File:Embroidery and lace- their manufacture and history from the remotest antiquity to the present day. A handbook for amateurs, collectors and general readers (1888) (14594024277).jpg

Identifier: embroiderylaceth00lefb (find matches)
Title: Embroidery and lace: their manufacture and history from the remotest antiquity to the present day. A handbook for amateurs, collectors and general readers
Year: 1888 (1880s)
Authors: Lefébure, Ernest, b. 1835 Cole, Alan S. (Alan Summerly), 1846-1934
Subjects: Lace and lace making Embroidery
Publisher: London, H. Grevel
Contributing Library: Smithsonian Libraries
Digitizing Sponsor: Smithsonian Libraries

View Book Page: Book Viewer
About This Book: Catalog Entry
View All Images: All Images From Book
Click here to view book online to see this illustration in context in a browseable online version of this book.

Text Appearing Before Image:
Fig. -Splendid rabato of Venetian needlepoint lace (in theCluny Museum). of needlepoint lace. Not only do the scrolls of thedesign flow with dignity and grace, but the lace-workerherself would appear to have invented an almost super-abundance of wonderfully dainty devices, giving light-ness in effect to the otherwise heavy forms of theflowers. Firmness of outline marking the different 218 II. LACES. contours, results from employing a horsehair, over whichminute stitches are cast; and by the same means a
Text Appearing After Image:
Fig. 97.—Venetian needlepoint lace (seventeenth century). finished crispness is imparted to tiny loops or picotselegantly inserted in the spaces between the scrolls andflowers. This method is still in use in the making of THE SEVENTEENTH CENTURY. 219 Points d Alencon which for sharp definition bear thepalm over other laces. It is related of a collar made atVenice for Louis XIV., that the lace-workers beingunsuccessful in finding sufficiently fine horsehair em-ployed some of their own hairs instead, in order tosecure that marvellous delicacy of work which theyaimed at producing. The specimen cost 250 goldenecus (about £66). It was for men, then, that these magnificent thingswere made. They were chiefly in the form of rabatos*or bands falling from beneath the chin over the breast,the fashion for which, succeeding that of ruffs andcollars, when large wigs were worn (fig. 98). Cuffs ofsimilar fine lace were also worn. These latter wereoccasionally so large that Moliere was incited to w

Note About Images