 |
The same class of embroidery was executed during the reign of Queen Anne, though she herself did little of it. Costly silks and brocades and Venetian laces were the dress of the day, and no little dainty accessories appear to have been made.
XI
PICTORIAL NEEDLEWORK OF THE EIGHTEENTH CENTURY
XI
PICTORIAL NEEDLEWORK OF THE EIGHTEENTH CENTURY
The "painted faces" period—Method of production—Revival of Scriptural "motifs"—Modern fakes—Black silk and hair copies of engravings.
An immense number of pictures must have been worked during the eighteenth century. Almost, we might say, no English home is without an example. Much of the work is intensely bad, and only that Time has tenderly softened the colours, and the old-time dresses add an element of quaintness to the pictures, can they be tolerated. Works of art they are not, and, indeed, were never intended to occupy the place their owners now proudly claim for them. Just here and there a picture of the painted face type is a masterpiece of stitchery, as in the example illustrated, where every thread has been worked by an artiste. Looking at this little gem across a room, the effect is that of a charming old colour print, so tenderly are the lines of shading depicted. This is the only picture of this class that I have seen for years as an absolutely perfect specimen of the eighteenth-century silk pictures, though doubtless many exist.
The discrepancy which is usually found is that, although the design and outline is perfect, the faces and hands exquisitely painted, the needlework part of the picture has been executed in a foolish, inartistic manner, and no method of light and shade has been observed. Some little time ago I published an article in one of the popular monthly Magazines illustrating this same picture, and was afterwards inundated with letters from correspondents from far and near sending their pictures for valuation and—admiration! Not one of these pictures was good, though there were varying degrees of badness. But in no instance was the painted face crudely drawn or badly coloured.
The explanation is that just as the modern needlewoman goes to a Needlework Depot and obtains pieces of embroidery already commenced and the design of the whole drawn ready for completion, so these old needle pictures were sold ready for embroidering, the outline of the trees sketched in fine sepia lines, the distant landscape already painted, the faces and hands of the figures charmingly coloured, in many instances by first-class artists. When we remember that the eighteenth century was par excellence the great period of English portrait painting and colour printing, we can understand that possibly really fine artists were willing to paint these exquisite faces on fine silk and satin, just as good artists of the present day often paint "pot-boilers" while waiting for fame.
Angelica Kauffmann's style was often copied. Is it too much to believe that some of these charming faces may have been from her hands? We know that she painted furniture and china, therefore why not the faces of the needlework pictures so nearly akin to her own work?
The eighteenth-century costume was particularly adapted to this pretty work. We cannot imagine the voluminous robes of Queen Mary or Queen Anne in needle-stitchery, but the soft, silky lawns of the Georgian periods, the high-waisted bodices, the bouffant fichus and the flowing head-dresses, all were specially easy and graceful to work. Many of the pretty children Sir Joshua loved to paint were copied. "Innocence" made a charming picture, and several of the less rustic Morland pictures were copied.
We would imagine that when the beginnings of the picture were so glorious the needlewoman would have made some endeavour to work up to it. But, alas! it was not so. Though often the stitching is neat and small, not an idea of shading seems to have entered the worker's mind, and whole spaces, nay, a complete garment, are often worked solid in one tone of colour! On the whole there is far more artistic sense and feeling in the Stump pictures it is the fashion to deride.
Not always were dainty pastoral and domestic scenes worked. Very ghastly creations are still existent of scriptural subjects. Coarsely worked in wool, instead of silk, or in a mixture of both. The painting is still good, but the work and the subjects are execrable! "Abraham about to sacrifice Isaac," on the pile of faggots already laid, and Isaac bound on it, with a very woolly lamb standing ready as a substitute, was a favourite subject. "Abraham dismissing Hagar and Ishmael," with a malignant-looking Sarah in the distance, vies with the former in popularity. "The Woman of Samaria," and "The Entombment," are another pair of unpleasant pictures which we are often called upon to admire.
The best of these pictures were worked in fine floss silk, not quite like the floss silk of to-day, as it had more twist and body in it, with just a little fine chenille, and very tiny bits of silver thread to heighten the effect. The worst were worked in crewel wools of crude colours. Fortunately, the moth has a special predilection for these pictures, and they are slowly being eaten out of existence, in spite of being cherished as heirlooms and works of art.
Another pretty style which we seldom meet with was some part of the picture covered with the almost obsolete "aerophane," a kind of chiffon or crape which was much in request even up to fifty years ago. A certain part of the draperies was worked on the silk ground, without any attempt at finish. This was covered with aerophane, and outlined so as to attach it to the figure. This again was worked upon with very happy effects, very fine darning stitches making the requisite depth of shading. The illustration shows the use of this, but this cannot be said to be a very good specimen.
