L. name en to m e ea ace D NT A giv si pl thr d l s, such as torchon s.

Duc hesse Lac e . M a e origin ally i n Fl an e r s an d t r an s l an te t o d d p d . En an b t he F em s wh o t oo r e fu e i n H on t on e on s re gl d y l i h , k g i , D v hi , at th e tim e of th e r e oc at on o f th e E ct of N an t e s 1 6 85 . T e s e v i di , h exampl es are e n l ar ge d u n de r the c am e ra i n or der t o show t he t ec ha u e .

DEN TELLE DE LIEGE. Lace resemblin g Linche ; sometimes

fin o e e oa e . e, s m tim s c rs

R E An a ma in DENTELLE I LANDAIS . Irish crochet l ce de e n o n n France about 1 850in r pro ducti o of ld Ven etia poi t.

E n D N TELLE REDIN . Lace havi g a n et ground.

DENTELLE REN AISSA N CE. See Dentelle Irl an daise.

n DEVO N IA . A kin d of Ho iton appliqué on net . 46 The Lace Di cti onary

H I - DEVON S RE. The Flemings introduce d lace ma king into e on e n an a o 16 85 or to ate on D v shir , E gl d, b ut . Pri this d ly coa e o a n e r s e rse r sults we re bt i d the re. T olly lace wa m ad

Exam ple of Du ches se dc B ru ges .

with English thread o f coarse r quality than Fl e mish l ace .

the end o f the E een ent e on s e ace tor By ight th C ury D v hir l , c on ac aces an d on on r m ou n e on m a h s , bl k l H it sp igs t d silk

Die ppe , Ave Mar ia lace .

- c ne ma e net r a e the ea o f em ace. ome hi d , iv l d b uty Fl ish l S small villages an d town s o f De von shi re are still making i Sprigs n sm all pi eces . The Lace Di cti ona ry 47

DI EPPE ( France ) : Famou s for its sim ple bobbi n laces

ese n a enc enne e n e e o n . a r mbli g V l i s , but r quiri g f w r b bbi s E rly in 1500lace - making was a comm on occupation w ith women in i N orm an dy. Black and wh te l ace s we re made in thrivi ng

en a Honfleur Eu cam n d e e . h c te rs, H vre , , , Fe p a Di pp T e conven sc oo at e e e ta i e u n e o a a ona e t h l Di pp , s bl sh d d r r y l p tr g , has bee n very successful . The thread use d he re is pure flax.

- 3. Dr awn w or k.

R RE n a e w m DO SETSHI . Bobbi l c as at one ti e ce lebrate d. n i or et r Little lace ow ma de n D s shi e .

B E r om t m e DOUBLE. POINT DOU L . Te m s e i es appli d to th e n a lace known as Poi t de P ris .

RA N - R n o a o Ti ratum or il D W WO K . ( Pu t Tir t , Opus , F

n - or ma e a n ce a n ea Tiré . ) Draw w ork is w k d by dr wi g rt i thr ds out of the fabric and tying the re main ing threads into pat

Cu - o as a ea e a n e a a c t cer terns. t w rk, lr dy xpl i d, is f bri wi h 48 The Lace Di cti onary

n - - tai s paces cut out. Frequen tly cut work and drawn work are o n e s n in 2 . . o e e c mbi d , a show Fig. Fig 3, h w v r,

D rawn - wor k square d.

- 2. Cut and d r awn work.

m the a n - o . be n o e in shows si ply dr w w rk It will tic d Fig . 3 at ce a n rea are a n out of the w o en e en th rt i th ds dr w rk tir ly,

50 The Lace Di cti onary

Hon iton is coarser an d sho ws mosaic effects and bu ilt

f on c o wi ee s and set es . A n up e f ects, c spi u us th wh l figur im ta ion f e a e n n fine ta e u es i t o Duchess is m d by combi i g p fig r , obviously detache d mot ifs as distinguished from th e de ta h n on - e 13 c ed threads o f Duches s e. Frequently th e Ho it typ ca e e on a a e e on s re w e e on on oca ed . ll d D v i , ft r D v hi , h r H it is l t

H n r I V 1 5 8 - 1 1 0. e i . 9 6

c e e was o na m a e i n r e in a e Du h ss rigi lly d B ug s , but l t r days

an er e m an and En an oo th or . a e Fl d s , G r y gl d t k up e w k A l c re em n c e e ca e o a c eca e a e of an s bli g Du h ss is ll d M s i , b us m d m y s m e e er u e h a ll piec s put tog th . Br ssels Duch sse is t e fines t

qua lity produced . A n imitation is call e d Princess.

DUNKIRK . Town in F ran ce where Malin e s. the t e m a in to nea all - we e h aces r pply g rly light ight Fl mis l , par ti cularl ec n ere m a e y M hli , w d . The Lace Dicti onary 51

H a DUTC LACE. H oll n d has been celebrated for h er flax t ea n d r fi ne ace hr d a he l s , but the te rm Dutch lace usu ally applies to lace s O f a coarse character suitable for

o e o o na en a n h u s h l d r m t ti o . n n ( See De tell e a la Re i e . ) The chie f c itie s of the no rthe rn co n now o an c u try, H ll d, whi h in 1576 con stitute d th e Dutch e c of o an Zea an r publi H ll d , l d an d e e an e e aa G ld rl d, w r H r lem e e en e , D l ft, L yd , Amst r

dam rec an d o te am . , Ut ht R t rd

CC E C a c e E L SIASTI AL. L r use d for chu ch purpose s . a e a ra n U s u l l y h v y, d w , a ne cut o r ea n ee e d r d, rly dl

point .

a i EGYPTIAN . We h ve ev dence o f Egyptian w ork o f

drawn - work cha racter or o f o n a en a n et 1000B C I n r m t l , . the excavation s at Thebe s an d elsewhere w e fi n d n ets use d to bin d th e hair an d n ets e s e e a for dr ss purpo es , sp ci lly t o cove r the b reasts o f the

women. Sometimes these nets are ornamente d with beads or i orce a n e e n w th p l i d iti s, stru g

am ong the me shes .

ELBERFELD. A town of the en ro nce u Rh ish p vi , Pr s si er s i a, wh e con iderable lace s Egypti an Lace. m ade. 52 The Lace Di cti onary

EM BROIDERY. Th e applicati on o f a patte rn upon a back n e ew r ome m e he groun d by stitchi ng or e dl o k . S ti s t b ackgroun d is made o f soluble texture an d w he n remov ed by che mi cal

a r e de e c wi re of H e n r I V. 1 5 7 3- 1 6 42. M i M di i , i

n s th r en a e mea e emb roide y b ecomes a l ace . See Plau L c . n a See Bur t L ce . The in ven ti on o f th e Schiffl i m achin e r evoluti on ize d the embroide ry in dust ry an d gav e a cl ose imitati on o f han d work. Th e Schiffli m achi ne produc es a stitch similar t o that o f th e

t e e w n m ac in e an d th e o r ra e a e shut l s i g h , if w k is is d it is r is d The Lace Di cti onary 53

Y u an a a n he ea but very little . o c lw ys disti guish t shuttle thr d n f h o th e re ve rse o t e goods . T he an m ac n e o e e a o e s m a e an h d hi , h w v r , bs lut ly i ul t s h d e e the on ff e rence e n at the m ac ne - o mbroid ry, ly di b i g th hi w rk show s eve ry repeate d detail identically alike because of the n e r n hiflli mech an ical reproductio . The machi n wo k a d Sc o mo eo e can no o ce so c ea e n e an d so w rk , r v r , t pr du l rly d fi d highly raise d a pattern as in han d w ork . I n all ki n ds o f m e an ca m ro e r the c e run or own or e ch i l e b id y, stit h s up d sid

a or a on a s as in an o r . w ys di g lly, j u t h d w k

- EN COQU I LLE. French te rm to denote shell shaped lace trimming.

E En an n n f n aces ENGLISH LAC S . I n gl d ma y ki ds o bobbi l

e e ma e n c n a e ace . The e n ence was w r d , i ludi g t p l s Fl mish i flu strong . Pl aite d laces wer e m ade here as well as reticell a s .

As early as the Fi fteenth Ce ntury cut - work an d drawn - work w e re un de rtaken an d in the Seve n teenth Cen tury the re fugee s t e who fled to Englan d in troduce d th e Flemish me hods . N e dle o n wo was ma e e e e ec a on e e the p i t rk d h r , but sp i lly str g w r

o n ace . e on e e o e c n am an d b bbi l s D v shir , B df rdshir , Bu ki gh shire o a on e e e con s c o cen e an d En e N rth mpt shir w r pi u us t rs glish Lill ,

a enc ennes r e an d a e e ere all o ce . I n V l i , B uss ls M lt s w pr du d Middlesex white blon des were made an d i n Dorsetshire beau tiful examples w ere produced both at Bl an dford an d Lym e ’ Regi s. Poin t d A nglete r re was an early type and Hon iton was

- m a w ell de veloped exa ple foll ow ing the Duchesse styl e.

ENGLISH POINT. A ny English m ade l ace that i s needl e poi nt . Also a l ace combi n ing bobbi n and needl e - poi n t ’ known as Point d A n gleterre . This lace sh ows th e o n o o f th e o n the a ern owe e be gr u dw rk b bbi , p tt , h v r, i n en un a en in ne - n m g oft de rt k e dl e poi t. So etime s the re are ra e on the ea e an d o e r a o f th e n is d ribs l v s th p rts e d sig , u e f e t o en ro ce w n n n b t this f c is ft p du d by t isti g a d plaiti g. Wh ile it is thought that much o f this w ork was brought over o e has een so on a oc a e h E fr m B lgium, it b l g ss i t d with t e nglish r 5 4 The Lace Di cti onary

a it a th t is f ir to give them credit for having i ntroduced it . eca e o a in o e es ec a in a i w e e it It b m p pul r Eur p , p i lly P r s, h r was o en c e T k h e ft all d Brussels lace . he method was to ma e t e n eta r o n n e a e a he o en d sig d ils fi st, j i i g th m ft rw rds with t w v

’ Poin t d Espagne .

ere n as to a ro o on sh ul bobbi n mesh . Th wa s o rule wh t p p rti o d be needle - poin t an d wh at propo rtion bobbin .

L F ar o e n e a e EN GRE URE . ( r .) N r w dgi g s we d to l c so as t o attach it with out i nj ury to a garment . Also called heading .

GE Fr a n me o n or a oon . ENTOILA . ( .) Pl i sh , gr u d g ll The Lace Di cti onary

E TREDE . Fr . erm for n e t on e e ace or N UX ( ) T i s r i , wh th r l m r e broide y.

ERZEGEBIRGE. District be tween Saxony and Bohemia in whi c h many laces are made.

SC R . o e n ace in m a on of o e o n the E U IAL A m d r l i it ti R s P i t,

a e ns o e e e n o n e w o s ea . p tt r , h w v r, b i g utli d ith a lustr u thr d

’ G E ea ac of a n een Cen ESPA N , POINT D . H vy l e Sp i , Sixt th om tury. S etimes plaite d .

ETERN ELLE. o c on o f e o en es so n m a e T r h v ry p m h, stro gly d a is o e a e ern ell th t it s m times c ll d et e .

A ace rom anana fi e ma n l f b b r de i Brazil .

EVEN TAU Fr an - a e ace n a e at he . ( .) F sh p d l trimmi g, pl it d t “ ” top an d h anging so that it fan s or flares at the bottom e dge .

E. Th e er a a e or a e a e to a en FAUSS t m B t rd , F uss , ppli d V l ciennes n e om r ue a en c enn e or Vrai Val , disti guish d it fr t V l i s , n e m in h o f a en cienne e ci n nes ade t e City V l s .

a e m a he om n of a FAYAL. An aloe fiber l c de by t w e F yal

n h r i t e Azo es .

f n u s a e . a o f t he FIBER LACE. Laces made o u u l fib r Th t n r he a n ana some me s ca e e ace oe a loe pla t o t b is ti ll d Fib r l , Al

ace or anana ace . l , B l

l s a e i n FI FTEENTH CENTURY. I n 147 6 a aw wa p ss d Italy 56 The Lace Di cti onary forbidding th e use o f fi ne needle - poin t lace or lace made with r e r I n 3 h gold o silv r th eads . 149 a division w as ma de of t e ro e o f n e a an d H e olita o a Viconti of an p p rty A g l pp Sf rz , Mil , an d am on the er on a o e m en on e e ce one g p s l pr p rty is ti d R ti lla, B

- o n ace an d fi ne cut w or . de aran e th e o an ( b bbi ) l k M . B t , hist ri ,

F I an c oi s I I . 1 55 9 - 15 6 0. wr it es th at Charl es th e Bold in 1476 lost all o f his lace s in

n f the a e in w h a a e r o e o b ttl s hich e w s eng g d . It is p obable that the maj or ity of the s e l aces we re gold and silve r. Fre quent re fe rence s to lace t r immi ngs are m ade in old Fi fteenth

en t r oc men o f a an d n o e e ce a or C u y d u ts It ly, u d ubt dly R ti ll s

e e o n ace th e e i n n n of n ee e - o n ace e e Gr k P i t l s , b g i g dl p i t l , w r i n t r m ade h e latte r qua ter o f this century.

58 The Lace Di cti onary

- I n darned aces spide r work form of i rregular darn ing . Italy l

e e - o ch is ir are call ed Opus Fil atorium. Th spid r w rk, whi

é File t Brod .

i a rea e c e n e th e ea of A rane um regular, s l dy d s rib d u d r h d h To ( Opus A raneum ) sometimes call e d Ouvrages Masc es .

Se Araneum. day the same thing is called an tique lace. e

REPRI sEs Fr . M o e n arne nett in FILET BRoDE A . ( ) d r d d g The Lace Di cti onary

n e n FILET GUIPURE. See Dar d N etti g . m FILLIN GS . Fancy stitch es e ployed t o fill in open spaces . o o r S ame as M des r Jou s.

’ n FINO D ERBE SPADA . Spa ish for Aloe lace.

’ I S H ERM A F N S LACE. Anoth er e for o c t rm t r hon or bobbi n, some

time s calle d Poi nt Pecheur.

FLAT POINT. S ame as Poi nt a flat o m o f enet an o n Pl t. A f r V i P i t, i n disti ncti on from Gros Point an d

o e o n i n ea or e R s p i t gr t p tty relie f. A

form n ot padde d or raised.

EC R C . S an s e mat poin t. FL O MO IS O p i h t rm m someti es applie d to Macramé.

