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http://www.archive.org/details/cu31924050724636
ALBERT R. MANN LIBRARY AT
CORNELL UNIVERSITY
THE GIFT OF The Estate Of ELIZABETH KACKENMEISTER
3 1924 050 724 636
OLD POINT LACE. 's^::^
:
LD
OINT
ACE
AND HOW TO COPY AND IMITATE
IT.
BY
DAISY WATERHOUSE HAWKINS. WITH SEVENTEEN ILLUSTRATIONS
BY THE AUTHOR.
iLonDon
CHATTO AND WINDUS, PICCADILLY. 1878.
\All rights reserved?^
TT
(S7^
9,
—
PRINTED BY JOHN C. WILKINS, CASTLE STREET, CHANCERY LANE.
ELZEVIR press:
PREFACE. !HE
following facsimiles of Point-
Lace are selected from specimens in
the valuable collection at the
South Kensington Museum, and are published with the
sanction of the authorities
of that Institution, for which
sanction the
Author
she
is
very
grateful,
as
is
afforded an opportunity of diffusing
thus
among
the public a few antique examples, as stan-
dard models of beauty to those
endeavour
to revive
who now
the long-neglected art
of needle lace-making.
D.
W. H.
LIST OF PLATES.
LEMISH in the 2.
Lace.
17th Century.
No. 588
South Kensington Museum.
Pattern by which the same can be
worked
in braid
and
stitches.
3.
Flemish Lace. 17th Century. No. 596- in the South
4.
Pattern by which the same can be worked with braid,
5.
brides, and stitches. Piece of Lace in the " Bock Collection."
Kensington Museum.
No.
1586 in the South Kensington Museum. 6.
Pattern for working the same with braid, brides, and
7.
Flemish Lace.
8.
Pattern for working the same with braid and brides.
9.
Italian Lace.
stitches.
17th Century.
No. 586 in the
South Kensington Museum. 17th Century.
No. 583
in
the
South Kensington Museum. 10.
Pattern for working a copy of the same with braid, brides, cord,
and
stitches.
.
LIST OF PLATES.
viii
11.
Italian Rose Point.
ment 1
2
Part of Ecclesiastical Vest-
South Kensington Museum.
in the
Pattern for working the same with needle and thread only.
13.
14.
the " Bock Collection." South Kensington Museum. Pattern for copying the same with braid, wide and
Narrow Lace
in
narrow, and brides. 15. Original design for
brides, 16.
and
working lace d'oyley with braid,
stitches.
Italian Lace.
17th
South Kensington Museum. kind of
lace,
in
No. 582
Century.
This
is
in
the
a curious
which pieces of tape are
intro-
duced. 17.
Portuguese Lace.
17th Century.
South Kensington Museum.
In
No. 584
in the
this piece of lace
two distinct patterns are to be seen.
OLD POINT LACE. !HE to
in
assist
defect lace, viz.,
of most
modern amateur
The
a mistaken style of pattern.
art,
is
remedying a great
aim of making lace by hand ancient
work
object of the present
is
to revive the
of which such beautiful specimens centuries.
So
employed, and the
deli-
have survived the decay of far as the materials
cacy and variety of
stitches, the
same degree
of perfection has been already attained by
many
of our
modern workers
ancient predecessors.
But
in
as
by
spite
their
of the
care and industry bestowed, and the great
OLD POINT LACE.
lo
on patience and
Strain
there
the
is
still
eyesight involved,
one most important portion of
work which continues
neglected, and
that
be comparatively
to
the
is,
in
design,
con-
sequence of which neglect, modern point lace is,
when compared with
old lace, like a
body
without a soul.
This want of variety and beauty is
the
chiefly
more remarkable,
work
is
who
are supposed
an amount of delicate fancy and
scarcely
to
be expected from those
"stitch, stitch, stitch,"
merely to keep
themselves alive on bread and
The
design
undertaken by the most refined en-
to possess
who
the
since
joyers of " elegant leisure,"
taste,
in
difference
tea.
between the patterns now
used for point lace and the old specimens is this,
—the modern
and continuous is
lace consists of
an exact
repetition of a design,
which
contained in four or five inches of space,
whereas the old lace
displays
a
constant
variety and change in the pattern throughout
OLD POINT LACE. the entire length of the piece
;
u
there
is
also
a freedom and originality in the design which constitutes
its
chief beauty.
the superiority of lace.
The
work
stitches
In this consists
hand over machine made
iron machinery can repeat net-
by the
million, with
greater
precision and rapidity than any fair fingers
can
but at best such repetition
attain,
is
tedious to the eye.
The charm
of variety and the beauty of
novelty can only be found in the work of skilled hands,
guided by
fanciful minds,
and
not in the productions of iron wheels set
a-going by steam. In order to a complete restoration of the art of point lace
making, each worker should
design and amplify the pattern as the work progresses
;
but this would require an amount
of invention to those will
be
not possessed by many,
who have useful.
it
In
not, the following
and
pages
them are shown exact
copies of admirable pieces of old lace pre-
-;
OLD POINT LACE.
12
served in the South Kensington
each one
and
is
of a different style or period,
a good specimen of
is
the reproduction
facilitate
a diagram for working specimen, is
Museum
and
in
this
its
To
class.
of this old lace,
accompanies
each
diagram the design
so modified as to render
it
easy by the
present abbreviated method of working.
In the old lace
may be remarked an
ab-
sence of geometrical precision, and in the
most
ancient, a certain
has a charm of
its
uncouthness which
own, and which contrasts
very favourably with
many
of the present day,
in
stiffness
and monotonous
most remarkable It is fair
hoped
of the patterns
which geometrical similarity are the
features.
that this book,
by aiding some
votaries of point lace to really copy the
beautiful old relics of antique art- work (wo)
manship,
may
induce them to aim
still
higher,
so that by exerting the fanciful and imaginative
faculties
so largely possessed
by the
OLD POINT LACE.