These painted face, silk-worked pictures are the only needlework examples the collector need to beware of, as they are being reproduced by the score. The method of working in the poorer specimens is very simple, and it pays the "faker" to sell for L2 or L3 what takes, perhaps, only half a day to produce. When a well-executed picture is produced it is worth money, but so far I have seen none, except at the Royal School of Needlework, where the copying of old pictures of the period is exceedingly well done, and not intended to deceive. The prices, however, are almost prohibitive, as no modern needlework picture is worth from L15 to L30. They are, after all, only copies, and in no sense of the word works of art.
During the eighteenth century, also, a fashion set in of adorning engravings with pieces of cloth, silk, and tinsel. At best it was a stupid fancy, and was responsible for the destruction of many fine old mezzotints and coloured prints. The hands, face, and background of an engraving were cut out, and pasted on a sheet of cardboard, pieces of some favourite brocaded gown, perhaps, were attached to the neck and shoulders, tiny lace tuckers were inserted, and gorgeous jewellery was simulated by wretched bits of tinsel trimming. The realism of the Stuart stump picture was never so atrocious as this baleful invention, which was as meretricious as a waxwork show.
Not so popular, but far better, were the pictures worked on white silk with black silk and hair. There were no artistic aspirations about these—they were copies in black and white of the engravings of the day, just as a pen-and-ink or pencil copy might be made. Very dainty stitchery was put in them, the stronger parts of the lines being in fine black silk, the finer and more distant being worked in human hair of various shades from black to brown. Occasionally golden and even white hair is used, and the effect is often that of a faded engraving. The silk ground on which these little pictures were worked is, however, often cracked with age, and many pretty specimens are ruined. The illustration shows an example of the type of picture, and depicts "Charlotte weeping over the Tomb of Werther."
XII
NEEDLEWORK PICTURES OF THE NINETEENTH CENTURY
XII
NEEDLEWORK PICTURES OF THE NINETEENTH CENTURY
Entire decline of needlework as an art—Miss Linwood's invention!—The Berlin-wool pictures—Lack of efficient instruction—Waste of magnificent opportunity at South Kensington Museum.
It were kindest to ignore 19th century needlework, but in a book treating of English embroidery something must be said to bridge over the time when Needlecraft as an Art was dead. During the earlier part of the century taste was bad, during the middle it was beyond criticism, and from then to the time of the "greenery-yallery" aesthetic revival all and everything made by woman's fingers ought to be buried, burnt, or otherwise destroyed. Indeed, if that drastic process could be carried out from the time good Queen Adelaide reigned to the early "eighties" we might not, now and ever, have to bow our heads in utter abjection.
The originator and moving spirit of this bad period was Miss Linwood, who conceived the idea of copying oil paintings in woolwork. She died in 1845. Would that she had never been born! When we think of the many years which English women have spent over those wickedly hideous Berlin-wool pictures, working their bad drawing and vilely crude colours into those awful canvases, and imagining that they were earning undying fame as notable women for all the succeeding ages, death was too good for Miss Linwood. The usual boiling oil would have been a fitter end! Miss Linwood made a great furore at the time of her invention, and held an exhibition in the rooms now occupied by Messrs. Puttick & Simpson, Leicester Square. Can we not imagine the shade of the great Sir Joshua Reynolds, whose home and studio these rooms had been, revisiting the glimpses of the moon, and while wandering up and down that famous old staircase forsaking his home for ever after one horrified glance at Miss Linwood's invention?
Not only Miss Linwood, but Mrs. Delany and Miss Knowles made themselves famous for Berlin-wool pictures. The kindest thing to say is that the specimens which are supposed to have been worked by their own hands are considerably better than those of the half-dozen generations of their followers. During the middle and succeeding twenty years of the nineteenth century the notable housewife of every class amused herself, at the expense of her mind, by working cross-stitch pictures with crudely coloured wools (royal blue and rose-pink, magenta, emerald-green, and deep crimson were supposed to represent the actual colours of Nature), on very coarse canvas. Landseer's paintings were favourite studies, "Bolton Abbey in the Olden Times" lending itself to a choice range of violent colours and striking incidents. Nothing was too sacred for the Berlin-wool worker to lay hands upon. "The Crucifixion," "The Nativity," "The Flight into Egypt," "The Holy Family" were not only supposed to show the skill of the worker, but also the proper frame of mind the embroideress possessed. Pleasing little horrors such as the "Head of the Saviour in His Agony," and that of the Virgin with all her tortured mother love in her eyes were considered fit ornaments for drawing-room, which by the way were also adorned with wool and cotton crochet antimacassars, waxwork flowers under glass, and often astonishingly good specimens of fine Chelsea, Worcester, and Oriental china.