FLEMISH . Fl emish lace s were us ually bobbin l aces ; Mech

’ lin a en c en n e s e c e e on e ace o e , V l i s, Bru s ls, Du h ss , Bl d l s, Tr ll

Flowe r Lace.

n or nc e . c em an d e an ace ffe e Ka t Bi h Dut h , Fl ish B lgi l s di r d

’ on eo a ca e e e al l of the a e t e . en ly g gr phi lly, Th y w r s m yp Ev e ace is ca e e m s ace eca e e was not an Lill l ll d Fl i h l , b us Lill tr s ferre d t o Fran ce until 1 6 6 8 an d even the cities o f Belgium r o e n rance n e th n en ce of the e i o N rth r F , u d r e i flu Fl m sh a e o ce F e ace th e em ace o e m k rs pr du d l mish l , Fl ish l w rk rs teachi ng the art to every coun try of N orth ern Europe. E ven 6 0 The Lace Di cti onary

u r from a bed uilt elon i n Se ven te e nt h Ce n t u ry . Fren ch Gu ip e q b g g t o Loui s XI I I . The Lace Di cti onary 6 1

' the English T rolly lace was origi nally Fle mish Troll e Kant . ne Prio r t o 16 85 all light Flemish lace s w e re calle d M ali s .

Fl ore n tin e .

I E - FLORENT N . M odern term for a floriated form o f tor c on e a the o f o c on e in th ena ance h , pr sum bly type t r h us d e R iss f pe ri od o Italy.

i e on a FLOWER. Lace flow ers with petal s n re li e f calle d D v i

ace a in of on on a e i n e on e . l , k d H it m d D v shir The Lace Di cti onary

I A L L A f i i n FOGL A MI . T G I ATo FOG I M I. A type o Venet an po t .

o n or of FOND. Gr u dw k lace .

Fon d Simpl e is the lightest an d

m ost t ran sparen t o f groun ds . The m e sh is n ot partly pl aite d as i n Valen cie n n e s e an d ec n nor , Bruss ls M hli ,

a e as i n a enc en n e fully pl it d V l i s , but

is form e d o f twisted double threads .

Fon d de N eige shows a d otted

rou n sn Ot e C EC g d ’ Ct Pr n iin itiire bobbi n g rou d.

R EE EN R to h FOU T NTH C TU Y . Up t e Fou rtee nth Centu ry

Lou is X l l l . 1 6 1 0- 1 6 43. th e on n o f ace in use e e a n c u n ly ki d l s w r dr w , t a d heavy The La ce Di cti onary 6 3

laited o d and ilv o a l w u h p g l s er r met l ace s. Gold threa d as m c use d and the sumptua ry l aw s durin g th e Fourtee nth an d Fi f teenth entur es ro tin o an d si e h read e e C i , p hibi g g ld lv r t , w r largely responsible for the invention of needle - point and bob bin a f fl x l ce s o a .

RTEE PoI N T I FTEEN Th n me a i n ca e FOU N , F POINT. e u r ls di t r the n umbe o f Open i ngs to t he i nch in the m achi ne m ade n e t .

ou se de l a e re fa o r t e of ou s X I V. 1 044 - 1 7 1 0. L i Valli , v i L i

FRAISE. (Fr .) Ruff or f rill .

RA CE N DE. Ea e am e o f e c ace F N , POI T rly x pl s Fr n h l strongly resembled Ven etia n Poi n t l ace from th e fact th at Italian lace workers were importe d to teach the French wom en e e o was a a t o f the an o f o e 16 50 th ir m th ds . This p r pl C lb rt, ,

i - in r n n m to mprove lace maki ng th e F e ch ki gdo . I n 16 6 5 en on r e ntan ru ss e s and A r entellas Al c s , A g s , B l g . ’ ca e o n de an ce a n d m a e at L On ra e m s ll d P i t Fr d y, Rh i , 64 Th e Lace Di cti onary

e e ou on ac e an Gues n e La e c e Aux rr , L d , Aurill , S d , y , Fl s h , n n n n Lema s a d Ale co . The sam e l aces w ere al so frequently na h r n me d a fter t e town o f thei ma u facture . Thus th e lace may be design ate d by m any names

r 1X 1 5 0- 1 5 7 4 Ch a l e s . 6 .

RE C RE The e m u re e th e e F N H GUIPU t r Guip , lik t rm

a e to ea wo r . Th e w or se i s e e Gimp, ppli d h vy k d it l f d riv d

m e a o a o n w r . Th fi l fro Guip , c rd r u d hi ch silk is oll ed e et ,

eate as s o n on a e 6 0w as c a e at s ear e r o tr d h w p g , ll d thi ly p i d , th e e en een en r r en c u re S v t th C tu y, F h G ipu .

6 6 The Lace Di cti onary

Darn ed netting was an accomplishmen t of th e ladi es at the n n a e aw a he tim e . Wh e Ri ch eli eu a d Louis XIII p ss d y t co en e re n o a e o o f r ea e ra a an ce an d o e r urt t d i t p ri d g t xt v g , C lb t , com n n o o e n e o s aw i n th e tas e for i g i t p w r u d r L uis XIV, t ace a r ea o c of enu e s o h e e a e act o es l g t s ur e rev , st blish d f ri ’ t L r d n . e man ace firs at On ay. ( See Point e Fra ce ) Whil y l s t a w ere m e e e re ro uct on o f a an w or the en h t ad w r p d i s It li k, Al con and A rgentan were disti nctly new exampl es an d estab li shed a great v ogue for light l aces ; soon Valen cien ne s be came celeb rated for its bobbi n quality an d Lille an d N orm an dy

r os o n t s ow n a e fe at u re . G P i , h i g p dd d

i m an e a n d w e on ace are grew n i port c . Bl ck a hit silk bl de l s

o ce at a e aen an d an . still pr du d B y ux , C Ch tilly E FRIS . (Fr . ) Ruffle d .

R RE. n ua on ace or ra o r een F ISU Thi q lity bulli l b id, F u t th

Cen tury .

Z - GA E. N ee dl e poi nt Brus s els is kn own also as Poi nt a ’ l A i uill r n a g e o Poi t G z e . See Bru ssels .

E . m a e the o ace of r an d of the G NOA I it t d g ld l s Cyp us , n n r d n F ourtee th Ce tu y. Ven i ce an M ila also made silv e r an d

o e n h E - g ld l ac . I t e ighteen th Century needl e poin t l ac e was n a commo in du st ry an d even th e peasan ts w ore poi nt l ace. Kn otte d l ace h as been a s ucces s ful pr oduct with th e Italian s The La ce Di cti onary 67

I n as w ell as bobbin lace . n th e Sixteenth a d Sev ent een th e n r e enoa was am o for o n ace w e en ce C tu i s G f us b bbi l s, hil V i l d w in - n e th e orld n ee dl e poi t . Wh e n bl on de lace became a on a e an m at n of th an t on wa ma f shi bl i it i o e Ch illy bl de s de .

See s s a n co r e ace s en oa u as e in m r m . Albi ol . I a s l G s rp s d ac a é

ER N . T he e r m e rm an co e rs a m u t t e o f ace G MA t G v l i ud l s , m a n e I n h m e f h t i ly bobbi n lac s . t e iddl o t e Six eenth Ce n tury ar a ra U ttm an n of u r em er m r o ve u on th e coa e B b , N b g, i p d p rs m et h ods o f her n eighbor s an d i n t rod uce d i n to Ge rm an y pill ow

c - ma w t n n a rt c h e ou rn l a e ki n g i h bobbi s , a whi h s d btle ss lea e d

- f r om th e Braban t lace m ake r s . Sh e is popul arly cr e dit e d w ith h a n n en e th e ma n f a e u h s m n r u vi g i v t d ki g o l c , b t s e i ply i t od ced

he r a n t n r t B ba or Fl e mish me th ods . Late r o the rn Ge rm an y was st im ul ate d by th e man u fac tu re o f n eedl e - po in t laces by th e F re n ch r e fugees an d off sh oots of the F r e n ch l ac e i n du s tr i es

u m w ere e st ablished th rougho t Ge r any. T h e m ost famous

e m an ace m a e ea r i n th e e e n t ee n t en u r w e e G r l s , d ly S v h C t y, r o e o f am r o am an d th s H bu g, P tsd

n r II h o a o f B ran de bu g. I t e t t l value the lace s and emb roider i es importe d int o th e U n ited States t o - day Ge r m any stan ds fou rth an d im itati on s by m a

n h u chi n e ry co stitute t e chi e f val e . Plauen is h eadquarte rs for popu l ar pri ce d imitati on laces i n Ve n is e an d

O riental e ffect s . ( See Plauen . ) A t

Barm en machi n e - ma de Torchon s are produce d . Eiben st ock p roduce s t r im m n em ro er e an d ace . i gs , b id i s l s At Annabe rg imitati on clun ie s ar e pro

r n r h im e of duced. F e ch worke s at t e t the Ac t o f e oca on of ou R v ti L is XIV, fle d to erm an an d s oon an o e G y , H v r, e s c n ac E er e and L ip i , A sp h , lb f ld A Pl au e n b u r n t - ou t Erzgebirge distri cts profite d by th e i n lace . f h u e a h dust ry o t e re f g es . N atur lly t e 6 8 The Lace Di cti onary

ace a e e r e n ee e - o n ace o n - ace an l s thus m d w dl p i t l s , b bbi l m u a u r e n a ea e a e r o r on a e of f ct e b i g lr dy st blish ed th e . T ch l c s Saxo ny we re calle d ete rnell e because o f their great strength

E h o r e A s u GH NT. T e sch ols of Gh en t a e c l ebrate d . a r le

R R r c e t ice lla, oman o Gr eek la e . n arrow w idth l aces on th e Val enci en n es order are m ade at en an d ca e au a e n c enn e Gh t ll d F sse V l i s .

a or m f a rn GIMP. A h e vy f o p tte usu ally m ade by w i n d i n e eta e e oo or m e ta a o arc m en or. g silk, v g bl fib r, w l l b ut p h t

m r r un r n - s o e oth e backg o d f o mi g an orn am en t . T o day th e t e rm e to an ea ra n r appli s y h vy b id . I n th e S eve tee nth Centu y gimp m ean t simply a cor d ; t o- day it implies a broade r

formatio n . The La ce Di cti onary 69

e h n of ad c GINGLES . A name giv n to t e bu ches be s whi h

h a - m a hang to bobbin s used by t e l ce ke rs .

- R . e m ac n e n an on e Go TH OUGH A hug hi e w ighi g m y t s, us d “ i n a f ac n ace h e on o th e m nufacture o m hi e l , t e xpre ssi G

Ne e - Ré e f dle poin t s au o var ious forms.

” Th rough relating to the p as sage of the car ri e r through the warp .

GOTICO PUNTO. Term applyi n g i n Italy to needle - point an d een h en r a e o f th un o i n e o Sixt t C tu y l c s e P t Aria typ , sh w i n o en n g G thic t de ci es .

GOUDRON NE. A fluted edge. 70 The Lace Di ctionary

mo a n o r GRAM MONT. Fa us t o e tim e f r its coa se bobbin l ace . Recen tly bl ack silk l ace re sembling Chan tilly h as been made th ere .

R . Fr o s t G A s POINT ( . ) Cr s s t i ch .

R E n e or G E K . Reti ce lla laces we re freque tly calle d Gre k Roman laces on accou nt o f the i r place o f or igin an d were

n 0- 6 20 h e n e made chiefly i 1 48 1 . T e d sig s w re usua lly geometrical.

R P r u I t e r se for no e or e G O PO ( G ppo ) . ( . ) T m u d k tt d ti d ace un a ro o acram an d a n are am e of l . P to G pp . M é t tti g ex pl s n k otted lace .

R en a o n a e w G os POINT . V et i n p i t l c ( hi ch s ee ) is divided n o tw o c ass cat on s os o n and o e o n o i t l ifi i , Gr P i t R s P i t, Gr s o n e n th ea e r o m e a a e o e P i t b i g e h vi f r , with d t ils p dd d ; R s r Poi n t i s th e light e r fo m .

R ro n t o h e a n . Th G OUNDS . Backg u ds t p tte r e bride gr oun ds ar e th e groun ds f or med o f br ide s con ne ctin g the pat

rn Th r eau o n en a w ze rez ui te s . e és gr u d ( id tic l ith re l and e l ) the n et o f w c e r ar e m an ar e e o of n ee e is , hi h th e y v i ti s, b th dl

o n an d o n an an d m ac n e . t the n en on o f p i t b bbi , h d hi Wi h i v ti

h a n f r m a n o n e h e a e a o f th e t e m chi e o ki g b bbi t , t l tt r p rt

een e n r ea m a n w as e o on e an d Eight th C tu y , rés u ki g r v luti iz d some o f the fin e st of l ace s we re th e appliqué laces which were produce d by applyi n g th e most exquisite details t o a “ ” machi ne n et body or groun d.

- GU ESE. Ve ry coar se b obbi n made peasant lace or beg

’ ga r s l ace was f requently call e d Guese l ace ; m an ufactured in o h Fran ce ab ut t e tim e o f Colbe rt .

RE - GUIPU . G uipure m ay have been bobbin made or nee dle ma e f o n d e i n m d , o g ld a silv r or silk, but time th e ter became a th pplie d to e heavy tape l aces . While we associate with the te rm guipu re a heavier

ro a r c ere w as w ught f b i , th a time wh en th e fine Binch es wer e

a e e n Th c ll d Guipur de Bi ch e . e word guipure is seldom foun d The Lace Di cti onary in eco o f En l ace i n E o e e ec a n r rds g ish l s , but ur p , sp i lly duri g the e ven een en all o f th e ea ace e e ca e S t th C tury , h vy l s w r ll d u guip re .

m o e t o e e m n e en th e w o e It is i p ssibl d t r i wh rd guipur , w c a e to ea co e or was r e i n con hi h ppli d h vy rd d w k , fi st us d n n ea a m n u u r r j u ctio with thr d p sse e ts . G ip e at fi st implie d the e of c co r o e an d f ar . w ight thi k rds , silk ll d o gimp ch acter

r r i c r e m . Bor der of Fren ch Gu ipu r e , patt e n w o ke d ou t n ol o d gi p

’ - th GUIPURE D ART. A l oos e ly darn e d lace afte r which e

- o e . ee r n um antique l ace of t o day is m del d S A a e .

n e n a e HA INAULT (Fra c ) . Tow n wh ere at a ea rly d t ch o n ace was m a e a c a M ec n an d on e mu b bbi l d , p rti ul rly hli bl d laces .

n a n - HAM BURG POINT. A term applyi g t o dr w w ork em ro e re e en co ore o ar e an b id d, fr qu tly with l d silks ; p pul G rm lace .

m f o n a - e HA M M OND. N a e o N tti gh m lace mak r who first 72 The Lace Di cti onary

w s e r ro u e H t i ted tr av se p d c d eathcoat.

