src="@public@vhost@g@gutenberg@html@files@38973@38973-h@images@realpointdevenise.png" alt="Real Point de Venise." title="Real Point de Venise." tag="{http://www.w3.org/1999/xhtml}img"/>

Real Point de Venise.

Through constant practice the art was developed to a very high state by the nuns, who taught their methods to the pupils of the convents, through whom the knowledge passed to the peasantry, and thus became an important industry. Perhaps, however, the development of the lace industry at this period was due more to the spread of the methods by which it was done—through books more than in any other manner—for it must be remembered that contemporaneously with the development of the industry the art of printing was in its first bloom.

As one traces the growth of lacemaking from the earliest times he is impressed with the sharp advance made at the beginning of the seventeenth century, when laceworkers, having practically exhausted the designs possible by the then known methods, invented passementerie, which were known as passements. These, speaking broadly, much resemble the passementerie of to-day.

They were made of stout linen thread in imitation of high relief work of the needle point, a thick thread being introduced to mark the salient points of the pattern. Thus the term guipure was applied to the thread lace with guipure reliefs, and the designation has since remained to all laces without grounds, in which the patterns are united by brides.

In the beginning lace was made by two entirely distinct processes, in commenting upon which we can do no better than to quote the words of Cole, which are particularly lucid and concise. He says: "It is remarkable that lacemaking should have sprung up or been invented at about the same period of time by two entirely distinct processes without relationship or evolution between them, and that the people of the countries wherein either of the inventions was made were not only

unknown to each other, but apparently neither had any knowledge of the processes of lacemaking employed in the other country."

One of these processes is the employment of the needle and the single thread, wherein the work was perfected mesh by mesh, each mesh being completed as the work progressed.

The other process was by the use of many threads at once, each one attached to bobbins, for the purpose only of separating them, the meshes being made by twisting the threads a greater or less number of times. When each mesh is only partially completed the thread is carried on to the next, and so on, from side to side, the entire width of the fabric.

Felkin, in his history of embroidery and lace, says that when pillow lace was invented—about the middle of the sixteenth century—the various kinds of point lace then in use had reached a high state of perfection. Some early writers after much laborious investigation assert that pillow lace was first made in Flanders. In later years it has been almost universally attributed to Barbara, wife of Christopher Uttman; she was then dwelling with her husband at the Castle of St. Annaburg, Belgium, 1561. From the castle, where she taught the peasantry as in a school, it soon spread over the country, and women and girls of the district, finding that the making of lace was more profitable than their former employment of embroidering veils according to the Italian practice, adopted the Uttman method. No trace of this mode of making lace (by use of pillow and bobbins) can be found before this date; hence the presumption that these were the time and place of the invention of bobbin lace. Barbara Uttman died in 1575. That she was the true inventress is recorded on her tomb.

It will be seen from the foregoing that one process had its origin in Italy, and the other its origin in Belgium, though, if we accept Felkin's statement, we must accord to Italy the first honor, for he says

distinctly that the Belgian peasantry gave up making lace according to the Italian method to adopt the process invented by Barbara Uttman; consequently, the Italian method must have been first. The present writer disclaims any intention to dispose of this moot question, and is only led to the above observation by reason of the high standing which Felkin's work has attained.

There are two broad divisions of lace—namely, hand-made lace and machine-made lace. In the world of commerce to-day the latter-named product, which is but a child of the former, is vastly the more important. This for the reason that hand-made lace, which is produced with such arduous toil, skill and patience, is beyond the purse of the million, and is and ever must be considered as one of the luxuries.

True, some of the simpler forms of hand-made lace are produced with relatively great facility, and the price is correspondingly cheap, as compared with the delicate, finely wrought designs, that it sometimes takes years to produce. Nor is this the sole reason for the popularity of machine-made laces, for to such perfection has the mechanical art of lacemaking attained that it is practically impossible, even for experts, to detect the difference between lace made by the deft, cunning fingers of lady or maid from the lace made possible by modern machinery.

In hand-made lace the two principal classes are the needle-point and bobbin, or pillow-made, lace. Needle-point lace is worked upon loose threads laid upon a previously drawn pattern, but which have no point of contact with one another and no coherency until the needlework binds them together. This work is done with a needle and single thread. As we have said, the pattern is first drawn, usually upon parchment; a piece of heavy linen is stitched to the parchment for the purpose of holding it straight; then threads to the number of two, three, four, or more, are laid along the many lines of the pattern, and sewed lightly down through parchment and linen. The entire figure is then carried out, both solid filling and openwork, with fine stitching, the buttonhole stitch being most generally employed.

Real Duchesse and Point Gaze.

Real Carrick-ma-Cross.

Bobbin, or pillow-made, lace is the highest artistic development of twisted and plaited threads. It is made from a large number of threads attached by means of pins to an oval-shaped cushion or pillow, each thread being wound upon a small bobbin. The design, as in the making of needle-point lace, is first drawn on stiff paper or parchment, and carefully stretched over the pillow. Then the pattern is pricked out along the outline of the drawing and small pins are introduced at close intervals, around which the threads work to form the various meshes and openings. From right to left the thread is bound lightly upon the bobbins and tied at the top of each in a loop that permits it gradually to slip off the bobbin when gently pulled, as occurs generally when working.

The worker begins by interlacing the bobbins, which are used in pairs, placing small pins in all perforations, and crossing the bobbins after the insertion of each