Never was the questions of how "having eyes and yet seeing not" more fully exemplified. The nation abounded in paintings, prints, fine needlework, and the product of our greatest period of porcelain manufacture. Fine examples were at hand everywhere. Exquisite prints belonging to our only good period, the eighteenth century, were common; yet rather than try their skill in copying these, the needlewomen, who possessed undoubted skill, enthusiasm, and infinite patience, preferred to copy realistic paintings of the Landseer school and the highly coloured prints of the Baxter and Le Blond period.
Unfortunately, the craze is by no means buried. Within the last twelve months I was invited to see the "works" of a wonderful needlewoman in a little Middlesex village. The local clergyman and doctor were sufficiently benighted even in these days of universal culture to admire her work, and her fame had spread. Room after room was filled with 10 by 8-feet canvases; every drawer in the house was crammed with the result of this clever woman's work—for clever she undoubtedly was. After exhausting all the known subjects of Landseer and his school, she had struck out a line for herself, and had copied the Graphic and Illustrated London News Supplements of the stirring scenes from the South African War, such as "The Siege of Ladysmith," "The Death of the Prince Imperial" in all its gruesome local colouring, were worked on gigantic canvases. Her great chef d'oeuvre was, however, the memorial statue of Queen Victoria, copied from the Graphic Supplement in tones of black, white, and grey, a most clever piece of work; but—well, she was happy and more than delighted with my perfectly honest remark that I had never seen anything like it!
Ah! if only this dear woman and the many others who are wasting their time and eyesight over fashions which perish could only be reached and aroused by the influence of the lovely old English stitchery of our great period! If only the purblind authorities and custodians of our National collections could awaken to the infinite possibilities which they hold, once again "Opus Anglicum" might rule the world, and the labour of even one woman's life might be of lasting value. It is useless to refer to the many schools of embroidery there are in different parts of the country, where fine work is being done on the best lines. These schools, from the Royal School of Needlework downwards, are "closed corners," and no attempt is made to reach the great public. The Royal School of Needlework is maintained by no subsidy as it ought to be, but by the many ladies of position and taste who liberally support it, both for the instruction and employment of "ladies of reduced circumstances," and for the disposal of its work at very high prices. Other schools in town are simply private adventure institutions, run at a considerable profit to the principals.
The superb collection at South Kensington might as well be buried in the crypt of Westminster Cathedral for all the value it is to the general public. There is not the slightest attempt to allow these unique pieces of "Opus Anglicum" to point a moral or adorn a tale. The magnificent copes and vestments, of which there are some score, are merely tabulated, paragraphed, and photographed, and there is an end of them. During my constant visits to these treasures of English Art I have not once discovered another interested visitor amongst these beautiful vestments; and the officials, when interviewed, though perfectly courteous, apparently resent inquiries; and woe betide the unfortunate inquirers who might have found the required information from the tiny little printed card hidden either too low or too high in the dark recesses of the corridors, and so spared these savants the trouble of an interview!
Why a continuous course of lectures on this and every kindred Art subject is not made compulsory at the Victoria and Albert Museum is one of the burning questions of the hour among the cultured collectors of the day. The custodians are supposed to be men of special insight in the branches over which they preside, yet for all the advantage to the public they might as well be waxwork dummies. What we want as a nation is "culture while we wait," and writ so large that those who run may read, and until this consummation is attained we shall ever remain in the Slough of Despond, and Art for Art's sake will continue dead.
XIII
EMBROIDERY IN "COSTUME"
XIII
EMBROIDERY IN "COSTUME"
Early Greek garments—Biblical references to embroidery—Ecclesiastical garments—Eighteenth-century dresses, coats, and waistcoats—Muslin embroideries.
The subject of Costume has been most admirably treated in another volume of this series, but a reference must be made to it as affecting our topic, English Embroidery, as costume has played no little part in its history.
From the earliest ages embroidery has been used to decorate garments. The ancient Greeks embroidered the hems of their graceful draperies in the well-known Greek fret and other designs so invariably seen on the old Greek vases. The legend that Minerva herself taught the Greeks the art of embroidery illustrates how deeply the art was understood; and the pretty story told by an old botanist of how the foxglove came by its name and its curious bell-like flowers is worth repeating. In the old Greek days, when gods and goddesses were regarded as having the attributes of humanity in addition to those of deities, Juno was one day amusing herself with making tapestry, and, after the manner of the people, put a thimble on her finger. Jupiter, "playing the rogue with her," took her thimble and threw it away, and down it dropped to the earth. The goddess was very wroth, and in order to pacify her Jupiter turned the thimble into a flower, which now is known as Digitalis, or finger-stole.
This little fairy tale can scarcely be taken as proof conclusive of the existence of either needle tapestry or thimble use, but its telling may amuse the reader.