74 The Lace Di cti onary

E a e an d w as e a e em e e e See liz b th, st blish d by Fl ish r fug s . ( n n h De vo shi re . ) H o it on as become fam ous for t he man ipula

on of fi n e m o o n ' ma e a e a e n or a e ti tifs , b bbi d , ft rw rds s w ppliqu d h e h or j oin e d t o t groun d. T e Old net has of late years been suppl anted by the machin e net . The most popular form of m ode rn Hon iton is produced by fi rst m aki ng the m otifs or

r ew n e a e r an un n em w t sp igs , s i g th m to blue p p d iti g th i h a

H on iton .

f on on w a ca e e on a n eedle . A speci alty o H it is h t is ll d D v i

a r t n h e ra n in e e of th e n n e lace , it s ch ar cte is i c b ei g t isi g r li f i r

eta o f the o e r an d the ow n of e n or p ls fl w s, sh i g butt rfly wi gs oth e r forms stan di n g up an d out from th e groun d in im itation

r e Se e at on owe r ace a so o f the n atu al obj cts . illustr i Fl l , l

n e illust ration u der Duch ess .

n a n m a on a - w . HUGUENOT. Hugue ot l ce was a i it ti l ce ork

Very littl e o f this is n ow m ade. Flowe r s w e re cut out Of r n m n n w e mull or other fab i c a d ou t e d on ets . It as v ry simpl e work .

h n a n a an e n HUNGARIAN . T e Hu g ria pe s ts have b e always The Lace Di cti on ary

a in h r - n ctive t e p oducti on o f bobbin lace s . Austro Hun ga ria

o a n o w h e e ne n b bbin l ce s freque tly f ll o t tape lac li s of desig .

- m a t o o em an w c see . See a o ro n a an . Si il r B h i , hi h ls Aust Hu g ri

RE e n a m n h n I N C ASED WIDTH . T ch i c l t er applyi g to t e e m large en t O f a pattern.

e c t on of an I r sh Pq i n t ac e cu rt a n s ow n n a s a es of t h e S i i l i , h i fi l t g ’ appq ue an d e mb r oI de ry w org

E t m a e n m INDIAN LAC . At e pts h v bee ade to produce lace at s o e o f th e m on c oo s o f n a th e e x m issi s h l I di but , with ce ti on o f ra n - or an d a r as o n ace e s cces s p d w w k M d b bbi l , littl u h as b een accomplish ed.

E R w IN N R PEA L. Orn am en tal l oops orked aroun d the Open in gs o f th e pattern .

I NSERTION . A str ip of lace or othe r ornamented texture n o n i n serte d as a ba d decorati n b etw ee other materials .

r e n IONIAN I SLANDS . Earli est G ek p oi t laces w er e 7 6 The Lace Di ctionary

a in th e on an an the o e f e i a . a m de I i Isl ds , h m o R t cell s A l ce

en ca the ree ace so - ca e Zan e ace S ec m en id ti l with G k l , ll d t l p i s , a h may be st ill purch sed in t e I on ian Isl an ds.

R . I n 17 43 a a e a en as e th ov I ISH L dy Ar b ll D is , sist d by e g ernment and b a r o wom en an y p t i t ic , org iz ed schools to improve the on on f t e r s r c diti s o h I i h pea sant y . Out of this m ove men rew th e e e o m en o f r cr oc e in m ta on t g d v l p t I ish h t, i i ti

of o nt en e . a r P i V is C rickmacross lace comm en ce d i n 1820.

Se a r-i k ma ro s ( e C r c c s .) Lime r ick laces fi rst m ade i n N ott i ng ham . n r o ce nt o re an ee r . e I t du d i I l d 18 29. ( S Lim e ick ) N ee dl point l aces in I rel an d w e re simply imitation s of European ace r a c o e r r l s. Cu r g h S ho l d vote d t o the ep oduction of B rus

e a u o ar c a e s o n . r a e n ow s ls ppliq é, p pul ly ll d Iri h p i t I ish l c s ma e at o a at er o r n sa e enm ore New o s d Y ugh l , W f d , Ki l , K , R s ,

arn e ona an u r ra an d o e ace . Kill y, M gh , C gh th r pl s

R R C E I ISH C O H T . Se e Cr ochet .

R A n a c a n ace th e a tern e n I ISH POINT. ppliqué urt i l , p t b i g s ewe o m h n - m a e n t m m h r r r d t ac i e d e . S o et i es t e sp ays o pa t s o f th e pattern s ar e j oi n e d t ogeth e r w ith bars or b r ides an d h n n a t e fou dati on n et is th e c ut wa y.

R . om et m e c a e r ra aces a o I ISH POINT S i s ll d Cu gh l , lth ugh ma e o en ff n an d at a d z di ere t places in Irel d .

OF M A N m r n I SLE . N a e appli e d to coa s e Val e c i enn e s type o f lace.

E OF G . T wo n o f ace e r e ma e e e a I SL WI HT ki ds l w d h r , o n ac e o ow n th e En m et o an d a ac m a e b bbi l f ll i g glish h d, l e d by outlin i ng th e patter n wit h a run stitch on machi ne net an d a fte rwar ds fillin g in th e pattern with nee dle - point stitches .

e e n r th r ITALIAN . R tic lla is co s ide e d e ea liest of Italian aces om e m e ca e ee o n ma e ro 1480to 1620 l , s ti s ll d Gr k p i t, d f m , c arac er e eo et r ca a e n c c e and an e h t iz d by g m i l p tt r s, ir l s gl s, t on whi ch lat er dev eloped i nto plai n conv en i al patterns. Fol h a e n l owing t e Reticell s w h ave Punto i Aria. At the end of h n r m h t e Sixteent h Ce tu y ca e t e Venetian points . Laces of The Lace Di cti onary 77

an en ce o enc an d a a we e amo . Th e a Mil , V i , Fl r e R gus r f us It l ian in dustry went i nto decay whe n th e Fr e n ch u n de r Col e in the e n o f o e an m a n e own ace b rt, r ig L uis XIV, b g ki g th ir l s an d s oon supplyi ng th emselves an d oth er n ati on s with not on ly It alian exampl e s but n ewe r type s th at we n ow call n et n h e ace . See enet an o n P u n to i n A ria tc es i t l s V i P i t, ( sti h ai r P u n to a Re li ev o re e or Pun to Ta lia to cut ) , ( li f w k) , g ( or O us Fi la tor iu m a n e w o Punto a Gr o o w k) , p ( d r d rk) , pp n ot e w or Carn aSSI e re a e ta e o a e (k t d k) , , M rgh ri , P tit M ti fs, T p

Lac e .

B r nc e rm r e a n t o r n or rufflin n ow JA OT . F e h t l ti g f illi g g , f u s e d t o in dicate pen dan t of fab r ic from th e front o a collar .

R e r KENMO E. S e I ish .

r s KILLARNEY . See I i h .

E e r KINSAL . S e I ish .

E e rm e for a t t c m a n LAC T . T us d s i h de i Hon itons t o u n it e th e s p r igs .

CE R B . A n m ta on ra an ace for c r ta n LA T, A A IAN i i ti A bi l u i s s e r a a acet pu rp o e . S e A bi n L .

C . erm rom w c a e was er a e LA IS T f hi h l c d ived, ppli d a i n th een t en u r t o a n n e t n D r specifi c lly e Fift h C t y d r e d t i g . u i n g th e M iddl e Age s da rn e d l ace or darn e d n ettin g h ad var i ou s n ame s accordi n g t o th e d ev el opm ent o f th e art . See I n t roducti on . T h e making of Ope n wo rk n etting somet im e s orn a

e n ed eads r em ro e r e s oe bac t o th ea est m t by h o b id i , g s k e rli

E an an d r an e r o an d w the e r m ace wa s gypti Assy i p i ds , hil e t l n ot se at at me t ran ator s om the a a c e ra c u d th ti , sl fr Ch ld i , H b i , an d A rabic re cor ds have appli e d t h e te rm t o what was in r r r eality m e r ely n etw ork or e mb o id e y . Early m ummy w rap pi n gs di scove re d in Egypt i an Greco - R om an tombs w ere Often

- r ut - w n t on O f d rawn wo k or c ork . H om er m e i s ve il s o f n et n o f o an d o n to th e o r teen t en r i n wov e g ld, d w F u h C tu y n m era e orm o f o en o a r c w e re m a e ace u bl f s p w rk f b i d , but l as we u n derstan d it an d as th e It alian s un derstoo d it in th e “ e m n o in r a er a ran s ate as w or out of the t r Pu t A i , lit lly t l d k 7 8 The Lace Di cti onary ai r r ro u e o t a o n a on w t a n ee e an d , o p d c d with u f u d ti i h dl

was n o m a e n cut - o h ad a an ce a e thread, t d u til w rk dv d by st g s

mer c ac e s ow n on th e e ft an e am e of fi n e tam our n an d Li i k l , h i g l x pl b i g , t n - wor on t h e r i g h . r u k .

h a in th e n . th r ough t e reticell a peri o d, l te e Fi ft e th Century The earli est kn ow n engraving on a textile subj ect is that he re “ ” w n a c o o f Th e e a e r eo r e en N urem sh o , py W v , by G g P z (

e e e own the ea o f ace - m a n b rg, H r is first sh id l ki g with The Lace Di cti onary 79

S E D A R A N E A T A C T V 80 The Lace Di cti onary the ea n e en en Of a ac o n o f ne n or cut thr d , i d p d t b kgr u d tti g musli n . The motto se d aran ea tactu (but the spide r in delicacy h as o on f a at n cou e ar s o f c of touch ) is t e l t p rti o L i pl t, p t wh i h w e re us e d as title s to his fi ve engravings on th e sen se s ru r u itum n m ore T xa pe a d , li x visu , ilvus Od ,

m a n os s u e rat ust u s e d aran ea act . Si i p g , t u “ which may be t ran sl ate d as Wild an im als excel us in h ear i ' h n i h e i n sm e h e m on e i n ng t e ly x n sight , t e vultur ll , t k y ” as e th e e r i n e cac of o c . t t , but spid d li y t u h the r e e o m e nt of a ea ace th e ta an s With fi st d v l p thr d l , I li s oon p roduce d vari ous types o f Ve n etian Points an d this ch ar ac e of ac em a n e o ar n en co a e th e o a t r l e r i d p pul u til , ur g d by r y l e ct or n h wea n o f an an d a an ace di s f biddi g t e ri g Sp ish It li l s , th renc e e o e ace c at r s m e e re e F h d v l p d l s whi h , fi t r ly u th a an w or 0 i n m to n a r prod ci ng e It li k , 16 5 , ti e ok o ch acte ristics of th eir own an d became fam ous as light laces or

n et ace . en on was th e r o f t e to be a e 16 6 5 l s Al c fi st his typ m d , , ’ L n a en a at O r y. See Fr ch L ce.

Cut m us n an d n e e e w or aft e r th e st e of ear me r ck at li dl k , yl ly Li i , t ch ace it was m a pl de .

The Lace Di cti onary

ER C K . Em ro er on n et r t a i n o n a LIM I b id y , fi s m de N tti gh m he m f th n n n f a n o n n at t ti e o e i ve t i o o m chi e b bbi et . Its ma u act u e w as e un i n 1 829 ar e s a e who a e f r b g by Ch l W lk r, st rt d

- ar cu a n f ace m a n at m e r c re an . The this p ti l r ki d o l ki g Li i k, I l d ace of w c ome ce e n e ca e s ec m en are e an l , hi h s ex ll t d li t p i s xt t , is made eith er by emb roid erin g th e patte rn with a darn ing c on th e n et or a ambo c the ace e stit h by t ur stit h , sp s l ft n a in the pattern bein g fille d with or ament l stitching. Still

e ac e s ow n e a on a m e s Lill l , h i g h x g l h . an o e ar e o f me r c ace m a e as far a a 18 30 th r v i ty Li i k l d b ck s , was o f cut m n c a ac e th e e e e n nee ewo e . usli h r t r, dg s b i g dl rk d

GE . r a LIMO S A guipu e m a de t Lim oge s .

RR r n r w r - m n r LO AIN E. Impo t a t ce n te h e e l ace aki g w as ca e o n for m an rs ri d y yea .

EV E . o n ace e en ee n t en orra ne. LUN ILL B bbi l , S v t h C tury, L i r t a coa e u re bu a er a n of m n one e At fi s rs g ipu , t l t ki d ig tt .

E EG . o n an d o a of me e LY M R IS P i t pill w l ces Ly R gis , or e e c e e ra e in th e E een en D s tshir , l b t d ight th C tury.

on an ac re a a f h e a n o der LYONS . Ly s m uf tu s l ce o t m li e r , The Lace Di cti ona ry 83 which is cha racte rize d chie fly by h an d - run outlini n g of th e e n i n r r d sig silk o me rce ized cotton .

Ly on s l ac e .

CE n ace o f coa r e te t e n MA IO . B obbi l s x ur a d fiber des ign m a e t cott on t re a n at e s o f r a . ace o i n d , wi h h d , by iv B zil M i , h ro nc f Al o oa th e ce n te r of th n t r t e p vi e o g , is e i dus y .

Pla in n e t made i n Spide r n e t m ade i n 1 7 6 9 . Kn tt e Kn tt e . i d. 1 7 7 0. i d

C a e r a 5 an d s MA HI NE N ET. M d as ea ly s 1 6 0 date s it or igin f rom th e i n ven tion o f th e s tockin g fram e by William 84 The La ce Di cti onary

Lee a ott n am wea e r wh o e r en e m u , N i gh v exp i c d ch diffi culty in r o c n hi s mac n e h En s t or e p du i g hi , t e gli h au h iti s Opposi n g it s con st r ucti on as i n im ic al t o th e i n t e re st s o f th e w orking

’ M o e of H e at hc - d l oat s l ac e m ac hi n e for m aki n g fast m es h n et . About 1 8 08 .

eo e . Le e e oor i n ran ce i n 16 10 ro e am e p pl di d p F ; his b th r, J s Lee e en ua , v t lly i n trodu ce d th e m achi n e . I n 1 7 6 0l ace w a s p ro d uce d i n such qu antiti es in En gl an d th at m an y e ff or ts we r e m ade t o adapt this stocki ng frame t o

t n i s m a ufact u re . The Lace Di cti onary 85

o 1 76 0to 1 770 ran e E e and ar e a mon Fr m C , ls H v y, H m d, o n n e o m es o e r o o r e e all o J h Li dl y, H l , R b rt F st, M r is , w r pr mi nen t in the ir e fforts to accomplish this end. Th e w arp ma chin e devised by th e Englishm an Cran e i n 17 7 5 was one o f the o m or an s e . I t w as a en ran ce a n m st i p t t t ps t k up by F , Sp i , rm n en o n I taly an d Ge a y . Ev L u is XVI i 17 7 4 adapte d th e Else an d H ar vey machine an d fi n e Fr ench appliqué laces we re n e n t n mou n te d on this crude k itt d e ti g.

- rst m ac n e m a e ure ac e m a e Ro e r r ost a ou 1 770. Fi hi d fig d l d by b t F , b t n tt e K i d .

