Chats on Old Lace and Needlework Part 2

[Ill.u.s.tration: VENETIAN ROSE POINT.

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

III

THE LACES OF ITALY

[Ill.u.s.tration: VENETIAN ROSE POINT.

Seventeenth Century. (_Author's Collection._)]

III

THE LACES OF ITALY

_The Venetian Laces_

Venetian lace--"Rose Point"--"Point de Neige"--"Gros Point"--"Punto Tagliato a Foliami"--The South Kensington Collection.

Needlepoint lace is made with needle and thread and princ.i.p.ally in b.u.t.tonhole st.i.tches. A traced parchment pattern is procured, the outline made with a solitary thread st.i.tched down to the parchment at frequent intervals. The thread is then worked over with fine b.u.t.tonhole st.i.tches; the modes or fillings have a fine network of threads stretched across, afterwards being b.u.t.tonholed into a variety of designs. The edges are then again worked upon with loops or picots, and in "Rose Point" tiny stars or roses are worked on suitable parts of the design, sometimes the "roses" or "stars" being three in numbers, one poised upon the other.

This is known as "Point de Neige" the whole surface of the lace being literally sprinkled with tiny stars somewhat representing a fine snowfall. The design is then connected with fine "brides," these in their turn being dotted and purled with stars and loops. Most of this exquisite lace requires a powerful magnifying-gla.s.s to discern the intricacy of the work.

The finest lace of this variety was produced in the sixteenth century, the designs being bold, handsome, and purely Renaissance in type. That of the Louis Quatorze period shows the personal influence of his reign, frequently having tiny figures worked in the design. A collar in my possession has the Indian wors.h.i.+pping the sun (the King's glory was said to rival that of the sun) repeated in each scallop. This was a favourite design in the magnificent "Point de France" which was made during the long reign of Louis, under the management of Colbert.

It is absolutely certain that the laces known as Venetian Point originated in Italy. Pattern books still exist showing how the early Reticella developed into this magnificent lace. In the National Library at the South Kensington Museum, may be seen the very patterns designed by Vinciolo, Vicellio, and Isabella Parasole. These publications actually came from Venice, and being reproduced in France, Germany, Belgium, and England, quickly aroused immense enthusiasm, and lace-making spread far and wide, at first all other laces being mere imitations of the Venetian.

[Ill.u.s.tration: CORALLINE POINT (VENETIAN).]

[Ill.u.s.tration: POINT PLAT DE VENISE (FLAT VENETIAN).

(_Author's Collection._)]

[Ill.u.s.tration: MARIE DE MEDICIS WEARING THE MEDICIS COLLAR TO DISPLAY VENETIAN LACES.]

The chief varieties of the Venetian laces are known as Rose Point, Point de Neige, Gros Point de Venise (often erroneously attributed to Spain and called Spanish Point), and Point Plat de Venise. A much rarer variety is "Venetian point a reseau," which is the flat point worked round with a Needlepoint ground or mesh, the network following no proper order but being simply worked round the pattern and following its curves.

The chief characteristics of Venetian lace are the b.u.t.tonhole Cordonnet, fine or thick according to the style of lace; the wonderful diversities of the fillings worked in b.u.t.tonhole st.i.tches; the elaborate decoration of the Cordonnet; and the starry effects of the brides or ties. In the flat Venetian Point there is no Cordonnet.

These Italian laces were admired and purchased by all the European countries, and the cities of Venice and Florence made enormous fortunes.

The fas.h.i.+ons of the day led to their extensive use, Marie de Medicis introducing the Medici collar trimmed with Venetian points specially to display them. At a little later period the collar became more falling and the heavier "Gros point" was used. Men and women alike wore lace-trimmed garments to an excessive degree, the collar and cuff tr.i.m.m.i.n.gs being composed of wide Venetian lace and the silken scarf worn across the body being edged with narrower and finer lace.

The princ.i.p.al designs for the Venetian lace of all periods were scrolls of flowers conventionalised in the Renaissance taste of the time. The generic name for all laces of the finest period is "Punto tagliato a foliami." The laces of this time are now almost priceless. They are genuine works of art, worked slowly and patiently under the clear light of the Italian skies by women who were naturally artistic and beauty loving, and who, while working the s.h.i.+ning needle and fairy thread in and out of the intricacies of the design sang the pretty "Lace Songs"

which may be heard at the Burano Lace School even now, although 200 or 300 years old. Many specimens of this exquisite lace are to be found in the South Kensington Museum, where the flounce given by Mrs. Bolckow at once explains the whole scheme of Venetian lace-making.

Such lace is not to be purchased now except at great price. The piece ill.u.s.trated, see page 55, was only 1-1/8 yards in length, and was sold for 145 by one of our leading lacemen. Barely 5 yards of Venetian lace, only 2 inches wide and _in rags_, was sold at Debenham & Storr's in August, 1907, for 60; and even the smallest collar or a pair of cuffs runs well into 10.

Even in the days of its manufacture this lace commanded high prices. In the inventory of Queen Elizabeth's gowns we find such entries as--

"To 1 yard Double Italian Cut-worke, 1/4 yd. wide. 55/4.

" 3 yds. broad needlework lace of Italy, with purls. 50/- per yd."

James II. paid 29 for a cravat.

[Ill.u.s.tration: VERY FINE EXAMPLE OF "GROS POINT DE VENISE."]

IV

THE LACES OF GENOA AND MILAN

[Ill.u.s.tration: LOUIS XIII. OF FRANCE, SHOWING VANd.y.k.e LACE COLLAR AND NARROWER LACE ON SCARF.]

IV

THE LACES OF GENOA AND MILAN

Argentella wrongly called Italian--Genoese--Mixed laces--Milanese--Macrame.

These are mostly Pillow laces, but fine Point laces were also manufactured in these towns. In the first-named town it is said that the lace called "Argentella" was made, but this is extremely doubtful, most authorities arguing that it was certainly a French lace made at the best period.

A very representative lace of Genoa is known as collar lace, very widely used for the falling collars of the Vand.y.k.e period. It was an exceedingly beautiful and decorative lace, and almost indestructible.

Specimens of this lace can even now easily be secured at a fair price.

The laces known as "Pillow Guipure" are somewhat open to question, the authorities at South Kensington Museum agreeing to differ, and labelling most of the specimens "Italian or Flemish." The finer pieces of this type of lace may safely be described as "Flemish," as the flax-thread grown and made in Flanders was much finer than that grown in the Southern Countries.

Much of the Genoa lace was worked in what we term "mixed lace," the design being woven on the pillow, and the ground and fillings worked in with the needle either in a network or by brides and picots. A much inferior kind is made with a woven braid or tape, the turns of the pattern being made in twisted or puckered braid, much after the style of the handmade Point lace made in England some thirty years ago. This lace was known as "Mezzo Punto," though the French were discourteous enough to term it "Point de Canaille," as undoubtedly it was an imitation of the finer laces made in a loose, poor style.

The lace of Milan is unquestionably the most beautiful of the Pillow laces of Italy. While resembling the plaited lace of Genoa, there is more individuality about it. Much of this fine lace was worked for church vestments and altar cloths. Various heraldic devices are frequently introduced, surrounded with elegant scroll designs, the whole being filled up with woven reseau, the lines of which are by no means regular, but are made to fill in the interstices.

Yet another Italian lace is known as

_Punto a Groppo, or Macrame_.