The Art of Modern Lace Making Part 1

The Art of Modern Lace Making.

by The b.u.t.terick Publishing Co.

INTRODUCTION.

Owing to the growing popularity of the fascinating art of lace-making and the appeals of our readers to place it within their reach, we have prepared this pamphlet. In making it a perfect instructor and a reliable exponent of the favorite varieties of lace, we have spared neither time nor expense, and are most happy to offer to our patrons what a celebrated maker of Modern Lace has p.r.o.nounced as "the finest book upon lace-making to be found on either continent."

The ill.u.s.trations, in the main, are direct reproductions from genuine, hand-made modern laces, such as any lady may make who masters the instructions found upon these pages.

The beauty of these laces is beyond question, their durability all that can be desired, and their textures may be varied from an extreme delicacy to a sumptuous opposite. In introducing the art of modern lace-making into the realms of our readers, we feel all of the pleasure we are sure we thus convey.

The b.u.t.terick Publishing Co., Limited.

Lace-Making

ANCIENT AND MODERN METHODS.

The art of making lace in one form or another has existed from the earliest ages. There are Scriptural references to various web-like fabrics, which were of rude construction, no doubt, but whose general characteristics were identical with those productions of modern skill which have for centuries been known as lace. Homer and other ancient writers constantly mention net-works of fancifully embroidered materials; gold thread-work was known to the Romans; and as Egyptian robes of state are depicted upon the tombs of the earlier dynasties as being fashioned from a looped net-work or crochet, it is probable that the Israelites learned the art from the Egyptians. Museums contain specimens of lace dating back to periods that to us of the present day seem mere dreams of reigns and eras, and history includes a scattered literature of lace which proves that the art must have been practised almost from the beginning.

Up to the Sixteenth Century, however, open work embroidery was the favorite decoration, and from it the tangible origin of lace seems derived. During the Renaissance period the first book of embroidery patterns and lace-work appeared. The earliest volume bearing a date was printed at Cologne in 1527; and it was during the reign of Richard III.

of England that the word lace was first used in the descriptions of the royal wardrobe.

At first the best known laces were those of Venice, Milan and Genoa. The Italians claim the invention of point or needle-made lace; but the Venetian point is now a product of the past, and England and France supply most of the fine laces of the present time.

Lace-makers in the various European countries are trained to the work from childhood; but it is said that the makers of Honiton lace, the fabric of which Queen Victoria's wedding gown was made, are rapidly decreasing in numbers, so that there are few persons now living who understand the construction of this exquisite "pillow" lace. The costly point and Honiton and the dainty Mechlin and Valenciennes of bygone days can only be produced by trained lace-workers, whose skilful fingers weave bobbins of cobweb-like thread to and fro over the "pillow"

necessary to antique methods; and for this reason fine lace-making is practically beyond the skill of the amateur. Besides, some of the threads in the very filmy laces are so fine that they cannot be successfully manipulated except in a moist atmosphere, such as that of Great Britain; and even there some of the more exquisite specimens must perforce be made in underground rooms, since it is only there that the proper degree of moisture can be obtained. In dry climates these gossamer-like threads would roughen and break at almost the slightest touch.

Referring to the known origin of some of the earlier laces, a writer upon the subject says:

"They say it was a woman, Barbara Uttmann, who invented pillow lace in the 16th century. Women have ever been patrons of lace-making. Victoria has kept the Honiton laces in fashion, and it was the d.u.c.h.ess of Argyle who introduced lace-making in Scotland. The Countess of Erne and Lady Denny and Lady Bingham began it in Ireland, and Lady De Vere gave her own Brussels point for patterns when the first Irish point was made at Curragh. It was Elizabeth of Denmark who introduced lace-making in that country, and the Archd.u.c.h.ess Sophia who started lace schools in Bohemia.

"Now at least I can have laces," said Anne of Austria, when Louis XIII., her husband died, and her court was famous for its cleanliness and its Spanish point. Colbert had three women as coadjutors when he started lace-making in France. It was because Josephine loved point d'Alencon that Napoleon revived it. Eugenie spent $5,000 for a single dress flounce, and had $1,000,000 in fine laces."

