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Chapter 9 THE LACES OF FRANCE

Word Count: 1231    |    Released on: 01/12/2017

point Lace

lace-making by Colbert-"Point de France"-"Point d'Alen?on"-"P

ure of "Lacis," which was merely darned netting, more or less fine. At this time "Lacis" and "Cut-worke" were practically all that was known or used. Bed-hangings, curtains, and furniture-coverings were covered with alternate squares

ucceeded that lace rivalling that of Venice was being produced. The Venetians became alarmed in their turn (as, indeed, they had need to be) and issued an edict, ordering the lace-workers to return forthwith, or, failing this, the nearest relative would be imprisoned for life, and steps would

ted. The introduction of tiny figures was attributable to the overwhelming personality of Louis XIV., and was symbolical of his magnificent sway and far-reaching influence. In the illustration, page 55, an especially fine speci

DE FR

rty of Lad

D'AL

's Coll

re defined. The importation also of the finer flax thread from Flanders brought the more exquisite Pillow lace of Brussels to the notice of the French lace-workers. The French, as a nation, have always been foremost in seizing upon new ideas and adapting them to their own artistic requirements. In this instance the result was admirable, a

f its own, to have been the cause of much of its destruction, as, in washing, the hair contracts and curls. It will be noticed also that the ground is worked in strips, shortways of the lace of less than an inch in length, afterwards being sti

. Under Louis XV. the lace was equally well made, but the patterns followed the Rococo designs which were now introduced into all other decorative work, while in the reign of the ill-fated Louis XVI. it went completely out of fashion, Marie Antoinette affecting a much simpler style of lace. The Revolution final

d'Arg

ss, however, will speedily dispel this illusion. The ground in itself is a marvellous piece of work, each of the sides of the mesh b

DE FR

's Coll

D'ARGE

d'Arge

his as it may, the lace known as Point d'Argentella is exceptionally fine even amongst other fine laces, and is noted most specially for the fine "jours" which form an essential part of the pattern

y many connoisseurs this is considered the finest lace of this age, being far superior to modern Brussels. It is entirely handmade, which cannot be, unfortunately, averred for Brussels, as the fine machine-made net, woven from the exquisitely fine thread manufactured in Flanders and Belgium, serves as the ground

N WITH POINT D'

Colle

SHOWING THE "PART

Colle

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Contents

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