1 - r n n I n 7 78 17 91 th e French m ade th e i ow m achi es . From that date dow n t o 18 10wh en th e Engli sh Heath coat machi ne was o a n a e th e s o f all th e ac m ac n e s t a e e bt i bl , li ts l e hi h t w r i n ven ted i n Fr an ce in di cat ed ext raordin ary i n te re st i n th e c ar ff n a e on E n ace f s subj e t . A t i wa s ev e pl c d up gli sh l s o thi ch aracte r i n ord er th at th e Fr en ch m achin e - m ade arti cle r r all e ear n should be p ope ly devel oped . But th s e ly e ts were produced on adaptation s o f the st ocki n g fram e an d the mesh f a r e e was o a cha r cte r th at un av l d . For fi fty years inven tor s s tr uggl e d to build a machine 8 6 The L ace Di cti onary

a o ma e a a es was not n 1808 t a th t w uld k f st m h, but it u til h t H eathcoat ccee e and 18 10 n et h ad eco so su d d, by his b me success ful that i n Nottingham alone 1800peopl e we re em

o n - nn n n n pl yed at eedle ru i g a d tambouri g on this n et.

’ h o - H eat c at s se con d bobbi n n et m achi n e pr odu ce d abou t 1 809 .

Th a n e r n e first m chi p oduced n a rrow st r ips o ly . Th ey h ad t o be j oi ned t ogeth er. Th e fir st fact or y operati n g tw isted m esh or fast m esh machines was built in 18 10in Loughborough and soon machine s The L ace Di cti onary 87

i n a n ro c n ace i n e t een t r r were Oper ti o p du i g l s igh , hi ty, thi ty '

and fi ft - o r - n c t . See H eath coat a on six y f u i h wid hs , H mm d an d N ottingham .

K n ott e d w ork ( Span ish) . M acrame.

Th e in v enti on of m achine n et came at a time when the

of an - ma n e n art h d de t was almost exti ct . Queen Adel aide put th e stamp o f approval upon machi n e n et by order ing a 88 The Lace Di cti onary

r o f n on n n Th e d ess H o it (bobbi ) sprigs on machi ne et . weddin g d re ss of Queen Victor i a w as of Hon iton appliqué on m ac n e n e t . o e o f the r n ce o a r n ce ce hi Th s P i ss R y l , P i ss Ali

Kn otte d work ( Span ish) . M an ama m m an d th e r n ce of a e w e re all Of on on m o n e on P i ss W l s H it , u t d m ac ne n e t o a a r hi . R y l pp oval s oon gave to appliqué w ork great prosperity.

90 The Lace Di cti onary w ork is fi n ished these en d th reads are f requently allowe d to an oose in e e en e ar cut c os th ac a h g l , fr g lik ; wh th y e l e e m r mé characteristic is n ot apparent an d one is o ften thus con fuse d i n knotted l ace. Though frequ ently foun d in the work of the Easte rn na ion the n ca e n o e ace of a ma be a to a e t s, i tri t k tt d l It ly y s id d t m h e n fro t e Fi ft e th Century. We fi n d re fe rences to kn otte d

a ras a c omm e rc a t e rm for a c u r t a n m ate r a n o a a M d , i l i i l , t l ce . ace in th e ea e an l s e v ry rli st Itali records . It was adopte d for the o n am en a on o f c rc e m en an d for a on me r t ti hu h v st ts , l g ti , for e r o e s e ec a for th e o or er e o e art i u dr ss pu p s , sp i lly p p pl , p c larl for th t r mm n f n e w ar y e i i g o u d r e . Dur in g this peri od of its u se th e en ds were t ied clo se an d there was n o frin ge or loose en ds .

en i o ace ecame o a n th a e ar Wh p ll w l b p pul r, duri g e l tt r p t of the een en t o th n w n Sixt th C tury, hr ugh e e meth ods i tro duced ar a a Uttman n a n of ace was o by B b r , th t ki d l m st com monl a e and no e ace o ffi y m d , k tt d l , m re di cult to produce and The Lace Di cti onary 91

a ea er we n out for e o e . n e the usu lly h vi , t dr ss purp s s U d r ” n am e ac ra was a e m a n o o e ol u r m mé , it ppli d i ly t h us h d p o e nam e the r mm n Of n t re e o e o p s s, ly, t i i g fur i u , b ds , h us h ld n en and th e r n e en for o e ecam e an a e li s, f i g ds this purp s b dd d feature .

G C R. ace of e a e ob n c arac e . MADA AS A A l littl v lu , b bi h t r

E R E e n n t r m a e Eu MAD I A LAC S . Mad ira bobbi i dus y i it t s r o

M ec hli n .

e n am Th an r e am o s for e p a ex pl es . e isl ds a e chi fly f u th ir embroider i es .

R n m n MAD AS . Bobbi lace i itati g th e design s an d n ettings of a e e ac an d te re ma e in a r a . I n M lt s bl k whi silk guipu , d M d s trade the term M ad ras applies usually t o an article th at is n ot ace an en - m e a r l , but Op sh f b ic . The S cotch or French ma dras goods are sh ow n w ith d ouble warp thr eads that twist a o n eac o e etw e e n ea r s n of h n r u d h th r b ch c o si g t e filli g shuttl e.

R a n ear s 1 6 r MAD ID ( Sp i ) . As ly a 7 6 a facto y was estab lish ed i n a fo r th man r f n M drid e ufactu e o silk a d thread lace . 92 The Lace Di cti onary

G I e MA LIA . ( t. ) M sh .

n t MALIN ES. A term applying to bobbi laces of h e M ech ll ma n an lin ch aracter. B e fore 1 66 5 nearly a lace de i Fl ders

n n m a h e n rea . was called M ali e. M echli is de with t fi est th d A shi ny pl ait or cordon n et u su ally su r rou n ds the Sp r igs and dots .

ea a ese an d rm en an ace a e h e e. MALTA . R l M lt A i l s m d r

M al te s e L ace .

E o n a a n a t n e the om MALT SE. B bbi l ce m de i M l a si c c m n e f th t n n r e th e e c m ent o e Six ee th Ce tu y. At that tim character of design was like M echli n or Val enci en nes without h e fi n r u r n t e grou n d . N ow resembl es G eek g ipu es a d is m ade both i n thread an d i n bl ack an d white silk ; kn ow n as th e n a e s Barcel o a s ilk . O ccasion ally s ome r is d titch es are w orked but usually the pattern s are simple an d geometr ical in char ac e r n c u n th e a e o s an d s ee - e o ca e t , i l di g M lt s e Cr s d lik d ts , ll d “ ” m osca .

A I L n f raw n th r ad ork m n M N LESE. Ki d o d e w co bi ed w ith m n embr oide ry ; does not rese bl e l ace to a great exte t . S ome t a t e or t w st e d i n oo n tim e s th e fib e r is t d i l ps . Made i th e w Philippi n e Islands ith Manilla grass. The Lace Di cti onary

n a r o a an i n i MANTILLA . Pri cip l fo m f l ce m u factured Spa n and in na on a r h n use d the ti al he d d ess of t e wome . There are re e n : c th e co or for the an a th ki ds light , whi h is l Sp ish l dy on state occasion s ; black blon de l ace M antill a ; head dress for

M arie An t o n e t te t e of u rt n e i . y p c ai l ac . ordin ary wear m ade o f s ilk an d t r imm e d with black velvet an d lace .

r n MANX . A g eat smuggli g depot for French l aces . ati e a e ere on h e e f o r s a en n n e s N v l c s w t o rd r o c a e V l ci e .

RG ER - m r MA H ITA . Lace like fab r i c m ade by e b oidery on mac n - m a net n n n n hi e de . A i ve ti on o f th e Ni neteen th Ce tury name d a fte r th e p rese nt Qu e e n o f I taly an d m ade in Ven ice

‘ in large qua ntiti es .

R E E E w e of o a on of th MA I ANTOIN TT , i f L uis XVI , p tr e 94 The L ace Di cti onary

n n e t - f a e Fre ch arts . The am o day is applie d t o a type o l c curtain with cord appliqu é sprays combi ned with tape bow

n ot o e an d ea e a e . k s, fl w rs, l v s ppliqu d

n - ma a e f th en en MARLI . Fre ch pillow de l c O e Eighte th C m a t o e tury. Con sists of in nu er bl e li tle square spots c v red e a e c was re en t r e em e ov r with g uzy tull , whi h f qu ly fu th r b l lish ed e ro e . Th e a e rn ene er e e with light mb id ry p tt s , wh v th r r om o e f ff e ent t e r e are any, a e c p s d o di r lit l dots o rosett s, ’ o a r but m ore oft en o f little s p t s c ll e d poi n t d esp it .

A H ES VR GE M A SC H ES . e e a a n e ne f M SC . OU A S M di v l d r d t o

Italy .

- EC . t oo n o n ace th e c o e o on of M HLIN Ligh l ki g b bbi l , l s p rti s th e fl ower s an d or n am en ts b ei n g m o re filmy than th ose of

n e n n e ace i s th e m os t SU le o f all ace but a Val e ci s l s . It Dp l s, fin e b r ight th read th at outli n e s all th e

i s h or nam en tal sh ape s i n t . A t fir t t e

a n the ornamen tal sh pes i it . At first sn owy groun d ( fon d de neige ) was

e ate r a n o ma e o f n et us d , but l r l typ ro n the m a e a ona m e e g u d, s ll h x g l sh s som ew hat res embli ng B russels pill ow n et but with sho rter pl aited sides to

eac m e was a o e . the h sh , d pt d It is

- pre ttie st of all pill ow made nets . M e c hli n g r ou n d g r e a tly M echli n lace was in great deman d 3 5 6 9 S h o wm g ”13’t 23202 d ur i ng th e reign of Louis XV and rococo styl e of orn amen t p revailed i n th n n o a e desig s . U der L uis XVI flor l sprays an d deli cate i n t erl aci ng de sign s we re used an d later th e pattern s con siste d of Odd scatteri ngs of tiny blos

om a carn a on or ro e n ot etc . The s s , usu lly ti s s s, ti y d s , dis t r iet betwe en M echli n an d Louvai n e h as always been cel e r at ed for ma e of e n r r b its k M chli lace . Lill e A ras lace s a e of n ear th e sam e c a racte r th e m e s e e n t e in ly h , h s b i g wist d Th n r stead of pl aited . e cou t y about B ayeux m akes a s im ilar lace of fi n e th read . The Lace Di cti onary 95

ME C renc nee e- o n e e o n e h ea DI I POINT . F h dl p i t r li f utli , vy lace of the Sixte en th Cen tu ry .

E a a os t o e een o on M DICIS . This l ce occupies p i i n b tw t rch an d Cluny an d resembl es each . I t is heavie r than torchon an d in m ost r espects is th e same as Cluny exc ept that th e “ small elliptical paddl e s that appear i n all Clun ies are mi e Th ne m a e at re on n e Le an d O tt d. e fi st is d C p , but Puy r o ro uce it Mi ec urt als o p d .

M wn in e an e e a for E . o o NIN A t W st Fl d rs , B lgium, f m us its Val enci enn es laces.

ER a e o f ran ce nea on e e con sid M AN . Vill g F , r Ly s, wh r abl e blon d e laces are made.

ER E B . I a e m a h e use f M L TTI A PIOM INI ( t. ) L c de by t o

a o n s le d b bbi .

ER I t a e . M LETTO . ( .) L c

I DDLE x n r m for ea n M SE . E glish dist ict fa ous rly b obbi a n laces . Early bl ck an d white bl o de l aces .

M G E TE. fi ne o i n ace o a i n the I NON T Light, b bb l p pul r mid r n a r an o ne dle of th e Sixt een th Cen tu y . M ade i P is d L rrai .

Won fa vor becaus e of its lightn ess an d delicacy.

a t en en M I LAN POINT. Heavy pl ite d lace of Six e th C tury rn l f o n o an m ade in Italy . Patte s usua ly o fl wi g scr lls d s w r fla n ro blossoming flowe r . Th e flo e s we re t a d w ught with th e appearan ce of compactly woven lin en . Here an d e e omew at ar e o be n r o ce o en n th r , s h sp s ly, w uld i t du d p filli g or else small h oles would be l e ft t o lighten th e tapelike e ff ect of the cl ose w eb . Repeate d parts Or ties used as a groun d in th e earlie r p atte rn s were admi rably set Off in i n n w e a a curved and scroll devices . M lan poi t is o us d s r m for a m a n e ma e ace th e e e o f the a ern t ade ter chi d l , dg p tt silk run .

- REC R . ob n m a e ace e em n f e MI OU T B bi d l , r s bli g that o Lill ace has een a e in th ne or oo f e n l , b m d e ighb h d o Mir court si ce the S eventeenth Century an d th e tow n has forme d th e head f h e r e quarters O t dist i ct . About s ven ty years ago flowers The Lace Di cti onary

an d s, a n th e e a e n e sprig imit ti g Bruss ls p tt r s, w re attempte d w1th ea cce at reco r gr t su ss Mi u t . These sprigs are m ou n te d

on a ac n e- a e ro n as up m hi m d g u d, in the mode rn Ho n iton

appliqué.

A r c c - A c tu al s ize M e di c i . T o h on la e wit h close wove n d ar n e d n et or fi l ffe t oose f e et e c , l ly ollow d .

G . o n in re an e om e MONA HAN C u ty I l d, wh re s types of arr c ac an d oc e a r a C i km ross Irish cr h t e m de.

RE C Y . I n th e n e o oo o f r a w e r e MONTMO N ighb rh d A r s, h ob n ace we e at on e t m e m a in e b bi l s r i de gr at quan titi es .

R CE . e e n a n d e en een en r a e MOO ISH LA Sixt th S v t th C tu y l c , similar to M altese ; made at Morocco.

98 The L ace Di cti onary

f h n r th an om en drove them ou t o t e cou t y by e th ous ds . Fr Al

on a o ne a ce - m a e r fle d m o of em e t n i n th e c l l k s , st th s t li g

N eth er lan ds .

e ea an NAPLES . Se N polit .

E . Ear ree o n ace o en ca e N APOLITAN ly G k p i t l s, ft ll d an or et c e a w er e ma e in the on an e s o Rom R i ll , d I i Isl , C rfu ,

en ce a e s om e o en ce an d an . The te rm N e a V i , N pl , R , Fl r Mil n o t politan h as cl u g t thi s ype .