Victoria's favorite, Honiton, is not considered a particularly beautiful lace, although its weaving is so tedious and difficult. "Real Honiton laces," so says an authority, "are made up of bits and bits fashioned by many different women in their own little cottages--here a leaf, there a flower, slowly woven through the long, weary days, only to be united afterward in the precious web by other workers who never saw its beginning. There is a pretty lesson in the thought that to the perfection of each of these little pieces the beauty of the whole is due--that the rose or leaf some humble peasant woman wrought carefully, helps to make the fabric worthy the adorning of a queen or the decoration of an altar, even as the sweetness and patient perfection in any life makes all living more worthy and n.o.ble. A single flower upon which taste and fancy were lavished, and which sustained and deft labor brought to perfection, represents the lives of many diligent women workers.

It has become so much the fashion to worship all things ancient that most lovers of fine lace would prefer to have it a century old; and yet there never was a time when laces were more beautiful, more artistic and more unique in design than just at the present day; for modern laces preserve the best features of the laces that have gone before them, and have added so many new inspirations that except for the sentiment, the romance or the history connecting this sc.r.a.p with a t.i.tle, that with a famous beauty, and another with some cathedral's sacred treasure, the palm would certainly be given to the gauze-like production of the poor flax thread spinner of the present day."

Not all people know the difference between point lace which is made with the needle, and pillow lace which is made with the bobbins--but much of the beautiful point lace of the present day is made with the needle, and its beauty stands a favorable comparison with the more costly pillow lace.

Strictly modern lace-making is a result of American ingenuity, and it has so simple a basis and is so easy to learn that any woman of average skill may, with little difficulty, produce by its different processes, laces that are really magnificent and quite as substantial and useful as they are exquisitely beautiful. In America modern lace-making has been developed to a high degree of perfection by its pioneer, Mrs. Grace B.

McCormick, in whose designing rooms at No. 923 Broadway, New York, may be seen specimens of modern laces of every variety, from dainty needle-point to a very elaborate kind known as the Royal Battenburg.

This English name for an American production was selected in honor of the Battenburg nuptials, which occurred about the time a patent for making the lace was applied for at Washington. Only a few years have elapsed since this plucky little woman made a single piece of lace edging from common braid as an experiment, and sold it for a trifling sum. Love for the work and perseverance have enabled her to overcome obstacles that would have discouraged a woman of ordinary energy, and she has gradually improved upon her earlier methods until modern lace occupies a front rank among the numerous dainty forms of needle-work of the day.

One of the finest specimens lately placed on exhibition is a table-cloth intended for use at elaborate dinners. It is made of the finest table linen and Royal Battenburg lace. The cloth is, of course, very large, and the lace, in the form of wide insertion, is let in above the border and is also arranged to divide the center into three squares. An outside border of edging to match completes this exquisite production, which has been two years in course of construction, and is valued at four hundred and seventy-five dollars. The same style of lace may be made by any one who studies the art and in any width or form, and it may be produced in many textures, although really intended for heavy effects. The making of such lace possesses a great charm for womankind in general, and will undoubtedly retain favor as long as needlecraft remains a pastime and employment with the gentler s.e.x.

MATERIALS.

The requirements of modern lace-making are few. The products are cla.s.sed as Honiton, Point, d.u.c.h.esse, Princesse, Royal Battenburg or Old English Point, etc., etc.; but all are made with various braids arranged in different patterns and connected by numerous kinds of st.i.tches, many different st.i.tches often appearing in one variety of lace.

The materials required are neither numerous nor expensive. The following is a complete list: Tracing cloth, leather or _toile ciree_, lace braids of various kinds, linen thread, two or three sizes of needles, a good thimble and a pair of fine sharp scissors.

For each kind of lace there is a special sort of braid in various patterns, and the selection of the thread depends entirely upon the variety and quality of lace to be made. This selection should be left to the decision of the teacher or the skilled maker of laces, as she knows from experience the proper combinations of materials. Thus, in making Honiton and point lace, thread in twelve different degrees of fineness is used; and as the braids also vary in size, the thread must always be adapted to the braid. For Battenburg lace the thread is in eight sizes, the finest being used only for "whipping curves" or drawing edges into the outlines required. The "Ideal Honiton" is a new lace made with fancy Honiton braid and wash-silk floss in dainty colors, and is exquisite for doilies, mats, table scarfs and center-pieces.