In all ancient histories we find continuous references to the embroidered garment worn by its people. It was well recognised that no material was sufficiently beautiful not to be further embellished with rich embroideries. In the Psalms we find that "Pharaoh's daughter shall be brought to the king in a raiment of needlework," and that "her clothing is of wrought gold."
Phrygia was above all the country most noted for embroideries of gold, and for many years the name "Phrygian embroidery" was sufficient to describe any highly decorated specimen. It is said that the name of the vestment or trimming, the "orphry" is derived from the word "Auri-phrygium," meaning "gold of Phrygian embroidery."
The Phrygians are credited with having taught the Egyptians the art, while the Hebrews, while sojourning in the land of Egypt, learned the art from their captors, and carried it with them all through their journeys to the Promised Land, and their final settlement in Palestine. The mention of gold and purple embroideries, both as garments and hangings, is conspicuous throughout all Bible history. The Egyptian and Greek arts are in almost all respects concurrent. The Phoenicians carried examples of each country's work from one to another. After the conquest of Greece the Romans absorbed her art, and developed it in their own special style. They in turn carried their arts and crafts to Gaul and Britain, and by degrees needlecraft permeated the whole of Europe.
Dealing with the embroidered costumes of our own country, the ancient records, illuminated Missals, and other contemporary data show that very sumptuous were both the ecclesiastical and lay garments. Heavy gold embroideries were worked on the hems of skirts and mantles. The Kings' coronation robes and mantles were beautiful specimens of handicraft, often after a king's death being given to the churches for vestments. From Anglo-Saxon to Norman times extensive use was made of the work of the needle for clothing, but after the Conquest till quite late in the Tudor period little has been found to throw light upon the use of embroidery for the lay dress of the time. All woman's taste and energy seem to have been devoted to make monumental embroideries for church use.
It was, indeed, not until the gorgeous period of Henry VIII. that embroidery, as distinct from garment-making, appeared; and then everything became an object worthy of decoration. Much fine stitchery was put into the fine white undergarments of that time, and the overdresses of both men and women became stiff with gold thread and jewels. Much use was made of slashing and quilting, the point of junction being dotted with pearls and precious stones. Noble ladies wore dresses heavily and richly embroidered with gold, and the train was so weighty that train-bearers were pressed into service. In the old paintings the horses belonging to kings and nobles wear trappings of heavily embroidered gold. Even the hounds who are frequently represented with their masters have collars massively decorated with gold bullion.
The skirts of the ladies of this time were thickly encrusted with jewels, folds of silk being crossed in a kind of lattice-work, each crossing being fixed with a pearl or jewel, and a similar precious stone being inserted in the square formed by the trellis. The long stomachers were one gleaming mass of jewelled embroidery, the tiny caps or headdresses being likewise heavily studded with gems.
During the reign of Charles I. a much daintier style of dress appeared. Velvet and silken suits were worn by the men, handsomely but appropriately trimmed with the fine "punto in aria" or Reticella laces of Venice; and in this and the three succeeding reigns dress was of sumptuous velvets, satins, and heavy silks, unembroidered, but trimmed, and in Charles II.'s time loaded with costly laces. It will be noted that whenever lace is in the ascendant, embroidery suffers, as is quite natural. Lace itself is sufficient adornment for fine raiment.
As the use of the fine Venetian and Flemish and French laces declined, and tuckers and frillings of Mechlin, Valenciennes, and Point d'Angleterre appeared, the use of embroidery asserted itself, and the pretty satins and daintily coloured silks of William and Mary, Queen Anne, and more specially the earlier Georges, began to be embroidered in a specially delicate fashion. Fine floss silk was used in soft colourings, and whole surfaces were covered with tiny embroidered sprays of natural-coloured flowers. Really exquisite stitchery was put into the graceful honeysuckle, the pansy, carnation, and rose clusters which decorated the dresses. The bodices, sacques, and skirts of the early eighteenth-century ladies were embroidered with real artistic taste and feeling. Some of the old dresses kept at South Kensington show the exquisite specimens of this class of needlework; while the coats and waistcoats of the sterner sex are not a whit behind the feminine garments in beauty. The long waistcoats were most frequently made of cream, pale blue, or white silk or satin, delightfully embroidered with tiny sprays of blossoms, and fastened with fine old paste buttons; while the coat, frequently of brocade, was heavily embroidered down the front with three or four inches of solid embroidery of foliage and flowers, oftentimes mixed with gold and silver threads. The tiny cravat of Mechlin, cuff ruffles, knee breeches, silken hose, and buckled shoes, along with the powdered hair, complete a costume that has never been equalled, either before or afterwards, in beauty, grace, and elegance. During the William IV. and the long Victorian period, with the exception of a very fine embroidery on muslin, in the earlier part of it, nothing but fine stitchery for the use of underwear was made, if we except the hundreds and thousands of yards of cut and buttonholed linen which seemed to have been the solace and delight of our grandmothers when they allowed themselves to be torn away from their beloved Berlin-wool work. To sit on a cushion and sew a fine seam appears to have been the amusement of the properly constituted women of the early and mid-nineteenth century.