- N ot t n a m . Fou r t e e n poi n t m a d ra s we av e . i gh

EE E - The s u o f n e e e - n ac e r N DL POINT. t dy dl po i t l s cove s fiv e di sti n ct va ri eti e s : ( 1 ) th e devel opm en t o f Retice lla lace ; 2 the un o i n r a ar e enw or 3 th a e or ( ) P t A i v i ty, Op k ; ( ) e p dd d Ven ise po in t styl e ; ( 4 ) th e light quality of n et l aces ; ( 5 )

a Th e e rm n - o n a c the ppliqué style s . t eedl e p i t ppli es t o la e s w o e w t a n ee e as t n s om m rk d i h dl , dis i gui h ed fr th ose ade by a o n rn n c ro e n r r b bbi , by da i g , ch ti g o othe m etho ds . Th e n ee e - o n ace n c u e r o o n en se os o n dl p i t l s i l d G s P i t, V i , R e P i t,

A r en tella en on r an o arn a a an d on en . ee e g , Al c , Bu , C v l C v t N dl

n n r n - w ork is ot ecessa ily ee dle poin t . Th e n ee dle is us e d for The L ace Di cti onary 99

n f r e rca n on w en s e i n the dar ing, or o ov sti g, but ly h u d but

- ton - h ole stitch is th e lace thus p roduce d calle d needle poin t.

ee o an e m an e an d NETH ERLANDS . ( S H ll d , B lgiu , Fl d rs a f he e e an w e re or n a bob B raban t .) The l ces o t N th rl ds igi lly bin laces but at the per iod o f th e Revocati on of th e Edict

nte 1685 the ro te st an t ace - ma e r s of ranc e oo of N a s, , P l k F t k re fuge in th e N etherl an ds an d s ett l ed in H ollan d an d th e south e rn coun trie s i n the secti on now geographically cove r ed

- m . Sixte e n p oi n t Swi s s an d c ombi n a t i on h l e t patt e r n . N ot ti n gh a

- e . ere fi n e n ee e o n ace we re m a e fi n e flax by B lgium H dl p i t l s d ,

- t ea e n e . T o da c ace as a r e c oa r e hr d b i g us d y Dut h l ul is s , while that o f B elgium pro pe r i nclude s much that is exceedingly fi ne e ec n an d n c e , Bruss ls , M hli Bi h .

NE CE . Se e o n a n T LA S ( B bbi et lso M achi n e Net . ) I the be gi nn in g th e n et an d th e pattern wer e wo v en at on e an d the s ame time . Even tually th e n et w a s m a de sepa rat ely by certai n or e an d th e a e n r w w k rs p tt r put on by oth e orke r s . This n ew appliqué lace was in high favor du r i ng th e per i od of Louis

T tan ar f - n e XV . he s d ds o n eedle point et lac s are the A rgen 100 The Lace Di cti onary

'

an en on A r entella an d ru e . Th e an a s of bob t , Al c , g B ss ls st d rd bi n n et ace are r se s e ec n an d a en c en n e . l s B us l , Lill , M hli V l i s Up t o th e tim e that Colbe rt establish ed th e famous Fre nch wo r o n en on r en tan an d o e n et ace ks pr duc i g Al c , A g th r light l s o f n eedle - poi n t cha ract er th e centers of th e man uf act u re we re as foll ows

BE I U B ru sels M echlin A ntwe r Lie e L ou LG M : s , , p, g ,

v ain Bin ch e M eni n Br u es Ghen t Y r es Cou r t , , , g , , p ,

ra . h e ta c an e rs . y ( T i li , Fl d )

t ee n - o n t t - we a e m ac n - m e N t n a m . Six p i Fil e v hi e a d lace . ot i gh

FRA N CE ( spread ove r m ore than ten Provin ce s )

ARTOIS A r ras ( Pas - de- Cala is ) FREN C H FLANDERS

e a enc en n e a e or Lill , V l i s, B ill ul ( N d )

Le H av re ( Sei n e- I n fé rieu re ) I SLE DE FRAN CE Pa ris an d it s e n viron s AUVERGNE Au r ill ac ( Can tal )

VELAY Le Puy ( H aute - Loire ) LORRAINE Mirecou rt (Vosge s) ’ BURGUNDY Dij on COte - d or )

102 The La ce Di cti onary

ca o e c n n va a an w o t the mac n e S ll p d lu y is i ri bly h d r ugh , hi not et e n a e to o ce ca o ff ect h a y b i g bl pr du s ll ped e s . T e p ddle in an c n are a a e and ore re ar e en th e h d lu y usu lly fl tt r m gul , v c at on o n m l eve rest imit i s sh w i g lu py. The han d patt ern s have n r r a n r n n en wi i va iably th ee y r s u ing l gth se i n side the paddle s . whil e th e machi n e wo rk frequ en tly show s fou r .

Six te e n - poi n t B r u ss e l s - wea ve m ac hi n e - m ad e l ace ; fi n e g r a de . N ott I n gh a m .

a as h om of th e ac n e NOTTINGHA M . N otti ngh m w t e h e m hi l ace i nd u stry and the te rm N ott i n gh am st ill clin gs to the coa r se r cu rtai n forms o f l ace as a ge n e r i c te rm whil e for th e

e the e r e e r s or Go - rou e re at n t o fin e r l ac s t m L v th gh is us d , l i g t he kin d of machin e on whi ch th e fin e r form s of lace a re m ade .

A fi rst - cla ss Le ve rs lace machi ne cost s f rom to The late st improvement on th e Leve r s loom i s that

- kn own in th e .t rade as t he Go th rough . I n this machin e th e bobbi n car r ie s the th reads twice th rough the w arp th reads with The La ce Di cti onary 103 o n e re o ut on o f the c ran aft t us n creas n the wo r n v l i k sh , h i i g ki g r speed o f the loom n ea ly 40pe r cent . The work o f the m achi n e i s e xtraor din a ry an d as shown i n our illust ration s the ability t o p rod uce by m achine ry s uch r cl e ve imit ati on s o f han d wo rk i s littl e le s s than w on d e r fu l .

3

ot n am an d at au r F ran c e . N e ts m ad e chi efly at N t i gh C d y ,

1 t r s e c n n et . . Silk u ll e o ilk M hli

2 , 3. Camb r a y n e ts .

n t n e t . 4 . Cha illy

e as e n s w c a re u e No. 1 be l ongs to th cl s calle d dgi g , hi h s d ’ r n er a rm en t s o e e an erc e s an d chi efly fo ladi es u d g , t dg h dk hi f ,

n t u r os e s . om e are m a e w e r t an t s an d m a y o he r p p S d id h hi , “ ” som etim es the re ar e seve ral di ff e re nt widths i n a set . This

particula r one is an im it ati on of a han d - m ade e dgin g m ad e in

A rm en i a. Th e La ce Di cti onary

e s a e c e at o n a and at au r n N t m d hi fly N tti gh m C d y, Fra c e .

9. am e of n et a n fa S pl h vi g u lty th r ead s . 10. Regula r n e t . 13. B ru s s e s n e t ma e Of t c cott on ca l d hi k ll e d Bobbi n et . 14 15. m , Si pl e type s . 1 6 , 17 . S pott e d n e t s .

18 I 9. r e n e , S t ip d t s .

106 The Lace Di cti onary

T T F R E A N D E NO INGHAM , NCH G RMAN MACHIN E LACES

3and 4 are fi n e m e i an d ea r Nos . 2 o c on . , , d um h vy t h s o rc on are an e cee n n me ro a and are a e T h s x di gly u us f mily , m d The L a ce Dicti onary 107

r r i n a g eat va i ety of qualitie s . They le n d themselve s to a won e r ar e of e n and are a w a m ore o r e s in d ful v i ty d sig s , l ys l s e an o d m d . N . 5 is a torc hon having a cen te r o f Pa ris groun d with imitation tucks ru nn in g dow n it s l ength . N o 6 int roduce s “ ” a so tac e e ffec and th e r oun m e n u h t d sh , a d N o. 7 show s the

r s ace e ff e r I i h l ct b ought in .

No . 8 re re sen t a u n o f w c c a e r a re a r e p s Cl y, hi h l ss th e l a g n um er of t e s of e s n s a m ost s n m e ro d s r b s yl d ig , l a u us an a va i ed as to rchon s .

N os 9 an d 10a re r s ace s but m t at on s on of the . I i h l , i i i ly

r m r 10. A n c rochet art icl e . N o . 9 is v e y uch be tte than No .

ot e r u st rat on o i m t at on r s ace i s N o. 11 u s ua ca e h ill i i i i I i h l , lly ll d “ ” r s n e . 12 i s re re s en tat e o f th e c a s ca e I i h poi t l ac No . p iv l s ll d ” “ ”

- - o n fi n in s or somet m e s t c t re a s . om e m e s t e b bbi g , i hi k h d S ti h y “ are al so calle d poin t de Par i s laces on account of that g roun d be i n g o ften u sed .

n - n n t - NO . 13i s a bobbi h i g wi h t h e thick th reads l e ft out . “ ” n e r n f r i s orm an l A oth am e o the m N dy va .

o e a e t t he atte r No . 1 s Cl s ly lli d o l is 4, a pecimen o f ” o ce T e t reatm ent of h shad w la . h t e groun d m e sh is quite 108 The Lace Di cti onary

ff r n 1 a o ace a e a e r a di e e t from N O. 3. All sh d w l s h v v y light p “ a n pear an ce . NO. 15 is a type of a n um e rou s cl ss called fa cy ” n r t n d in a m t tu e lace s . They are made i va ious w id hs , a ul i d

o f an c e n s om e of t e e n e r r n f y d sig , s h m b i g v y st iki g an d origi nal . “ ” No . 16 a val a n the u sua val m e s an d r is h vi g l h , is r ep e sen t ative o f an enorm ou s c as s l . This is a good cl ass val .

NO. 17 a e o f an o er c a of v l is typ th l ss a , made w ith the

1 10 The Lace Di cti onary The La ce Di ctionary 1 1 1 of c c a s e r few a re now m a e in ot n am but whi h l s v y d N ti gh , always som e in F rance .

’ R . Th e wo r of n n ea cut - w o in NUNS WO K k u s , rly rk

M e di eval tim e s ; but at v ari ou s pe riods all ki n ds of work had ’ een ca e n un o r te ra o f con en or n . b ll d s w k, i f li lly v t igi

RE ER n e am e f o n ace w ere m a e NU M B G. Fi ex pl s o b bbi l d in Nu re mbe rg in t h e S ev en t een th C en tu ry.

E E c e r E e en t en . OLN Y . ngli sh la e c ent , ight h C tury

r n se n n ee e - o n r . OPEN TOILE. A g ou d u d i dl p i t w o k

t r OPUS . (I . ) Wo k .

- G C . En s wor r mar n e e e o r AN LI ANU M gli h k, p i ily dl w k an d e m ro e r o f th e En s n un s amo s i n b id y gli h , f u

Eu rope as early as th e Fou rt e ent h C en tu ry. 112 The Lace Di cti ona ry

ARA N EU M . See A ran eum .

N S T M n c CO U U . A i ent n ame for appliqué work. See

Appliqué.

FI LATORI U M . See Filato rium.

S I S S M - C U . (I t.) Cut w ork.

T I RAT U M n - w o r . Draw k, whi ch s ee .

R . o n ace a e in e en rac ca the a e O SA B bbi l m d Sw d , p ti lly s m

Dal ecarlian .

o n t at . Ope n T oil e . P i Pl

n r e re ace m a e. OUDENARDE. Tow n in Fl a d e s wh l is d

A ran eu m. OUVRAGES M A SC H ES . Se e

s c oc e . OYA H . A kin d o f Turki h r h t

r a o the c ff PANTAGRA PH . The pantag aph is ppli ed t S hi li Se machin e in the p ro duction o f e mbroide ri e s. See Plauen . ( e illustration .)

l c s r PARAGUAY LACES . O rigin ally o d Peru l a e were d awn

r ff T - d a r h ff w o k e ects . o ay Paragu y laces , a e , like t e Tene ri e ace c e c a rac e e e - web n e - rea eff e c s l s , hi fly h t riz d by spid r si gl th d t arranged in wheel de sign s ; cha racteristics i nt roduced by th e

Po rtuguese.

R E s a n r h n w c PA C H M NT . Used a backgrou d fo t e patte r hi h r is p i cked out for poi n t l ace .

R E m PA C H M ENT LAC . S o e time s lace is calle d Parchm en t

1 14 The La ce Di cti onary lace wh en compose d o f pi eces o f parchmen t cove red o r

a e t o o r e r rea . wr pp d wi h silk, g ld silv th d

R E r r x PA IS . a ly in the S ev en t een th Centu y lace was e ten sivel a e in or n ear ar o e or o n y m d P is , L uvr s , Gis s , M t morency.

E E E E E on e rt e e rm s for ea ac e PASS M NT, D NT LL . C v ibl t rly l f r r m m c as w ell as o t i in gs that w e re n ot l a e . I n the S ev en

Pa r agu a y .

r n i w e re r mm n a r and th e te en th Cen tu y pas s em e t er s t i i g m ke s , t e rm pass ement o r t rim mi n g appli e d t o all ki n ds .

E R R Th e t o n th e e e of ace . S e e P A L, PU L . li tl e loop dg l

Pi cot .

EAR r E R En s ac o f th e e en P LIN o P A LING. Old gli h l e S v t een th Cen tu ry wa s f r equ en tly call ed P ea rli n g.

E CE. ace s m a e th e easan s n e en s e P ASANT LA L d by p t , i xp iv , s m e . nc e in s t e rm ar e m an a r e e not a i pl I lud d thi y v i ti s , bly

n e e a l e r e a m at an a ecar an an d et e . D e t ll a Vi g , D l i , D l li Bis t The La ce Di cti onary

r c m f r m n f c PELLESTRINA . Isl an d n ea Ven i e fa ous o a u a ture of Clun y an d simil ar bobbin l ace s .

en n su a no rt of s on ort u a e re PENIC HE. P i l h Li b , P g l , wh light pill ow l ace s w e re mad e . Black an d whit e o f l arge pat

rou n s e an s ace or te rn frequen tly m e sh g d lik Sp i h l s . W k ’ u sually don e by fi sh e rmen s wiv es .

- RK se as o r e r s on n en and PERSIAN DRAWN WO . U d b d li

n r ec t . o e muslin . Compli cated de sig s a e ex u e d C l or d silks a re used for butt on - holi n g the raw e dges o f th e mate r ials .

ea an d n ar ro e e ace th e PETIT POUSSIN . A ch p w Di pp l , habitual l abor o f the poor lace - mak e r s o f this t own . Poussin

et t ou ss n e e . P i P i , Di pp

m ( Chicken ) so n amed for its d elicacy . Th e sa e peopl e make A v ar a a o e cat e an d m e a r n in th e c ar e M i ls , d li si pl , but v yi g h acte r o f th e mesh .

r h n e f he e PHILIPPIN E. O f late yea s t e at iv s o t Philippin I slan ds have p roduc ed with th e assi st ance o f th e Un it ed State s Gov e rn m en t excell ent emb roide ri es an d rep ro ducti on l ac es.

n r th e e f a PICOT . Min ute loops or k ots w o ked on e dg s o de sign .

e n a o . PILLOW LACE. Lac made o pill ow with b bbin s r ( See B obbi n . ) I n Pill ow lace th e patt e rn is sometim e s wo ked

rs e on a o and th e ro n o r e in a e fi t , fix d up pill w g u d w k d ft r wards .

