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Chapter 5 THE LACES OF ITALY

Word Count: 875    |    Released on: 01/12/2017

netian

eige"-"Gros Point"-"Punto Tagliato a F

ads stretched across, afterwards being buttonholed into a variety of designs. The edges are then again worked upon with loops or picots, and in "Rose Point" tiny stars or roses are worked on suitable parts of the design, sometimes the "roses" or "stars" being three in numbers, one poised upon the other. This is known as "Point de N

rsonal influence of his reign, frequently having tiny figures worked in the design. A collar in my possession has the Indian worshipping the sun (the King's glory was said to rival th

ational Library at the South Kensington Museum, may be seen the very patterns designed by Vinciolo, Vicellio, and Isabella Parasole. These publications actually came from Venice, and being

POINT (V

E VENISE (FL

's Coll

G THE MEDICIS COLLAR TO

n and called Spanish Point), and Point Plat de Venise. A much rarer variety is "Venetian point à réseau," which is the flat point worked roun

of lace; the wonderful diversities of the fillings worked in buttonhole stitches; the elaborate decoration of

dicis introducing the Medici collar trimmed with Venetian points specially to display them. At a little later period the collar became more falling and the heavier "Gros point" was used. Men and women al

re genuine works of art, worked slowly and patiently under the clear light of the Italian skies by women who were naturally artistic and beauty loving, and who, while working the shining needle and fairy thread in and out of the intricacies of the design sang the pretty "Lace

gth, and was sold for £145 by one of our leading lacemen. Barely 5 yards of Venetian lace, only 2 inches wide and in rags,

commanded high prices. In the inventory of Q

Italian Cut-worke,

ork lace of Italy, wit

paid £29 f

PLE OF "GROS P

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Contents

Chapter 1 A BRIEF HISTORY OF LACE Chapter 2 THE ART OF Chapter 3 THE ART OF LACE-MAKING Chapter 4 THE LACES Chapter 5 THE LACES OF ITALY Chapter 6 THE LACES No.6 Chapter 7 THE LACES OF GENOA AND MILAN Chapter 8 THE LACES No.8 Chapter 9 THE LACES OF FRANCE Chapter 10 THE PILLOW Chapter 11 THE PILLOW LACES OF FRANCE
Chapter 12 THE LACES No.12
Chapter 13 THE LACES OF FLANDERS
Chapter 14 THE MODERN
Chapter 15 THE MODERN BRUSSELS LACES AND MECHLIN
Chapter 16 OTHER
Chapter 17 OTHER CONTINENTAL LACES
Chapter 18 A SHORT
Chapter 19 A SHORT HISTORY OF LACE IN ENGLAND
Chapter 20 ENGLISH
Chapter 21 ENGLISH LACES
Chapter 22 SCOTCH
Chapter 23 SCOTCH AND IRISH LACES
Chapter 24 HOW TO
Chapter 25 HOW TO IDENTIFY LACE
Chapter 26 SALE
Chapter 27 OLD ENGLISH EMBROIDERY
Chapter 28 THE GREAT
Chapter 29 THE GREAT PERIOD OF EMBROIDERY
Chapter 30 ECCLESIASTICAL
Chapter 31 ECCLESIASTICAL EMBROIDERIES AND VESTMENTS
Chapter 32 TUDOR
Chapter 33 TUDOR EMBROIDERY
Chapter 34 EARLY
Chapter 35 EARLY NEEDLEWORK PICTURES AND ACCESSORIES
Chapter 36 STUART
Chapter 37 STUART CASKETS AND MIRRORS
Chapter 38 EMBROIDERED
Chapter 39 EMBROIDERED BOOKS AND BLACK WORK
Chapter 40 STUART No.40
Chapter 41 STUART PICTURES
Chapter 42 SAMPLERS
Chapter 43 SAMPLERS No.43
Chapter 44 THE WILLIAM
Chapter 45 THE WILLIAM AND MARY EMBROIDERIES
Chapter 46 PICTORIAL
Chapter 47 PICTORIAL NEEDLEWORK OF THE EIGHTEENTH CENTURY
Chapter 48 NEEDLEWORK
Chapter 49 NEEDLEWORK PICTURES OF THE NINETEENTH CENTURY
Chapter 50 EMBROIDERY
Chapter 51 EMBROIDERY IN COSTUME
Chapter 52 SALE No.52
Chapter 53 SALE PRICES
Chapter 54 CONCLUSION
Chapter 55 CONCLUSION No.55
Chapter 56 No.56
Chapter 57 No.57
Chapter 58 No.58
Chapter 59 No.59
Chapter 60 No.60
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