Part 8 (1/2)

[Ill.u.s.tration: OLD HONITON (NEEDLEPOINT GROUND).]

[Ill.u.s.tration: OLD HONITON.

(_Author's Collection._)]

Most of the old Devons.h.i.+re laces bear distinct likeness to the fine Flemish lace, only the clumsiness of the design or the coa.r.s.e workmans.h.i.+p differentiating them. It has, however, one special feature which gave it the name ”Trolly lace,” as, unlike the perfectly flat lace of Flanders, it has a coa.r.s.e thread or ”trolly” outlining its patterns, and being made of English thread, it was coa.r.s.e and not very durable.

_Honiton_

has always easily ranked first amongst our British laces, although by many not considered equal to fine Bucks. Like the Midland lace, it has been always made with Flanders thread, and therefore has maintained its popularity because of its _wear_ and its _colour_. The early Honiton workers copied ”Brussels” lace, but because of their inability to produce an artistic design it has never been anything but a _poor_ copy.

Even when the Brussels influence was most direct the flowers and sprays were placed inartistically, while the scroll copies of the early Flemish schools can only be termed the imitative handiwork of a child.

The most prized specimens of old Honiton are those with hand-made ground, made of Flanders flax. Very little of this real ground Honiton lace is left. Queen Victoria did much to make Honiton lace _the_ lace of the land; but although a regular trade has been established, and much good work accomplished, Honiton of the past will never be regarded on the same plane as the laces of Venice, France, and Brussels. Even in its best variety it lacks the exquisite filmy touch of Brussels, the dainty grace of Alencon, and the magnificence of Point de France and Venetian Point. The Honiton laces made since the introduction of machine-made net is especially poor. Flower sprigs and sprays are made separately on the pillow, and afterwards applied to the machine-made ground. These are, as a rule, flowers and foliage treated naturalistically, and are heavy and close in design. These are often very sparingly applied over a wide expanse of net in order to make as much lace with as little trouble as possible. This is very different to the work of the old Honiton lace-worker, who made every inch of it herself--first the sprays and scrolls, then worked the ground round it, and received, it is said, from the middleman (who purchased it for the town market) as many s.h.i.+llings as would cover the lace offered for sale.

We are glad to say, however, that very praiseworthy efforts are being made to introduce better methods and more artistic designs in the many lace schools which are being formed in various parts of Devon. Mrs.

Fowler, of Honiton, one of the oldest lace-makers in this centre, making exquisite lace, the technique leaving nothing to be desired, and also showing praiseworthy effort in shaking off the trammels of the traditional designs.

[Ill.u.s.tration: MODERN HONITON, MADE BY MRS. FOWLER.]

XII

SCOTCH AND IRISH LACES

XII

SCOTCH AND IRISH LACES

Hamilton lace--Mary Queen of Scots--Modern lace-making in Ireland--Limerick lace--Carrick-ma-cross--Irish crotchet--Convent laces.

Scotch lace can hardly be said to exist. At one time a coa.r.s.e kind of network lace called ”Hamilton lace” was made, and considerable money was obtained by it, but it never had a fas.h.i.+on, and deservedly so. Since the introduction of machinery, however, there has been considerable trade, and a tambour lace is made for flounces, scarfs, &c. The more artistic cla.s.s of work made by Scotswomen is that of embroidering fine muslin, and some really exquisite work is made by the common people in their homes.

Much mention is often made of Mary Queen of Scots and her embroideries and laces. It must be remembered that she married firstly the Dauphin of France, and while at the French Court imbibed the taste for elegant apparel and costly lace tr.i.m.m.i.n.gs. There is no record that she ever wore lace of her own country's manufacture, and, although English writers often quote the lace made by her fair hands, really the needlework made by Queen Mary at Fotheringay was embroidery.

_Irish Laces._

The early lace of Ireland was the usual cut and drawn work, and it was not until the earlier part of the nineteenth century that lace-making actually became a craft. In the eighteenth century many brave attempts were made to commence lace schools, and the best work was done in the convents, where really fine work was executed by the nuns, the patterns having been sent from Italy. It was not until 1829 that the manufacture of Limerick lace was first inst.i.tuted. This really is not lace at all, as it is merely chain-st.i.tch worked in patterns on machine-made net.

This pretty so-called lace was first made at Limerick by an Oxford man, who established a school there, taking with him twenty-four girls as teachers. It quickly became very popular, in the early ”fifties” every woman of either high or low degree possessing herself of at least a lace collar or fichu of Limerick lace.

In 1855 more than 1,500 workers were employed, but decidedly the best lace of the manufacture belongs to the time prior to this date. The quality of the net ground has also deteriorated, or perhaps the best net has not been purchased.