PI N . Use d i n Pill ow l ace fo r bobbin work . O r igin ally the in was a ar o rn or on e ence the w o r was ca e p sh p th b , h k ll d bon e lace . 1 1 6 The L ace Di cti onary

ITE E e e a o or e ea ace PLA D LAC S . M di v l g ld, silk silv r thr d l s m m we re o ften plaited . It is an a rbit ra ry te r someti e s apply ’ in o n o n d Es a n e Y ak ace an d th e e en - da g t Clu y, P i t p g , l s pr s t y lace s o f M alta be cause pla itin g features are introduce d a s

an e c c e an e . p ls , ir l s , tri gl s

PLAUEN . Laces emb roide red and bu rn t out o r othe r wise made with the S chiffli machin e or by othe r emb roid e ry

Plau e n bu r n t - ou t lace .

m et o s e re the e n a e to a ro n o f m n h d wh by d sig is ppli d g u d usli , n et or o e a c. m ar ace o r em o e ace m ac n e th r f bri Si il l br id ry l , hi m a e i s n w ro ce in En an a nce s s a d , o p du d gl d, Austri , Fra , Ru i

d h n - r an t e U ited States . I t is p rac tically a machine nee dl e u n or n e e e - e o e r ace an a a a on o f the nc e s o f dl mbr id y l , d pt ti pri ipl th e ew n ac n e . r st t e w e re ca e ac es s i g m hi At fi h y ll d Swiss l ,

a on ace . a aces e m ro e re ace e e S x y l s, St G ll l , b id d l s , Ed lw iss T h r r l ace s . e de sign s a e w o ke d by applyin g the pri ncipl e s o f th e pan tagraph to an embroid e ry m achin e . The operat o r h as on ly to follow th e design on th e pan tagraph board holdi n g h e o n e h n a r on h n cont r t p i t r o f t e pa t g aph t e de sig , to ol th e m r r rn r achi ne ep odu ci ng the pat e . Pl au en first un de to ok em

r o 1 - r b o ide ry w rk 00years ago . About 1860a han d embroide y machin e was i nt roduce d in c on n ect i on with th e sewi n g m a c n e was n ot u nt a o 1884 a the Schiffli m ac n e hi , but it il b ut th t hi

e i h r r - mad Pl auen fam ous n t e m a ke ts o f the world . Bu n t out o r w rk is d esc ibed u n der that h eadin g.

1 18 Th e La ce Di cti onary

r nt ro ce in ran c e DE COLBERT . Wh en Colbe t i du d F the man u factu r e o f Ven ise poi nt laces they w er e

call e d Poi n t Colbe rt in his hon or .

k n m e n Ma i g si p l bo bbi lace on a p illow.

DE E E. o n ace ence e r ron eo ca e DI PP B bbi l , h usly ll d n s m e a n n n Po i t . Re e bl s V l e cie e s . Pe tit Poussin an d

r e r A ve M a r i a l ace s a e Di ppe p oducts . See illustra

tion s . ' S e D ESPAGNE. e pl aite d lace . ' E R . m e o m a o a or are o n D SP IT Si pl d ts , s ll , v l squ , rigi i ally in troduced n N orman dy lace . A dotted n et

or tull e. Th e L a ce Di cti onary 1 19

DE ER Th e n m FLAND S . a e given to Old Flemish laces mad e with bobbin s to disti n guish th em f rom old

n ee e - n c dl poi t all ed Fle mish Poi nt .

DE FRANCE. See Fran ce

DE ZE See r GA . B uss els .

DE E o n t c G NOA . P i la es made at Genoa sometimes ca e n d ll d Poi t e Gen es . See Genoa.

Poi n t Pl at .

r DE LA REINE. Wh en th e F e nch re fugee s fled at th e Re vocati on o f th e Edi ct o f N an tes t o the n orth co n r e o f e m e n ro c e the man u t i s B lgiu , th y i t du d u r m factu r e o f F rench laces . Th e p oduct beca e kn own in Fl an d e r s an d su r roun ding coun t ries as Point de la Rei ne.

D E LILLE. See Lille .

DE AR ro c of a e ea ace M LI . P du t B y ux , light thr d l r n c a o f n et ma e n o an erc e an d p i ip lly , d i t h dk hi fs

shawl s . Popular in the pe r iod O f Louis XVI . ’ O ften decorate d with rosettes o r Poin t d Esprit dots . 120 The L a ce Di cti onary

DE n n r c 1493. . ee e a an a e MILAN Fi ft th C tu y It li l , A

- r heavy plaited fo m like Gen oes e .

DE I n h r MOSCOW . t e Nineteen th Cen tu y a school w as

foun d e d at Mos cow wh e re Ven eti an n eedle - poi n t r lace s w e e Copi ed .

DE E E E E c m r N IG . PUNTO N V . L a e ad e upon a g ou n d

o r fon d showin g a sn owy e ffect . Var i eties o f Ro s e o n o ra o n o r o a ne o o n t de e e p i t , C l p i t C r li sh w P i N ig r n o f t rr r e em n g ou ds s a ed th eads r s bli g sn owfl ak e s .

Pri n ce s s e lace .

DE R . n on e e ette an d o t e r n a r ro w PA IS Mig tt , Bis h , Cheap lace s were mad e at i nn u me r abl e village s an d r t e h town s . When Colbe t es ablish d t e P oin t d e F ran c e in dust r i es a gre at deal o f l ace was mad e in

Paris .

E r n ee e- o n ac es e e DE RAGUSA . a ly dl p i t l w r call ed Poin t de Ragusa becaus e Ragusa was a comme rc ial

r c en te r o f G reek and Itali an wo k . We kn ow of no r man u factu re o f th ead lace at Ragusa .

DE E ee e ace ma e at e an . S DAN . N dl l s d S d

The Lace Di cti ona ry

e a n in a to n ee e- o n een PUNTO. T rm pplyi g It ly dl p i t, Sixt th Century lace.

E I on - c A FESTON . ( t. ) Butt h ol e stit h .

E e e e o n m en one old r e s . A GIOI . J w l d p i t ti d by w it r

R not e ace e ac r am . A G OPPO . K t d l , lik M é

R e ti ce lla .

r fil t MAGLIA QUADRA . Te rm appli ed to ea ly e .

si n en to a u . APPLICATO. Te rm occa o allv giv ppliq é

E . ar n n c so e e ca e lad A RAM M NDO D i g stit h , m tim s ll d

der stitch .

n e - n ce in re e as A RELIEVO. Italian e dl e poi t la li f dis

tingu i sh ed f rom Point Plat or flat lace. The Lace Di cti onary 123

E E A R TIC LLA . See Reticella .

e ta of re t c - e a , or n a u re ra wn wor fr m D il i ll i gi lly p ly d k , o whi c h g rad u a ll n e e e - om t ace w r y dl p l s e e de ve l ope d . T he figu re r epr e s e n t s a ce n tau re ss w t i h bla c k be ad e y es .

R V . o e c n Of low e e a n a o A O IO Cl s stit hi g r li f h vi g s lid ,

- ivory like effect . 124 The Lace Di cti ona ry

BRE E fin r CALA S . A e cl as s of wo k at on e time made

in Cal abr ia.

Re ti ce lla .

CI PRI OTO. See Cyprus .

een t en n ee e - o n DAMASC HINO . A Sixt h C tury dl p i t

made in Damascus .

126 The Lace Di cti onary

Re n a s sa n ce a t a e ace i s e r f r e u e n t ] com n e w t ot e r ta e i , p l , v y q bi d i h h p a c e s s u c h as a r e A n t o n e t t e . T u s i n t e a cc o m a n n u s t rat on l , M i i h p yi g ill i , t h e ce n t e r m ot f a n d t h e t w o e n d mo t fs a r e Re n a ssa n ce ace th e i , i i l ; ba l a n c e i s M a r i e A n t oi n et te an d ta pe a ppliqué . The Lace Di cti onary 127

n a a. e e e o a RAGUSA . ( Se e Poi t de R gus ) Th r is littl d ubt th t in the eent ent r ro ce con e oraneo Ragusa, Sixt h C u y, p du d t mp usly nc e th e ear e t e ce a ace ra se en ce o n with Ve i , li s r ti ll l s ; i d V i p i t e r a a o n e a e w as mad e also in Ragusa . Th e t m R gus p i t r l t s

- o n o r one t ere o n o w as to the n eedle p i t w k d h , but b bbi w rk a u a an d a a a e ace and a a also attempte d at R g s , R gus pl it d l R gus t attin g w e re common.

h e e of nee e - o n ace a a se RAISED POINT. T typ dl p i t l th t is r i d or padded as dist ingui she d from Flat or Plat point .

E T h e RATIN . te rm applie s usu ally to coar se cot ton laces having a groun dwork like

r o e n Tu kish t w li g, rough Iooped . It is made by m a

Rat n chine ry. i é.

RATTWI K . o n ace ma e e s ea an om e B bbi l d by Sw di h p s ts, s t m e ca e a ec r n i s ll d D l a li a l ace .

E E C r R G N Y POINT . Lace m ade in B edford shi e during the e r o of t h e n p i d e R ge cy w as calle d Regency lace . It was ch ar act eri zed by a complicate d gr oun d which showed a tape - like orma on as f ti . It w v e ry te dious to make .

E CE. en a an ce ace i s a a e ace a o e n R NAISSAN R iss l t p l , m d r

ro ct . The a e urn e in ar o a e the coar e r p du t p is f ish d v i us qu liti s, s r r g ades being use d for cu tain pu rposes . Th e tape is form ed i nto patte rn s an d the par t s caught together as shown in th e illust rati on .

E E r r f R S AU . G ound wo k o small me she s .

REzEL REZEU I L. ame as eau . , S Rés

h f ne - RETICELLA . R eticella w as t e earlie st o edle poin t lace s .

- r - It was a developm en t of cut wo rk and d awn w ork. The fabric Th e L ace Di cti onary in t he beginn in g h ad a de sign c ut out and the edge w as th en

n an c o e r n r n r butto hol ed . Brid es d pi ts w e i t oduc ed at i te v als d h m e s e m e r ca t in es w e r o o e r an t e si pl t g o t i l ou l e f ll w d. G eater var iety w as show n late r on . Ci rcle s w e re in t rod uce d an d

fin ally the f oun dati on fabric o r cut - work wa s aban don e d an d

r r - r r th e wo k entered en ti ely upon the n eedle w o k fo re sults .

This w as the begi nn in g of l ace . Se e page 122.

r a d y r u n d h r s n s f RHODES . With C ete n C p s a t e othe i l a d o th rec an Sea o e ecam e am o for it s cut - w or an d e G i , Rh d s b f us k e c e en am o r an d c o o re o r are m a e R ti ella . At pr s t T b u l d silk w k d th e r e .

E E I t a rn n n n et RICA MO A R TIC LLA . ( . ) D i g o .

RI PA N a rs n a c e was m a e t N E OR RIPON . A co e bobbi l d a

on in o r e at the en d of the E ht een t en t r . Rip , Y rkshi , ig h C u y

r m on m ou w t ree o n o r e ROMAN . A te syn o s i h G k P i t R ti cella .

E fi n e t e o f en et an o n t ca e os e ROS POINT . A yp V i P i , ll d R

e en c r n e . Po int to di sti n gu i sh it f rom G ros poi n t . S e V i e o Ve is

os s . N e w o s re an t ere a re m an con en t R At R s , I l d , h y v r i a sch ools whe e lace s m d e .

c ha s r a run in w t a ne e e RU N . A lace w hi h a th e d i h dl a rn n h an w e re on e ma th rough the n et like da i g, by d ; h d by

t ee m e r c . ch ine ry it con s ists of a ch ai n st i ch . S Li i k

n n of ace old RUSSIAN . Rus si an l ace m ay be a y ki d l , but Ru ssian lace o f the gr eat e st repu t e w as call e d Poin t de M os

- cow w c w as en ce o nt . I n old u s an cut o , hi h V i P i R s i w rk , da r ne d - n et an d d raw n ' w ork c ol or s w e re f requen tly used an d s ilk w as in troduc ed .

. omm e rc a s ea n a on ace are th e SAXONY C i lly p ki g, S x y l s bu rnt - out laces f requen tly calle d Plauen laces b eca use Plauen

e m s m u r c a ss o f w o r e se a on becam o t fa o s fo this l k . Th S x y m achin e l ace s mad e by embroid e ry w e r e p roduce d o r igin ally

r n T o - d aue n ac e i s re ar e as a rn t i n Switze l a d . ay Pl l g d d bu out lace becau se th e n et or fabr i c backgroun d to the em e re e nt rn broid ry is f qu ly bu t away.

130 The La ce Di cti onary The Lace Di cti onary 131

nd as ca e SEDAN . Point lace was made at Sedan a w ll d

Poin t de S edan.

ado w ac es s ow n coarse an d fi n e e ffe cts ot ma e on t h e e e rs Sh l , h i g b h d L v machi n e .

CE. t n m o r s a ow y ace ma e on SHADOW LA A hi , fil y h d l d t he Le ve rs machin e in any des ig n and of any ch arac te r so long as shadowy .

ERB R E n n e a e s r n i SH O N . Whe bl o d l c w e e f ashi o abl e n the latter pa rt of th e Eighteenth Cent u ry they we re made both in

ac and e at er orne o e e n an . bl k whit Sh b , D rs tshir , E gl d

E o a e f e o SH TLAND. B bbi n l c made o Sh tland wo l .

E o et e arne n e n as ca e e n SI NNA . S m im s d d tti g w ll d t ro c ously Poin t Si enna.

E n a s e r s n SIL SIAN . Silesia l ce w e simply the pea a t lace s m ade i n Sil e sia.

E e on e SILK BLOND . Se Bl d .

O H ER CA . The o t e can ace t r e e an S UT AM I N S u h Am ri l , s ra on of c we S o ha s se e a a e o f n e illu t ti whi h h w , v r l l y rs u d r ba rk 132 The Lace Di cti ona ry whi c h may be st rippe d off and separated i nto a craquelé me sh n et that is quite st rong.

The ill ust rat i on above i s a r t of a l og f rom t he S outh A me rican lace t re e the a e r 0 th e ar a n n t ri , l y s b k h vi g bee s ppe d back.

’ . ro the ea e a cut - o a SPANISH F m rli st d ys w rk, d rned net ’ t n and ra n - or e a e in i g d w w k w re m d Spai n . Poi nt d Espagn e was o en ma e w o and e ea on e ft d ith g ld silv r thr d . Silk bl d l ace s , as we a s the ea e ace w e e ma n ll h vi r l s, r de i Spai n and black ace an d ac e ro e e in co o e r r silk l s bl k mb id r d l rs w e ve y popular .

P R S ANISH GUIPU E. A name giv en i n disc rim inately t o an ace of the Sp ish l s h eavier typ e .

134 The Lace Di cti ona ry

O II t he e ft au e n e n se n ov c l t v . O n t h e r t coa r se a u e n l Pl V i igh , Pl

e n s i fll i ma c n e a n d r n e . V i e . Pr od u c e d wi t h t he Sc li hi bu d ou t

On t h e e ft a u e n e n se . O n th e r t a u e n e m r o e r . Pro l Pl V i igh , Pl b id y A c d r u e wi th th e Schifll i mac hi n e an d bu n e d ou t. The La ce Di cti onary 135 of whi ch are p repare d for t he bu rnt - out p roce ss and thus con ve r te n to ace . I n so e n t a nce s am ou r n i s on n d i l m i s , t b i g d e on et “ o r pl ain m ate r ial ; Swi s s B r u s se ls cu rta in s have fo r s ome e a rs e e n a o u a r ro uct See r u se s v b p p l p d . B s l .