XIV
SALE PRICES
XIV
SALE PRICES
Ancient embroideries so seldom come into the salerooms that it is rarely an opportunity occurs for obtaining market prices, therefore Lady Wolseley's sale on July 12, 1906, must be accepted as a standard. Immense prices are asked at the antique shops, the dealers apparently basing their prices on this sale by auction and doubling them. I have visited every shop in the trade in search of prices for this book before procuring the auctioneer's catalogue, and was aghast at the terrific sums asked for oftentimes indifferent specimens in comparison to what was paid in the auction-room. During the past year anything from L15 15s. to L40 has been paid at Christie's for specimens of varying degrees of perfection of work and condition. The latter state is even of greater importance than the first, as no matter how good the work originally, if discoloured and frayed, prices go down and down. Nearly all the finest specimens of the Stump-work period are marred by the tarnishing of the gold and silver threads. Instead of these being a glory and a great enhancement to the embroidery, they prove a great disfigurement, and thereby cause a considerable reduction in value.
The earlier petit point pictures, having little or no bullion in their execution (and when cared for and not exposed to too much sunlight), have kept their condition very well, and now are quite the favourite kind for collection. It speaks much for the quality of the silks used and the dyes of nearly three hundred years ago that the fugitive greens and blues and delicate roses in these little works of art, as in the superb tapestries of the same date, should be as fine as when made, whereas to-day's colours are as fleeting as the glories of the rainbow.
* * * * *
The following are the principal prices in Lady Wolseley's sale:
L s. d.
A small bag, red and gold brocade 2 15 0
A small bag or purse 5 0 0
A fine bead book-cover 6 0 0
Same, trimmed with silver lace (Harris) 6 16 0
A pair of embroidered shoes (Harris) 6 0 0
A small pocket-book, silk embroidery on silver ground 8 17 6
A pair of Stuart shoes 9 19 6
A stumpwork picture, a most curious globe, showing Europe, Asia, Africa, and America, 1648 (S. G. Fenton) 24 0 0
A double book of Psalms, embroidered binding with Tudor rose 23 10 0
A petit point picture, 12-1/2 x 9-1/2 11 11 0
A small picture, partly sketched and partly worked 4 14 6
A Stuart stump picture, 18 x 15-1/2 18 18 0
A Stuart stump picture, King under canopy, 17-1/2 x 14 14 14 6
A Stuart bullion picture, vase, in tortoiseshell frame, 23 x 18 8 8 0
Same, with Herodias's daughter and John the Baptist 5 5 0
A portrait of Henry, Prince of Wales, in flat-stitch on rose satin 21 0 0
Another on satin, "Bathsheba," spangled, 17 x 13 6 16 0
Another on satin, birds on gold and silver, 13 x 13 (Harris) 13 13 6
A bead picture, 15 x 11 11 11 0
A stump and bead picture, 12 x 11 12 1 6
A small book-cover, 14 x 8 13 12 0
A Stuart stump picture, figures and silver fountain, tortoiseshell frame, 22 x 16 15 15 0
A stump picture, lady with coral necklace, 18 x 12 23 10 0
A stump picture, lady under arch with a black swan, 20 x 16 (Stoner) 34 0 0
A stump picture, King Charles as Ahasuerus with Haman and Mordecai, and pearl-embroidered carpet, 23 x 17 28 0 0
A stump picture, lady under a canopy, large pearls, 13 x 19, (Stoner) 34 0 0
A Stuart Petit Point picture, Abraham and Hagar 16 16 0
A Stuart petit point picture, "Judgment of Paris," 24 x 17 25 0 0
A Stuart petit point picture, King Solomon and Queen of Sheba 18 18 0
A beadwork picture, lady and gentleman, lion and unicorn, 21 x 17 12 12 6
An embroidered picture, "Peter denying Christ," 24 x 17 (S. G. Fenton) 9 19 6
A petit point picture, lake with boats and figures, 15 x 12 (Harris) 14 14 6
A large stump picture, with horse and rider and figures of four seasons 30 10 0
A stumpwork picture, four figures, castle and birds and flowers (S. G. Fenton) 33 0 0
A picture sketched on white satin, not worked 4 15 0