13
refined of the fair sex, they
may
same perfection
and beauty of
in diversity
attain the
design, that they have already achieved in
the more mechanical portion of their
art.
HOW
TO COPY AND IMITATE
OLD POINT LACE. IN
order to
volume
render
the
useful to those
present
who
are
novices in the art of lace-making, as well as to those it is
who
are already proficient,
necessary not only to
beautiful
designs, but
make a
also
to
display of
describe the
means by which the same designs can be reproduced with needle and thread.
Having procured the necessary viz.,
materials,
linen thread, linen lace braid, cord,
good needles,
select
and
a braid of the width
OLD POINT LACE.
i6
by the
indicated
on
pattern,
between the
to the pattern
Where
a fulness
and tack
it
firmly
parallel lines.
caused at either edge of
is
the braid by the curves, whip over the edge
of the braid, and thus draw
Where two but
finely
come
braids
to the shape.
in contact,
together
firmly
it
by
sew them outer
the
threads.
the
All
varied
scrolls are filled,
are produced in
(as
and
by
with
stitches all
button-hole-stitch,
embroidery)
mind,
nate
it is
fresh
the
" the bars or " brides
from
left
each row below the other. in
which
to
worked
right,
Bearing
and
this rule
easy for every worker to origi-
varieties of stitches during
the
progress of her work.
Venetian or Spanish Rose Point
is
to
be
copied without the introduction of any braid.
A
series of threads (or if preferred a
cord) should be
fine
tacked on to the pattern,
following the exact
and afterwards sewn
outline of every scroll, over,
the intervening
OLD POINT LACE. space being
filled
17
entirely with button-hole-
Attach a needleful of thread firmly
stitch.
to the outline threads or cord at the right-
hand
side, carry
it
tightly across the space to
Fig.
I.
the left-hand side and attach
work a row of
button-hole-stitch very small
and even, taking each line
of the
thread that
scroll, is
is
stitch
through the out-
and including
fastened across.
work other rows the scroll
there, then
it
filled
in
the
up.
in
the
it
Continue to
same manner
until
Observe that these
rows of stitches generally run
in a horizontal
direction with regard to the whole piece of lace, as
though the work had been executed
as far as possible whilst retaining
it
in
its
OLD POINT LACE.
i8
intended position towards the be-
ultimate holder.
Another method of rendering in stitch
still
seen in Fig.
more 2.
close
and perfect
is
to
be
2.
and working the
button-hole-stitch over
it,
first
row of
close
form the second
and subsequent rows by taking each through the close threads of each the
filling-
After fastening the thread
Fig.
across,
this
stitch
stitch
in
row above, instead of through the loops
between the to be
work
stitches.
This causes the stitches
more square and it
firm,
but in very fine
adds considerably to the time and of course be under-
care occupied.
It will
stood that in
these diagrams the stitches
all
OLD POINT LACE.
19
are greatly magnified and separated in order to
make
the working intelligible.
tising the foregoing stitches,
fig.
After prac3 will easily
be understood without further explanation,
and
after
working
Fig-
will
the
that,
fair
lace-maker
3-
perceive that by increasing the number
of stitches to four or five and shortening the loops, a chessboard pattern
that
by shortening the
is
stitches
produced
is
shown
loose button-hole-stitch
of the scroll
;
for
all
and
and lengthen-
ing the loops, a dotted network
Another variety
;
is
in fig. 4.
round the
made.
Work
a
interior
second and subsequent rows,
take each stitch through the loop above, and
OLD POINT LACE.
20
then knot
by passing the needle a second
it,
time through the same loop, and drawing tight before
commencing another
stitch.
it
This
Fig. 4.
construction
may
again be changed, by work-
ing the second row and knots between the
two
threads
shown it
is
in fig. 5
of ;
the
button-hole-stitch,
as
but for this square network
necessary to
make
the
loops
much
longer than in any of the stitches previously described.
Bars or
" brides "
are
made by
working very tight button-hole-stitches round one thread
(or
more) that has been fastened
across from one scroll to another.
are required broad and
flat,
If bars
fasten two, or
OLD POINT LACE.
'
21
more, threads across, and then darn them together instead of button-hole stitching.
Having now described
Fig.
stitch
all
5-
necessary in carrying out the lace de-
signs in the present volume,
every worker originality
of her
the deviations of
own
will
add
is
hoped that
to their beauty
by introducing fancy.
it
and
additional varieties
FLE^
MISH LACE WITHOUT BRIDES
(n«
586)
PATTERN
FOI
R
COPYING FLEMISH LACE
(n? 586)
WITH BRAID
&-
STITCHES.
FLEM ISH
LACe(n°S9I
PATTERN FOR COPYING FLEMIi
"•nrvyvirv^T
u
"~"
"
tf
LACE WITH
-U
T.
-1)-"^/
u
BRAID BRIDES
-Lr-tr-!,
11
&.
STITCHES.
r -\--irn_i-TJ-ij-~Vi^-V
\J
!•-
t'lo -!
t. -^Tlrij- 1.-Tft'-trn)~U~Tj "TJ "U'lJ-Tr-U-i.-U- T-iJ"-tr-ir-7j-v.i
— ^^ xr
rrii
—y i-FtJ' -S~in
LACE
UCE WITH PLAIN
BRIDES fN° 1586).
6.
PATTERN FOR COPYING FLEMISH
WITH BRAID BRIDES
&.
STITCHES
7.
FLE^
5H LACE EDGING (n9586.)
PATTERN
FOR COPYING LACE
E
WITH TIGHT
BRAID & BRIDES ONLY.
ITALI
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