Th e n e n on of t e m ro e r ace e scr e e i v ti his b id y l , d ib d lse

S w s s Em r e r ce i b oid e d L a .

w e re n er s se s due to a e rm an n am e a e r w ho h u d Bru l , is G d S u , a dapt ed the p rin cipl es of th e sewing machi n e t o the prod uc on o f e o er an d a e th e wo r to e t e r n et n ti mbr id y ppli d k i h , musli or ot e r m ate r a . A t s t e e re ca e w s ace . h i l fir t h y w ll d S is l s, St a ac es e o e re ace s e e we s s aces an d not nt G ll l , mbr id d l , d l i l , u il t he Pl auen e se got ho ld o f the m an uf actu ri n g did they become n e s on know as Plauen lac . See Sax y . 136 The La ce Di cti onary

r nce w ere o n ace was ad e SU FFOLK . English p ovi h b bbi l m s am e t e as uc n an d i s still m ade in sm all quan t iti e . S yp B ki g

r an wo r . ham shi e , h d k

ace s ma e i n w e e n e s ec a SWEDISH . Simple bo bbin l d S d , p i lly

r r t r See a e ca r an . o es o m To rchon of a coa se cha ac e . ( D l li ) H l ,

att ik rsa Wadst e na a nd a n e are ace c e n t e rs . R w , O , G g f , l

- Ta e a ce ot a rs a n d n s of n e e e o n t . p l , b h b filli g dl p i

R E - a n w n r o SWISS . SWISS B USS LS . Swi s s l ace m ki g as i t duc ed i nto Swit ze rl an d i n the Sixte en th Ce ntur v. Gold th re ad was n m n a n a o ft e used . I n the time of Louis XIV a y d i ty l c e s w e re ro ce T - a w t e r an amou for a p du d . o d y S i z l d is f s its m

' - c ne m a e ace s S e e t . a . Se e r u s s e . r o n hi d l . ( S G ll B ls ) I ish P i t c u rt ai n s 'are f requ en t ly calle d Swi s s cu rtai n s because m ade i n w t e r an e co ns s of an a l u e ro e on S i z l d . Th y i t pp iq é mb id ry a c ut roun g d . See I r i sh Poin t .

E BR I DERED A C E e re ar m n c ass es f m SWISS M O L . Th e a y l o e b roid e red m ate ri al s that a re kn o w n to the t r ade as Swiss em

ro e r are for r r b id y . The se the mo st pa t emb roide e d by mean s of th e Schifli i mac hi n e on a m us lin fo un dation but the re is l 38 Th e La ce Di cti onary anothe r type made by mean s of a co rdi ng machi ne th at i s

st nc tl a ac e Th e oun at on an o e n - m e s com n at on di i y l . f d i is p h bi i

ac r r n a e s n fi l e in a m o st s o and the cor not l e , ca yi g d ig l d l lid d i o o s h e s o d rt s o f th e e s n s o wn in t he ng f ll w t li pa d ig , h

r illu s t ati o n .

Be l gi a n ta pe l ace o f b obbi n wo rk .

i TAM BOUR. Chain st itc h e d w o rk at on e t ime don e only by “ ' an th e nam e com n rom th e tam ou r st an e th e h d , i g f b d us d by r r ope rato to hold th e w ork . On fi n e goo ds th e w o k i s still don e by hand but by far the l a rge r p roport i on of tambou r wo rk

i s n ow on e s ew n mac n e ee ru sse e m r c . d by i g hi . S B ls . S e Li e i k

x e r TAPE. I II th e Si t e n th Cen tu y m any fin e Fl emish l ace s w e re m ad e by man ip ulati n g a tape which i t self w as o f lace y con t ruc on an - m a e . o - da mos o f th a e r s ti , h d d T y t e t p laces a e

- of mac n e ma e a e . See ace c r a n re e rence ar hi d t p l u t i f s, M ie

n o n et e ena sance acet r an A t i t , R is , L A abi . Th e Lace Di cti onary 139

n o e TATTING. K t t d w o rk made by m ean s of a small s h u t t l e . The F re nch ca ll e d thi s l a c e F r iv olité becau se l i g h t an d fragil e . I t must not be co n fuse d wi th the cro

w or w c one ch et k, hi h is d

w t a c roc e nee e nor i h h t dl , r m w ith M ac a é . I E a c e TEN ER FF . A l ’ sim ila r to the Toil e d A r r aig n e e w ith motifs lik e Pa raguay o f whee l s an d c rc e s o n s e ra e of i l . C id bl thi s lace i s m ade i n th e

ana r s an s ou t e s s C y I l d , d b l due t o t he sa m e Po rtu g u e s e i n fluen ce t h a t i s

e i n a ra a ac e T att n n ot . f l t P gu y l , i g k m S outh A e ri c a . Th e native s m ake t h e wheel s o f the l ace ov e r a spool abo u t tw o o r i t n d a - h n m e te r w o a al f i che s n di a ,

h e ld i n th e hand . Th e y fi r st make th e c i rcl e o f th read ove r th e t op

o f th e s oo an d in th e cen te r p l fill , c ro s s in g ov e r an d back w ith a

n eedle . B rid e s or T ie s . ES . n m s h TI Sy ony o u wit B r id e s .

RE R See o n r TI , TI ATO . P i t Ti é .

TOILE . T he n am e o f th e filli n g o f a patt e rn o f l ace as di s ‘ tin ui sh e d rom t he n et o r r oun g f g d . S ee Poi n t Pl a t .

’ E D A RRAI GN EE OR DU ce a e i n ra a TOIL NAN TI . A l a m d Pa gu y a ne e e on a car oar a e rn ome e s c e ra a by dl db d p tt , s tim all d Pa gu y ace oo s l . L k like bobbin lace . l l o Th e La ce Di cti onary

‘ Ta tt i ng me th o d ' si ng l e Cu puL

ON DER ee an h . T . S D is

' H O N m l e o n ace som et m e s ca e r s TORC . Si p b bbi l i ll d Begga s s m e M a e b he e n s o f l ac e be cau se i ne xpen i ve a n d i pl . d y t p asa t alm os t e ve ry co unt ry in Eu rope .

O e n t p oil e . T oil e .

O R A Y a m o T U N . F u s a t on e t ime fo r the th reads used in m a n o ld r us s a ki g B el s l c e .

142 The Lace Di cti onar y

n na th e on r TUSCANY. Simple lace s of which Sie is ly p o nounced example.

s r an ace ar e ten ca e o TYROL. Modern Au t i l s Of ll d Tyr l l aces .

RB an ce m a e in r no . U I NO. Itali l a d U bi

UTT M A N N . ar a ra Uttm ann 156 1 n t ro uce ace an u B b , , i d d l m r factu re in t o th e E zgebi rge . She int roduce d pillow lace i n to

e m an a n earne ac e - m a n ro a nat e of Bra G r y , h vi g l d l ki g f m iv he a s r n n a e r bant . S w bu i e d at A b g.

E E On e o f he VAL NCIEN N S . t most e asily disting ui shed o f all the net r l ace s . There is n o ra i se d w o k . The de sign s are a ll flat an d t he net i s

amon - a e th e our r e a di d sh p d , f t h d s

e ac n a e nc nn ry pla it d . M hi e V l i e es v e cl o s ely follows ev e n th i s d etail but cotton alw ays show s flu ffy and it

c en s on as n e t thi k w hi g, whil he li ne n o f t he real Valen ci en n e s r etai ns it s

“a t ve n e t ‘a ' PO ’m ' de lic acy and fi rm n e s s .

an e e e w as a o n e e VA N DY K E. T he V Dyk dg p i t d dge t o e w as a e m s wo r man w ose toc n c olla r s . Van Dyk Fl i h k h s ki g

e in the ma n o f an e ar o rm o f ace ro f ram e, utiliz d ki g ly f l , p

d an n e n e e e e n c e Van e e e . duce i d t d dg , h Dyk dg

S e nd e n s h a ve een u e rom the ear e t VEIL . V ils a v ili g b s d f li s r t o r c t me u r s ew s s r an w om en all o re p ehis i i . T ki h , J i h , As y i w ve il s .

Th n d - o n ac e o f n ce i s VENETIAN . e e e le p i t l Ve i calle d

en et an o nt . et ce a w as th e e n n n th e a ca on V i P i R i ll b gi i g, ppli ti

- w o r u r o f th e n e edl e poi nt t o cut k . Wh e n the c tw o k charact e r w as aban d on e d an d t he a r ti s t s d epend ed en ti re ly up on t h e n ee e s t t c h th e ace ecam e un to i n r a o r s t tch e s in t h e dl i l b P A i , i ai r s w a s the e n n n o f o n t en se o r e ne n . Th i b gi i g P i V i , V ti a

o n w c ace co e re ar t cu a r a n u m e r o f ar e P i t, hi h l v d p i l ly b v i ti e s

a or at and a e w or o r nto o r . Fl t Pl , p dd d k Pu Av io Raised Po i n t The Lace Di cti onary 143

ra e or a e om et me w a s th e ki n d of lace that was is d p dd d , s i s

r o T he ros o n w as re uen t ca e call e d G os P in t . G P i t f q ly ll d P u n to Tagli ato a Fogliami an d th e outlin e s o f t he flowe r s

A r i es of fi v e c u t s s t ra t n t h e r o c e s s o f m a n n t a n a se ill u i g p ki g Ve e i l c e . rst t h e ac a e r i s r c e w t t h e e s n w c i s t e n ou t Fi bl k p p p i k d i h d i g , hi h h n e n e t fi e i n t e n a e a n d as t c or e . li d , x ll d , h p dd d l ly d d w e re stu ffe ence a e o n or ro o n as d ; h , R is d P i t, G s P i t , dis i n uish om h e t g ed fr t e fin er qualitie s . Som etim e s called Ros

o n or o o n r n o a e e o. er ar e e are P i t, Gr s P i t, o Pu t R li v Oth v i ti s The La ce Di cti on ary ca e o r a o n o r o ra n e e cau se of th e c o a r ll d C l P i t C li , b r l like fo m a tion o f t h e gr oun d . M o de rn Ve net ian l ac e s a re m ad e w ith a bobbin and a r e t e c h n c a ca e u u re ( le en se o r o n t a d i lly ll d G ip V i , P i Pl t e Ve n i s e

Rea o n t n l P i Ve i se .

au x u s eau x Fr . o n w c m e an e ra ren c flat F ( b bbi ) , hi h s lit lly F h

e n et an o n t ma e w t o n s an d th e t ra e a e abbre V i p i d i h b bbi , d h v viat e d the te rm to a e n et an o n w c o o s a Fl t V i P i t , hi h is bvi u ly mi sn om e r .

EN EZ E A on s e r e r n - w o r is ma e in ene V U L . C id abl d aw k d V

z uela s a th e e d e s r ut ton o e n te a .of m . U u lly g a e b h l d i s d si ply o e r v cast .

E I CE. e e e n it ian V N S V . I ERGE E EL E L A s m e att e r n o f ace m a e in V , D NT L A . A i pl p l d

D i e ppe .

coa r se ua t o f ac e i s ma e at o o a A q li y l d V l gd ,

us s a . I t r e s e m e s o rc on bu i m a e w t co o r s ome R i bl T h t s d i h l , s t me s . is i s ilk It a bobbi n lace.

146 Th e La ce Di cti onary

R E. r e nc t e rm e c n r ea or an - V AI F h d s ribi g l h d mad e l ace s . Amon g the m o st import an t Fren ch c ente rs for the p roducti on o f an - m a e ace s i n com m e rc a uan t t e ar L h d d l i l q i i s e e Puy, C ra

on n e on w e re t h e o u i s a r e o n p , Dij , h utp t l g ly b bbi lace s o f t h e un an d uc e se o r e r Cl y D h s d .

o r a n e a or m o f o n t e n s e . C li , F P i V i

R E EA e r m a n to re a o n seau V AI R S U . A t pplyi g l b bbi Ré r n n e n at te rn w hi ch s u cc e e de d th e b ide s as a m e a n s o f c o cti g p s .

A RP E T r r m n e w as m a e a o t W LAC . h e fi st w a p l ac e achi d b u

1775 r an e w h o r o uce a m ac n e in w c w a r th r e a s by C , p d d hi hi h p d

w e re s e . t th e r an e m ac h n e a n m e e an d w a r u d Wi h C i , pl i sh s p

r r r n s w e e fi s ma e . I n a t on t o a n w a r n e ts o r w a i g t d ddi i pl i , p p w e n t he r e a re n ow m a e all n s o f ace s e n s i n bbi g , d ki d l , dgi g , se rtion s t at t n co r s ra s e n s an d c u rt a n in ac , i g , d , b id , v ili g i s ; f t , th e r act c e o f a r p i w p l ace m achi n e ry i s e n dle s s . The Lace Di cti onary 147

u u r e d e e n s e o r flat e n se ma e w t o n s . G ip v i , v i d i h b bbi

RE n an amou for o n ace . WILTSHI , E gl d , f s b bbi l

r ow ace m a e i n c in o a on Y A K . Coa s e pill l d Bu ks N rth mpt

i s a o ca e Y ak . s hi r e . Crochet l ace mad e o f w ool ls ll d

r t a o f on ton a s e a s o e ace YOKOHA MA . A g ea de l H i w ll th r l m a is made in the lace school at Yokoha . 148 The Lace Di cti onary

a con en in re an m c ac e YOUGHAL. At th e Yough l v t I l d, u h l n w as t ro uce ere an d o e is made . Irish poi t firs p d d h th r Irish lacework ers lea rn ed th eir art th rough Yough al .

f m a e n a w r a c n Va r i e t i e s o lace d o a p m hi e .

pR em own w e re e n en Y Es . A Fl ish t h M ch lin a d Val cien n e s r r c w e e p odu ed .

Z n c r n ANTE. Ide ti al with G eek poi t . M anufact ure lon g discont in ued although Zante l ac e is st ill m ad e in some p arts o f n n the I o i an I sl a ds .