A Stuart picture on canvas 9 19 6
A fine Stuart jewel-casket, numerous secret drawers, covered in needlework (S. G. Fenton) 47 5 0
A Stuart box, covered with bullion-work (S. G. Fenton) 12 12 0
A Stuart box, with embroidery and pearls (Spero) 16 16 0
A Stuart box, coloured bullion, 10 x 6 9 9 0
An embroidered box, with portrait on lid (S. G. Fenton) 53 11 0
A Stuart mirror, covered with stump embroidery, representing Charles I. and his Queen (illustrated), (Rosthron) 102 18 0
Another mirror, with painted and embroidered figures (Harris) 34 0 0
A Charles I. mirror in old lace and gold frame, with borders in embroidery, with portrait, castle, and floral decoration 40 0 0
3 yds. 13 inches long, 12 inches deep, Cornice in Petit Point, Christie's, July, 1908 (Harris) 204 15 0
XV
CONCLUSION
XV
CONCLUSION
Needlework as a national art is as dead as the proverbial door-nail; whether or not it ever regains its position as a craft is a matter of conjecture. Personally, I incline to the belief that it is absolutely extinct. The death-knell rang for all time when the sewing-machine was invented. The machine has been a very doubtful blessing, as it has allowed even the art of stitchery in ordinary work to slide into the limbo of forgotten things. What woman now knows what it is to "back-stitch" a shirt cuff, for instance, drawing a thread for guidance, and carefully going back two or three threads in order to make a neat, firm line of stitching? The sewing-machine does all this, and does it well, a clever machinist turning out more work in a week than a seamstress in a year. If this were all, it would be no matter for regret, but with the necessity for needlework has vanished the desire. The lady quoted in Green's History is now non-existent. "She was a pattern of sobriety unto many, very seldom seen abroad except at church; when others recreated themselves at holidays and other times, she would take her needlework, and say, 'Here is my recreation.'"
In spite of the many Schools of Embroidery, with a few notable exceptions, nothing is done to raise the standard of embroidery above making miserable little cushion-covers, table-centres, and suchlike pretty fripperies for the temporary adornment of the house. The women of Germany, Holland, Sweden, Italy, on the contrary, take a great interest in the embroidery of the bed and table linen and the really artistic embroidery of their national costumes. Nothing of this is seen in England. Table linen is bought ready hemmed at the shop. Dainty tea-cloths and serviettes are purchased ready embroidered (by machine) and trimmed with machine-made lace. Even lingerie of all classes is machine-made and bought by the dozen, instead of being made by the daughters of the house.
The only hope of a revival lies in the various Art schools in the country where designing for fine embroidery and lace is encouraged. Unfortunately, however, equal facilities are offered for designing of machine-made imitations. The Royal School of Needlework, not being a Government institution, offers no encouragement to outsiders. It is in the hands of a number of ladies, who manage it as they will; and although very fine work is accomplished, they trust too much to modern designers and artists who work out their own pet theories and hobbies. If only they would put aside all theories and new ideas, and go back to the best periods of English art both for their designs and execution, even yet, with the intelligent use of the glorious examples in the adjoining Museum, much might be done to revivify this expiring art.
FINIS
INDEX
INDEX
OLD LACE. (For Needlework see page 384)
A
Adelaide, Queen, 116
Age of lace, 108, 191
Alencon lace, 29, 78, 183, 191
Argentan lace, 29, 78, 191
Argentella lace, 29, 81, 192
Anne, Queen, 157
Applique, 175
Aylesbury, 158
B
Baby lace, 157
Barri, Madame du, 90
Beading, 41
Beads on bobbins, 161
Bed furnishing, 73
Bedfordshire lace, 37, 157
Belgian lace, 37
Black lace, 94
Blonde lace, 94
Bone lace, 41
