Part 3 (1/2)
No doubt this was the earliest form of woven lace, and, indeed, it may claim an origin as early as the first garments worn by mankind. In the earliest remains of antiquity a _fringe_ often decorates the edges of garments, curtains, and floor-covering, and seems to be a natural and fitting finish to what would otherwise be a hard, straight line. In the various a.s.syrian and Egyptian monuments this is noted again and again.
[Ill.u.s.tration: GENOESE LACE.
Sixteenth or Seventeenth Century.
(_S.K.M. Collection._)]
Some of the sixteenth-century pieces which we possess show simply an elaboration of the knotted fringe, while much of the later work is exceptionally fine. The work is so well known, owing to its revival during the last thirty years in a coa.r.s.e form, that it needs little description. Its use, even at its best period, was confined to household use, for which purpose it seems particularly adapted.
[Ill.u.s.tration: MILANESE LACE.
(_Author's Collection._)]
V
THE LACES OF FRANCE
[Ill.u.s.tration: ”CUT-WORKE.”]
[Ill.u.s.tration: LACIS.]
[Ill.u.s.tration: OLD ITALIAN AND FRENCH CUT AND DRAWN WORK AND ”LACIS.”
(_Author's Collection._)]
V
THE LACES OF FRANCE
_The Needlepoint Laces of France_
Catherine de Medici's collection of ”Lacis”--Establishment of lace-making by Colbert--”Point de France”--”Point d'Alencon”--”Point d'Argentan”--Modern reproduction of these at Burano, Italy.
France in the sixteenth century, as always, led the van of fas.h.i.+on. Lace appears to have been extensively used long before its apotheosis at the Court of Louis le Grand, otherwise Louis XIV. Catherine de Medici patronised the manufacture of ”_Lacis_,” which was merely darned netting, more or less fine. At this time ”Lacis” and ”Cut-worke” were practically all that was known or used. Bed-hangings, curtains, and furniture-coverings were covered with alternate squares of lacis and cutwork. Afterwards the Reticella laces of Italy were imported and had an immense vogue, but it was not until the artistically glorious time of Louis XIV. that an attempt was made to encourage a manufacture of French laces.
Colbert, the astute Minister of Louis XIV., became alarmed at the immense sums of money which went out of the country to purchase the laces of Venice, and, by means of bribing the best workers of the Venetian schools, he induced them to settle at L'Onray, near Alencon. In 1665 he had so far succeeded that lace rivalling that of Venice was being produced. The Venetians became alarmed in their turn (as, indeed, they had need to be) and issued an edict, ordering the lace-workers to return forthwith, or, failing this, the nearest relative would be imprisoned for life, and steps would be taken to have the truant lace-worker _killed_. If, however, he or she returned, complete forgiveness would be extended, and work found them _for life_ at handsome remuneration. History does not tell us the result of this decree, but it evidently failed to destroy the lace manufacture of France.
At first the lace manufactured at Alencon received the name of ”Point de France,” and was absolutely indistinguishable from that of Venice. Its magnificence of design, indeed, may be said to have exceeded anything before attempted. The introduction of tiny figures was attributable to the overwhelming personality of Louis XIV., and was symbolical of his magnificent sway and far-reaching influence. In the ill.u.s.tration, page 55, an especially fine specimen of the lace, Madame de Montespan is seen seated under the crown, two small Indians are on either side; a tree bearing flags and trophies completes this tribute to the genius of the lace-makers and the splendour of the Court.
[Ill.u.s.tration: ”POINT DE FRANCE.”
(_The property of Lady Kenmare._)]