B on n e e mm e 23 as ca e 32 F . C d , B ou r o n e 1 17 a ta on a 32 101 g g , C l i . , i ra ba n con 25 28 a t e r a r 32 , . C pill , B raba n t 6 7 1 17 au r 103 , , C d y , B ra e 23 aut e r z e 32 id d , C i d , B ra n c n e r s 2 5 e e n n e s 32 hi g Fib , C v , B ran e n u r e n 32 d b g , 6 7 C yl o , B ra z il . 8 3 Cha lda i c . 7 7 B ra z a n 2 5 am 1 1 7 ili , Ch p , B r a 25 31 am a n e 101 id l , , Ch p g , B r B 25 a n on ide ou c lé. Ch s s a T oil e . 32 B r e E n e 1 6 25 an t 1 1 7 id pi gl , , Ch B r e cot e 25 Chan tI ll 2032 4 3 6 6 6 7 id Pi é . y , , , , , 7 . 0. B r e s 14 16 25 7076 97 103 109 id , , , , . , , . 1 28 137 139 a r e s I X 6 4 , , Ch l , B r e s O rn e s 2 5 a r e e 101 id é . Ch l vill , B r i s e - B i e s . 26 Chi n a. 97 B r o 26 o a 32 dé. Chi ggi , 6 B rode r i e de Mali n e s . 2 Ch u r ch . 7 3 B ro l e r i e d e N a n c 26 4 3 4 9 . n a e se 34 y , . . Ci g l , 9; Cla i re s . 18 B r u e s 24 4 9 50 100 n ua n t 34 g , . , , Cli q , B r u e n 26 os e - t t ch 34 gg , Cl S i . B r u ss e s 7 12 . 13. 14 17 19 u n 7 18 22 23 32 l , , . . , , . 33 34 , Cl y . , , . , 25 26 28 29 30 53 S4 59 35 6 7 1 0 , 8 95 1 1 0 . , . . , . . 1 10 , , , , , , 2. 7 3 6 6 8 1 96 99 100102 1 1 1 6 2 , 6 , , , , , , . 5 , 1 6 , 146 104 1 17 1 35 140 u n u u r e 6 1 5 34 44 , . , Cl y G i p , , , . B r u ss e s u r t a n 28 u n I m t a t on 6 7 l C i , Cl y i i , B r u ss e s D u c e s s e . 50 Col rt 35 6 3 6 6 70 7 7 1 18 l , h h , , , , , , B r u ss e s N e e e - o n t 26 27 l g l dl p i . , B r 2 C olbe r t an u s s e l s Wea v e . 10 . 35 ’ C ol fo r t 3 B ru x e ll es . 29 y . 5 B r y on y 29 Como. 35 , B u c n am s r e 29 1 36 C on su t u m 1 12 ki gh hi , . , B u c e t m t t c 29 on t 35 1 17 kl S e S i h . C é , . B u c s 101 14 7 on e n t 98 k , . C v , Bu on 30 31 34 6 6 ora n e 35 120. 144 . 146 lli , , , . C li . , B u n t 30 129 o r a o n t 120 144 , , C l P i , . 2 30 8 o r e a 36 B u r an o 16 9 , 9 C d ll . , , ,

100 Co r l on n e t 9 1 1 26 36 4 -1 7 Bu rg u n dy , , , , , , . 5 .

- t 30 32 52 6 7 1 16 . 9é Bu r n t ou , , , , , o r f 6 128 . 129 C u , 3. 98 4 4099 or n s 36 Bu t t on h ol e Sti t c h . 30. 3. . . C i h . C o r n 3 12 1 wa ll , 6 ’ COt e - d or . 100 n 0 06 6 97 ou 36 1 17 2 3 . , ae , C é C , , , p ‘ ( ou r on n e s 36 ( Ial ab r e s e , 124 . o rt r a 100 0 124 u , 36 a a r a 3 , C l b i , , C i o com s 1 3 0 . 8 , 6 Ca l a i s . 3 C x b n 3 a a o s 31 C oylt o , 6 C lv d , 03 r a c e 37 Camb ra y N e t s , 1 C kl . n e 31 ra c 37 Ca mpa g , C kly , a n a r I s a n s 139 C ra n e . 8 5. 14 6 C y l d , ra 09 1 1 1 a n a 31 37 C q u e lé , 1 , C di , , 31 C r é e 37 Can n e t ill e . p , I n 37 a 100 C r e e de Ch e , Can t l , p r 31 7 7 C r e on n e 95 14 5 Ca r n as s i e e , , p , , r e t 1 36 37 128 a rn a a 31 98 C e , 3. , , C v l , . 1 17 re a . 37 Ca r r e a u x . C v 31 7 6 96 r oc e t 8 16 17 34 37 38 a c r oss . . . , , , Ca r ri ckm , , C h , . r o s A u 30 4 1 7 6 1 12 1 2 1 14 7 Ca r r i c km a c s pp li q é . , , , . , r s u u r e 31 r oc e t I m t a t o n 35 Ca r r i c km a c o s G i p , C h , i i , r oc e t S t t c 40 C a r t a s a n e . C h i h . r oc e t o r k 6 Ca r t e ll a . 12 5 C h W , Cu r ra 4 1 42 7 6 El e r fe l 5 1 6 g h , , , b d , . 7 C u t - wo r 5 6 1 1 12 17 36 E z a e t 8 1 k , , , . , , . li b h . 39 4 0 42 4 3 47 48 5 1 53 E , , , , , , , , l s e . 8 5 56 6 2 6 5 7 3 7 7 1 12 1 17 Em ro e re 1 16 129 133 135 , , , , , , , b id d , , , . 1 2 1 127 128 132 142 Em r o e r 52 1 1 1 129 133 , , , , b id y , , , , C u t - wo r En sh 39 Em r o e r o r 12 1 16 k , gli . b id y W k , , C r u s 37 42 6 6 124 128 En c o i ll e 53 yp , , , , q u , En a n 101 1 1 6 1 31 gl d , , . D al a rlia n 43 1 12 1 14 127 En s 53 7 3 7 6 8 5 1 14 , , , , . gli h , , , , , En s o n t 53 l gg gli h P i , a ma t a n 4 3 1 1 4 En s T r o 6 1 D l i , . g li h lly , am a s c n o 1 24 E n r e l u r e 54 D hi . g , m m a r t n 4 3 En t o a e 54 Da i . il g , ’ D A n l e t e r re 7 12 En t r e e u , 55 . g , , d x a n s 4 3 49 140 Er z e ebi r e 55 6 7 142 D i h , , , g g , , ,

a r n e 6 1 1 43 44 5 1 77 Esc u r a , 55 D d , , , , . . i l

D a r n e N e t t n 44 58 S9 66 Es a n e , 55 , 1 18 d i g , , , , , p g 94 101 128 131 132 Et e r n e ll e 23 55 6 8 7 7 , , 96 , , . . , , , 6 Eu r o e an 7 6 Da r n e d W or k , 5 , 1 1 , 14 , 57 , 5. p , 3 8 2 Ev en t a u . 55 7 9 De n m a rk . 1 01 n t 4 1 14 a n c y 108 1 1 0 De e ll e , 4 , F , ,

t l a Re n e 12 44 5 1 a u s s e 55 , 6 8 D e n e ll e a i . . . F , e n t e e a l a e r e 4 5 101 a u s se a e n c e n n e s . 6 8 D ll Vi g . , , F V l i a a 55 1 14 . 144 F y l , e s t on e 122 2 1 4 F , D e n t e ll e a n Fu s e a u . 7 . . S e r 55 d e 4 Fib , De n t e ll e Fil . 5 ft e ent e n tu r 55 65 77 en t e e de e e 4 5 Fi h C y , . , . D ll Li g , 78 . 90 De n t e ll e I r l an da i se . 45 l . 57 De n t e lle Pa s s e m e n t . 1 14 Fi de Ca r n aSI e r e 31 57 n t e Re n 45 Fil , , D e e ll di , d e r e n 57 n S Fil C , D e n t e ll e Re n a i s sa ce . 4 Fi l de T r é . 57 D e von 101 i 50 6 1 7 4 12 1 Fil d e T r e ce . 57 D e v on I a, 4 5, 49, , , , Fi la to r i u m . 57 . 1 12 e o n s r e 18 46 53 74 D v hi , , , , e t 5 26 57 6 4 96 99 100 01 Fil , , , , , , , , 8 4 5 46 4 7 100 1 . D eppe , 1 , , , . , i 122 1 33 1 1 1 18 144 . 1 15 , 7 , , e t B r o 6 14 15 26 43 00 146 Fil dé , , , . , . D j on , 1 , i 44 S7 58 r t 01 , , D o s e , 1 e t B r o a Re r s s 58 4 131 Fil dé p i é , D o rs e t s r e 7 , 8 2 . , hi n l e t C o té , 14, 15 , 5 7 D ou bl e . 4 7 . 120 Fi r l e t G u p u e , 59 - 37 Fi i D r a w n w o r 5 , 6 , 1 1 , 17 , 26 . . k , n s 5 7 59 3 47 48 4 9 5 1 53 57 6 2 Filli g , , 4 , , , , , , , T r 6 4 7 6 07 1 7 3 7 5 77 97 1 1 2 Fil i é . , 5 , 7 , , . . . , ’ n o d E rbe a a 5 9 12 1 1 27 128 132 144 Fi Sp d , , , , . ’ 2 3 S9 1 2 1 s e rm a n s , . . D r aw n - w o r k Emb roi de r v. 6 Fi h n d 0 8 1 100 1 12 1 19 Fl e r s , 5 , , , , , D r e s d e n , 97 9 9 h4 1 D r e s d e n Po n t , 4 , 7 i at o n t 59 127 14 2 Fl P i , , , D r e s s e d P ll ow s , 49 i n o n t 144 Fl a t V e e ti a n P i . D u c e s se 7 24 2 5. 26 . 45 . 4 9. h , , , 9 9 137 Fl e c o M o r i s co . 5 . 8 0 3 59 7 4 97 1 2 1 , 5 , 5 , , , , , em s 24 32 4 3 46 5 0 59 146 Fl i h , , , . . . , 6 1 6 7 7 3 74 1 1 9 1 38 14 8 de B r u e s 4 6 , , , , , , Du ch e s s e g , l e m s Po n t . 1 19 n r 0 F i h i Du k k , 5 i m s T r o e a n t 6 1 9 Fl e i h ll K . D u t c 51 59 , 59 , 9 h , , o r e n ce 7 7 98 Fl , . 1 Fl or e n t i n e . 6 Ec c e s as t ca 5 1 73 o we r 59 6 1 7 4 l i i l , . Fl , , , E e we s s 1 16 1 35 o am 6 2 d l i . , F gli i , E n 4 1 103 o n 62 dg i g , , F d , ct O f N a n t e s 97 99 on de N e e 6 2 94 di , , F d i g , , E t a n 5 1 7 7 o n m e 6 2 gy p i , , F d Si pl , E e n s t oc 6 7 o u r t e e n t e n tu r 6 2 6 6 77 ib k , F h C y . , . E t e e n th e n t u r 66 7 082 r a s e 6 3 i g h C y , , , F i . F r a t c e 6 3 7 1 100 103 1 1 1 He r a c 7 7 , , , . , , b i . 1 i6 H e m s t t c n 42 i hi g , re n c 6 5 6 7 8 0 9 1 93 105 H e n r I I 6 5 F h , , , , , . , y , 1 19. 139 H o l e s o m . 36 r e n c A e n on s 12 H o e 7 3 F h l c , lli , re n c B on e 20 H o m e s 8 5 F h l d , l . r e n c u u r e 6 064 7 1 H o 7 3 F h G i p , , , ly , r s 6 6 H on fl e u r 101 F i é . , r s u r e 6 6 H on t on 7 1 1 25 29 36 8 F i . i , , , . , . 3. F r iv olit e 139 45 4 6 49 0 5 , 5 3 1 7 3 , , , , , 6 . . r on 1 17 77 88 96 1 F d , , , . 47 r os t 8 5 H u u e n o t 74 F , g , H u n a r 101 g y , ae t a n o 125 G . Hu n a r an 73 74 14 1 g i , , . Gag n e f , 1 36 a z e 6 6 G . I d oe a 31 , e n oa 10 66 6 7 101 125 G , , , , , I n r c e as e d Wid t h . 7 5 G e n oe s e . 120 I n i a n . 7 5 e rm a n 6 7 7 1 106 109 1 10 d G , , , . , I n di a n W or k . 49 e r m a n 101 14 2 G y , , I n ga r sa t e , 125 n 1 00 G e t , 6 8 . 8 , 1 h I n n e r Pe a r l . 75 m 6 4 6 8 7 1 Gi p , , , I n s e r t o n SS 7 5 i , . n e s 6 9 Gi gl , I o n an I s an s 7 5 76 98 1 4 i l d . , , , 8 G o e . 122 i i I r e l a n d . 128 . 148 s o r s 1 14 Gi , I r s 76 107 108 109 i h , , , , Go 17 30 6 3 6 5 76 1 16 ld , . , , , . I r s r oc e t 18 37 38 40 45 i h C h , , , . , . Got a . 101 h 7 6 . 98 ot c 6 9 12 1 G hi , , I r s o n t 4 1 7 5 7 6 1 0 i h P i , , . , 7 . GO - t r 31 6 9 102 ou g , , , h h 108 . 136 . 148 Go t c o 6 9 12 1 1 25 , , , I de r a n ce 1 i s l e F . 00 r n n G ou d o e , 6 9 I s l e o f M a n . 7 6 G ramm on t . 7 0 I s l e of Wi gh t . 7 6 ra s s o n t 70 G P i . I t a a n 31 37 56 57 6 6 7 6 li , , . . . , , G r e c o . 125 0 90 9 120 1 2 7 7 , 8 , , 7 , , 4 Gr - o n e c o R m a . 7 7 I t 01 a ly , 1 Gr e e 36 37 68 70 76 9 2 , 7 , , , . . . , l 9 g a ot 7 7 'b , Gr e e l o n t 56 7 5 7 6 98 am a ca 8 1 P i , , , , . ' i . 4 14z; 'e wi s h . 1 2 Gr 0 122 ou r s 59 o ppo . 7 . ' , r o s o n t 7 S9 6 6 7 0 9 8 G P i , , , , . , n 1 Ka t , 4 1 1 28 . 14 3 K e n m o r e . 7 6 . 7 7 Gr o u n d s . 7 0 a r n e 76 7 7 Kill y , . Gr u ppo . 70 n sa e 7 6 . 7 7 Gu e s e 19 23 7 0 Ki l , , , , 30 31 6 6 7 0 Kn o t t e d , 6 , 8 . . , , , Gu e s n e y , 6 4 8 7 8 8 8 9 90 1 39 6 4 , , . . G u i pe . K r ook e 37 u u r e 1 1 4 1 6 0 6 4 70 7 1 . G i p . , , . . . . 2 1 2 109 1 32 8 , 9 , 9 , . ’ a ce t . 7 7 G d A r t 1 16 44 7 1 L u pu r e , 5 , . , i A a a n 13 La c e t r bi . . 7 7 G u pu r e d e B n c e . 7 0 i i h a c s 5 1 5 7 7 L i . , . Gu p u r e d e B r u g e s . 26 . 49 i La Fl e s c h e 6 4 G d n 1 4 4 14 7 , u i pu re e V e i s e . . La g e t t a . 8 1 H a n a L a n c a 101 i u l t . 7 1 a M h , H a m b u r 6 7 L a n g u e d o c . 101 g ,

I l a mb u r o n t 49 7 1 97 La o r o a Gr o pp , 8 1 g P i , . , v i

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