Bobbins, 41, 158
Bolckow, Mrs., 54
Brides, 38, 127
Brussels lace, 37, 81, 104, 108, 123, 195
Brussels applique, 123
Brussels Vrai Reseau, 111
Buckinghamshire lace, 30, 35, 157, 158, 161
Burano, 54, 81
Buttonhole stitch, 195
C
Caen lace, 97
Carrick-ma-cross, 175
Catherine de Medici, 73
Chantilly lace, 37, 93
Charles I., 148
Charles II., 104, 148, 151
Charlotte, Queen, 161
Christie's sale-room, 115, 201
Colbert, 29, 73, 77, 102
Collar lace, 61
Collar, Medici, 53
Commonwealth, 148
Cordonnet, 41, 53, 77
Convents, 26
Coptic embroideries, 21
Couronnes, 41
Cravat, 151
Creevy Papers, 115
Cromwell, 151
Crotchet, 175
Cut worke, 73, 187
Cuthbert, St., 22
D
Danish lace, 134
Darned netting, 173
Debenham & Storr's sale-room, 54, 200
Dentele, 41
Devonshire lace, 30, 162
Dorsetshire lace, 161
Drawn work, 21
Duchesse lace, 127
Durham Cathedral, 22
E
Ecclesiastical lace, 62
Edgings, 31
Edward IV., 144
Egyptian netting, 22
Elizabeth, Queen of England, 54, 147
Embroidered net, 172
English laces, 157
Empress Eugenie, 97
F
Falling collar, 148
Fausse Valenciennes, 89
Fillings, 40, 173
"Figure" motifs, 107
Flanders lace, 29, 103
Flat point (point plat), 50
Flax thread, 61, 107
Florence, 53
Flemish point, 103
Fond, 42
Fontange, 151
Fowler, Mrs., of Honiton, 166
France, point de, 74
French Revolution, 78
G
Genoese lace, 29
George I., 115
George II., 115
George III., 115
George IV., 112
German laces, 134
Ghent laces, 124
Gingles, 161
Gold and silver laces, 134
Greek laces, 103, 183
Groppo, Punto a, 62
Gros, Point de Venise, 53
Grounds, 37
Guipure, 42, 61
Gold lace, 22
H
Hamilton lace, 171
"Hayward's," 114
Henry VII., 144
Henry VIII., 147
High Wycombe, 158
History of lace, 21
Honiton, 30, 35, 165
Honiton applique, 30
Huguenots, 30
I
Identification of lace, 183
Irish lace, 30, 172, 176, 192
Italian lace, 45
J
James I., 148
James II., 151
Jours, 41, 81
K
Kenmare, Lady, 75
King of Rome, 112
L
"Lacis," 29, 73
Lappets, 112
Lawn, 93
Lewis Hill, Mrs., 201
Lille, 35, 91
Limerick, 124, 172
L'Onray, 76
Louis XIV., 29, 46, 73, 74
Louis XV., 78
Lyme Regis, 162
M
Machine-made ground, 172
Macrame, 37, 64
Malines, 127
Maltese, 137
Mantillas, 97
Marie Antoinette, 78, 123, 129
Massey-Mainwaring, Mrs., 200
Marie de Medici, 53
Marie Stuart, 171
Mary, Queen, 147
Mary II., 151, 152
Mechlin, 37, 127
Medici collar, 53
Mezzo Punto, 62
Milanese lace, 29, 62
Mixed lace, 37, 62, 124
Modern point lace, 124
Montespan, Madame de, 74
N
Napoleon I., 78, 112
National Library, S.K.M., 50
Needlepoint lace, 49, 73, 108
Network, ancient, 3
Newport Pagnell, 158
Normandy lace, 97
Norway, 134
Northamptonshire lace, 157
Nuns, 26
O
Oeil de perdrix, 83, 192
Origin of lace, 21
P
Palliser, Mrs. Bury, 9
Parchment, 25
Parasole, 50
Pearls, 97
Peter the Great, 134
Picots, 42
Pillow lace, 29, 37
Point lace, 25, 37
Point a reseau, 53
Point d'Aiguille (Brussels), 108
Point d'Alencon, 76
Point d'Angleterre, 102, 107, 192
Point applique, 123
Point de France, 46, 76, 188
Point de Gaze, 108, 124
Point de Venise, 49
Point de Venise Gros, 50, 53, 54
Point de Neige, 49, 50
Point plat, 50
Punto in aria, 25, 143
Punto a groppo, 37, 62
Punto tagliato a foliami, 53
Q
Quillings, 128
Quentin Matys, 103
Queen Anne, 157
Queen Mary II., 117, 127, 151
Queen Charlotte, 117, 128
Queen of Laces, 128
Queen Victoria, 116, 162
R
Raised stars, 49
Rose point, 49, 50
Renaissance, 53, 107, 188
Reseau, 36, 39
Reticella, 26, 50, 73, 103, 143, 188
Revolution, French, 78
Rococo, 78
Royal trousseaux, 81
Ruffles, 90
Russian lace, 134
S
St. Cuthbert, 22
Sale prices, 199
Samplers, 25, 187
Saxony lace, 134
Scotch lace, 171
Silk lace, 94
Smocks, 25
Spanish point, 133
Steinkirk, 151
Sumptuary law, 112
South Kensington Museum, 187
T
Tambour lace, 172
Tape lace, 62
Tatting, 175
Thread, 61
Toile, 108
Trolly lace, 165
V
Valenciennes lace, 37, 89
Vandyke, 61, 148
Venice, 183
Vicellio, 50
Venetian lace, 50
Victoria, Queen, 162, 165
Vinciolo, 29, 50
Vraie Valenciennes, 89, 90
W
Westminster effigies, 147, 151, 152
William and Mary, 148, 151
