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) (14777382381).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

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Text Appearing Before Image:
ite De ccs manches, qiCd table on voit tdtcr les sauces.\ Fine guipure laces of this character are also to be seenin rochets worn by Bossuet (fig. 99), Fenelon, andother prelates, whose portraits are well worth referringto according to the indications of them given by G.Duplessis. Ladies trimmed their berthes and sleeves with theseguipures; when the sleeves were short they werecalled engageantes ; when long, pagodes. Upon skirtslaces were worn, volantes or as flounces, whence thename volant or flounce, which has come into use for all * Towards the end of Louis XIWs reign flat rabatos were supersededby others which fell in folds, and were called cravates, after, it is saidthe Croates, or Croatian guards who were much esteemed by MariaTheresa of Austria. ■j Ecole des Maris. 220 II. LACES. wide laces; these flouncings were draped either intournantes or quilles) the former laid horizontally,the latter vertically upon skirts; but in eithercase these were stitched down on each edge of the
Text Appearing After Image:
Fig. -Louis XIV., 1670 (after Hyacinthc Rigaud). lace, whereas flounces were fastened to dresses by theengrelure or footing, a small band along the upperborder of a flounce. Lace barbes and /outages (a sortof erection like a sheaf of lace) were used as head- THE SEVENTEENTH CENTURY. 221 dresses ; besides these, handkerchiefs, fichus, scarves,mantillas thrown over the head, and mantles acrossthe shoulders, were all trimmed with lace. Berain and Le Brun gave a new and most artisticturn to patterns for laces, which fully justified thesuccess achieved. In portraits painted immediatelyafter 1665, the year whenthe Royal Alencon manu-facture was started, wehave sufficient data forrecognizing the style ofthe first points de Francedesigned by the kingsartists. The laces, to bethere noted, are entirelyof a French characterwith ornamental motifsmore or less emblemati-cal of the attributesbelonging to the SunKing. It may be gathered, Fifrom what we have said,that towards the end ofthe seventeenth

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