Designs sold by lace-makers are usually drawn upon tracing cloth, as this is flexible and much more agreeable to work upon than any other material. The tracing cloth, when the braid is arranged, is basted to a foundation of leather or _toile ciree_; or smooth wrapping-paper may be basted under the design and will furnish all the support that is necessary, while being lighter than the _toile ciree_.

It must be remembered that the work is really wrong side out while in progress, so that it will not show its true beauty until finished and removed from the foundation or pattern. According to the braid and thread selected, these laces may be made of fairy-like fineness or of ma.s.sive elegance--general results being dainty enough for the gown of a bride or sumptuous enough for the adornment of an altar.

Lace-making establishments will furnish designs of any width or shape desired, and will also originate designs for special articles for which there are only occasional calls. Regular edging designs are ordinarily made in four widths--from quite narrow to very wide; and not infrequently a handkerchief design is enlarged sufficiently to form a square for a table or a fancy stand.

In filling in the s.p.a.ces of any design or pattern, the worker may choose the st.i.tches that please her best, if she does not like those accompanying the design that she has selected or that has been sent her.

St.i.tCHES USED IN MODERN LACE-MAKING.

As in all fancy work which has a set of foundation st.i.tches peculiar to it that may be varied according to the proficiency and ingenuity of the maker, so has Modern Lace a series of primary st.i.tches from which may be evolved many others. A large number of ill.u.s.trations of st.i.tches, some of which are primary or foundation st.i.tches, while others are combinations, are here presented, with full instructions for making; and the entire series given will make perfectly plain to the student the ease with which she may combine or invent st.i.tches, when those of the design she is to work are not to her liking. The first st.i.tch given is the main foundation st.i.tch.

PLAIN POINT St.i.tCHES.

NOS. 1 AND 2.--POINT DE BRUXELLES OR BRUSSELS POINT.--Among the st.i.tches most used in lace-making is Point de Bruxelles or Brussels point. It is simply a b.u.t.ton-hole st.i.tch worked loosely, and it must be done with regularity, as the beauty of the work depends almost wholly upon the evenness of the st.i.tches. Brussels point is occasionally used as an edge, but is more frequently seen in rows worked back and forth to fill in s.p.a.ces, or as a ground work. The ill.u.s.trations clearly represent the method of making this st.i.tch.

[Ill.u.s.tration: No. 1.--Point de Bruxelles (Brussels Point).]

[Ill.u.s.tration: No. 2.--Point de Bruxelles Worked in Rows.]

NO. 3.--POINT DE VENISE, OR VENICE POINT.--This st.i.tch is worked from left to right, like Brussels point. Work 1 loose b.u.t.ton-hole st.i.tch, and in this st.i.tch work 4 b.u.t.ton-hole st.i.tches tightly drawn up, then work another loose b.u.t.ton-hole st.i.tch, then 4 more tight b.u.t.ton-hole st.i.tches in the loose one; repeat to the end of the row, and fasten off.

[Ill.u.s.tration: No. 3.--Point de Venise (Venice Point).]

NO. 4.--PEt.i.t POINT DE VENISE, OR LITTLE VENICE POINT.--This st.i.tch is worked in the same manner as point de Venise, but one tight st.i.tch only is worked in each loose b.u.t.ton-hole st.i.tch. This is a most useful st.i.tch for filling in small s.p.a.ces.

[Ill.u.s.tration: No. 4.--Pet.i.t Point de Venise (Little Venice Point).]

NO. 5.--ITALIAN LACE St.i.tCH.--Commence at the right side and pa.s.s the thread to the left.

_First row._--Make a loose b.u.t.ton-hole st.i.tch into the braid to form a loop, then pa.s.s the needle under the line of thread, making the loops an eighth of an inch apart.

_Second row._--Pa.s.s the thread back to the left, make a b.u.t.ton-hole st.i.tch in every loop, and pa.s.s the needle under the line of thread after each b.u.t.ton-hole st.i.tch.