"Wynyards," 115
William III., 115
Wiltshire lace, 115
Willis's Rooms, 201
Y
Youghal laces, 176
NEEDLEWORK
A
Athelstan, 213
Alb, 238
Aldhelm, Bishop of Sherborne, 213
Aelfled, Queen of Edward the Elder, 213
Angelica Kauffmann, 339
Art, the pioneer, 209
Ascagni cope, 223
Ascoli cope, 233
B
Bags, Stuart, 261
Bayeux tapestry, 214
Beads, Venetian, 274
Berlin wool pictures, 350
Bishop Fridhestan, 213
Black work, 284
Bologna cope, 223
Book-covers, 279
Bridgettine nuns, 227
C
Catworth cushions, 233
Catherine of Aragon, 248, 251, 284
Caskets, 269
Chain stitch, 227
Charles I., 265, 273
Charles II., 265, 273
Chasubles, 241
Christie's sale-rooms, 257, 265, 270, 367
City palls, 237
Church vestments, 238
Coventry, 228
Copes, 241
Crewel work, 329
D
Daroca cope at Madrid, 223
Dr. Rock, 227
E
Earl of Shrewsbury, 228
Editha, Queen of Edward the Confessor, 213
Egyptian embroidery, 210
Emma, Queen of Ethelred the Unready, 213
Elizabeth's wardrobe, 249
Elizabeth's Book at British Museum, 283
Elizabeth's Book at the Bodleian Library, 283
Elizabeth Hinde's Sampler, 309
Elizabeth Mackett's Sampler, 311
F
Field of the Cloth of Gold, 249
G
Georgian costumes, 363
Georgian pictures, 335
Gimps, 249
Gloves, 262, 265
Greek garments, 359
H
Hampton Court, 250, 322
Hair and silk pictures, 343
Henrietta Maria, Queen, 265
Henry VIII., 247
Hoechon collection, 220
I
Isleworth, 227
Italian raised work, 295
J
James I., 257
Jacobean hangings, 321
"Jesse" Cope, 223
John Taylor's Needlework Rhyme, 258
L
Lady Jane Grey, 247
"Laid," or couch work, 227
Linwood, Miss, 350
M
Maniple, 241
Mary Queen of Scots, 250
Mary II. embroidery, 325
Minerva, 358
Mirror frames, 273
N
Needlework pictures, 291, 335, 349
Neolithic remains, 210
"Nevil" altar-frontal, 234
O
Opus Anglicum, or Anglicanum, 219, 223
P
"Painted face" picture, 335, 343
Petit point, 257, 325
Phoenicians, 359
Phrygian embroidery, 358
Pierpont Morgan, 233
Pocket books, 281
Pope Innocent III., 223
Q
Quilting, 287
R
Reformation, 246
Roman Invasion, 210
Royal School of Needlework, 353
Rock's "Church of Our Fathers," 220
S
Samplers, 307
St. Augustine, 210
St. Benedict, 220
St. Cuthbert, 213
St. Dunstan, 213
Steeple Aston altar-frontal, 234
Stoles, 238
Stump work, 295
Stump work symbols, 302
"Syon" cope, 223
Subjects of needle pictures, 295
T
Tambour stitch, 227
Tudor embroideries, 247
Trays, 270
W
Wonderful needlewoman, A, 351
Wolsey, Cardinal, 249, 250
Wolseley's, Lady, collection, 265, 273, 368
Worcester fragments, 219
Printed in Great Britain by UNWIN BROTHERS, LIMITED, THE GRESHAM PRESS, WOKING AND LONDON
* * * * *
Transcriber's Note:
Obvious punctuation errors have been corrected.
Inconsistent hyphenation in the original has been preserved, e.g. cutwork, cut-work; hand-made, handmade; lace-workers, laceworkers; may-flower, mayflower; needle-craft, needlecraft; needle-point, needlepoint; salerooms, sale-rooms; semi-circular, semicircular.
Inconsistent use of accents has been preserved, e.g. applique, applique; reseau, reseau; toile, toile.
In the Index, Pierpoint was corrected to Pierpont to match the body of the text.
The main body of the text refers to the "Hockon collection", which is referred to in the index as the "Hoechon collection". It is unclear which of these is correct so they have been preserved as they appear in the original.
Page 25: 'survival of the fitting' changed to 'survival of the fittest'.
Page 38: 'accompanying diagrams' changed to 'accompanying diagram'.
Page 42: 'little loop' changed to 'little loops'.
Page 127: '"Duchesse point" of "Bruges,"' changed to '"Duchesse point" or "Bruges,"'.
Page 192: 'of same period' changed to 'of the same period'.
Page 196: 'other two' changed to 'two other'.
Page 300: 'and rose of England' changed to 'and the rose of England'.
Page 303: 'and butterfly was' changed to 'and butterfly were'.
Page 315: 'a long narrow Samplers' changed to 'a long narrow Sampler'.
Page 383: 'Punto a groppo' changed to 'Punto a groppo'.
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