Chats on Old Lace and Needlework Informative Summary

Overview:

This book, written in 1908, delves into the rich history of lace and needlework, specifically focusing on English creations. The author, Emily Leigh Lowes, highlights the exquisite craftsmanship and artistry that characterized these crafts in England, particularly during the medieval period.

The book traces the evolution of lace from its early forms in Egypt to the development of needlepoint lace in Italy and pillow lace in Flanders. It then explores the distinct characteristics and styles of various laces, including Venetian, Genoese, Milanese, French (Point d’Alençon, Point d’Argentan, Valenciennes, Lille, Chantilly), and Flemish laces, along with a detailed examination of English laces (Honiton, Buckingham, Bedfordshire, and Irish). The book also delves into the history of English embroidery, starting from the remarkable “Opus Anglicanum” of the 12th and 13th centuries, and moving through the Tudor period, the Stuart era, and into the 18th and 19th centuries.

Key Findings:

England’s lost dominance: The book reveals how England was once a leading force in both lace and embroidery, producing masterpieces like the Syon Cope. However, factors such as the Reformation and the rise of machine-made products led to a decline in these crafts.
Global influence of Venetian and Flemish lace: The book highlights the impact of Venetian and Flemish lace on other countries, as their unique styles and craftsmanship spurred imitation and inspired new lace traditions across Europe.
The allure of old lace and embroidery: The book underscores the lasting appeal and value of old lace and embroidery, evident in the high prices paid for antique pieces in the early 20th century.

Learning:

Understanding Lace Techniques: The book provides a clear distinction between needlepoint and pillow lace, explaining the techniques and terms associated with each. You’ll learn about the importance of identifying the ground (réseau) of a lace, the different types of fillings, and how to spot the difference between hand-made and machine-made lace.
Tracing Lace History: You’ll gain knowledge of the evolution of lace-making, from its early forms in Egypt to the development of distinct styles in Italy, Flanders, and France. The book highlights the historical significance of lace in fashion and its impact on the economy.
Recognizing Styles: Learn to identify the unique characteristics and motifs of various lace styles, such as Venetian Rose Point, Point d’Alençon, Brussels, and Mechlin. You’ll also discover how to distinguish the different types of grounds and patterns that distinguish specific lace types.
Appreciating English Embroidery: The book unveils the exceptional craftsmanship of English embroidery, particularly during the “Opus Anglicanum” period. You’ll learn about the history of ecclesiastical embroidery, the importance of the Syon Cope, and the transition from religious themes to more secular subjects in embroidery.
The Decline of Needlework: You’ll gain insight into the decline of hand-made embroidery in the 19th century, due to the rise of machine-made products and the popularity of Berlin-wool pictures. The book emphasizes the loss of traditional skills and the need for a revival of genuine needlework artistry.

Historical Context: This book was written in 1908, a period marked by increasing interest in antique crafts and a growing fascination with the past. The author’s insights into the decline of English lace and embroidery in the face of industrialization and changing tastes reflect a sense of nostalgia for a lost tradition. The book also reflects the growing demand for antique lace and embroidery among wealthy collectors, as evidenced by the high prices paid at auctions.

Facts:

Early Lace: The earliest known lace, discovered in St. Cuthbert’s tomb (685 AD), was a simple gold lace, suggesting early efforts at lace-making.
Drawn Thread Work: Hem-stitching and fine-drawing, forms of drawn-thread work, were common in early lace-making and still exist today.
Reticella: This early form of needlepoint lace, known as “punto in aria” (working with the needle in the air), was a significant development in lace-making.
Convent Lacemaking: Nuns in Italian convents played a key role in refining and elaborating the art of lace-making, particularly in the development of Needlepoint lace.
The Rise of French Lace: Colbert, Louis XIV.’s Minister, established lace schools near Alençon and lured Italian workers to France, leading to the development of Point d’Alençon and Point d’Argentan.
The Persecution of Huguenots: The persecution of Protestants forced many Huguenots to flee France and settle in England, bringing their skills in silk-weaving and lace-making, contributing to the emergence of English lace.
The Cost of Flanders Flax: The fine flax thread grown in Flanders was exceptionally expensive, costing £240 per pound, and was considered crucial for producing the most delicate lace.
Brussels Lace: The curved “toile” (pattern) and distinctive edge of Brussels lace set it apart from other Flemish laces.
The “Eternal Valenciennes”: Valenciennes lace, especially the “Vraie” variety, was known for its exceptional durability and was a prized possession among the wealthy.
The Queen of Laces: Mechlin lace was considered “the Queen of Laces” for its fine, transparent quality and delicate designs.
Spanish Point: Much of the lace known as “Spanish Point” was actually Italian Rose Point of a larger scale, often used for church vestments.
Gold and Silver Lace: Spain was renowned for its fine gold and silver laces, which were often used in ecclesiastical garments and royal attire.
The Bayeux Tapestry: This famous work, miscalled a tapestry, is actually an embroidery created by Queen Matilda, depicting events from English history.
“Opus Anglicanum”: This period of English embroidery, dating from the 12th to 13th centuries, is considered the golden age, characterized by intricate stitchery and exquisite use of gold and silver threads.
The Syon Cope: This magnificent cope, housed at the South Kensington Museum, is a prime example of “Opus Anglicanum” and features elaborate embroidery with gold and silver threads, and colorful silks.
Church Vestments: The book provides a detailed description of various ecclesiastical vestments, including the alb, chasuble, cope, and maniple, which were often adorned with exquisite embroidery.
The Reformation’s Impact: The Reformation led to the destruction of many church vestments and hangings, resulting in a decline in ecclesiastical embroidery and a shift toward more secular uses of embroidery.
The Field of the Cloth of Gold: This extravagant meeting between Henry VIII. and Francis I. in 1520 showcased the opulent attire and embroidery of the time, demonstrating the importance of embroidery as a symbol of wealth and power.
Queen Elizabeth’s Wardrobe: Queen Elizabeth was known for her extensive wardrobe, with many of her dresses richly embellished with gold and silver thread, jewels, and “gimps,” but less emphasis on embroidery.
The Rise of Petit Point: This technique, involving tiny stitches on fine canvas, emerged around the end of James I.’s reign and was used to create intricate needlework pictures, often depicting mythological scenes.
Stuart Caskets: These small, decorated boxes, often with secret compartments, became a popular item of needlework during the Stuart period, showcasing intricate embroidery and often incorporating beads and hair.
Embroidered Books: During the Tudor and Stuart periods, books were often given exquisite covers, embroidered with heraldic devices, scriptural scenes, or floral patterns.
“Black Work”: This distinctive style of embroidery, featuring intricate black silk back-stitching or chain-stitching, is often attributed to Catherine of Aragon’s Spanish influence.
Quilting: The quilting of the 17th and 18th centuries differed greatly from later styles, using fine materials and painstakingly stitching tiny panels to create elaborate patterns.
Stuart Pictures: These needlework pictures often featured scenes from the Bible or mythology and included a variety of stitches, including petit point, stump work, and lace stitches.
Royalistic Symbols: Stuart needlework pictures often incorporated royalistic symbols, such as the unicorn, the lion, the leopard, and the oak tree, reflecting the devotion of loyalist women.
Samplers: These elaborate pieces of needlework, showcasing a range of stitches and patterns, became popular in the 17th century and often included the alphabet, numerals, and moral verses.
The Decline of Embroidery in the 19th Century: The invention of the sewing machine, the popularity of Berlin-wool pictures, and a general decline in artistic standards led to a significant decline in the quality and creativity of needlework.

Statistics:

Costly Flax: The finest flax thread from Flanders could cost as much as £240 per pound in the 17th century.
Expensive Lace: A pound of Flanders flax thread could be used to make lace worth £720, reflecting the high value of hand-made lace.
Queen Mary’s Lace Bill: Queen Mary’s lace bill for a single year amounted to £1,918.
William III.’s Lace Purchases: William III. spent £1,603 in 1690 and £2,459 in 1695 on lace.
Costly Honiton Lace: In the early 20th century, a 6-yard Honiton flounce could sell for £69 6s. 0d.
The Price of “Opus Anglicanum”: The South Kensington Museum purchased the Syon Cope for £110 and a fragment of the “Jesse” Cope for £119 1s. 10d.
The Cost of an Altar-frontal: A 15th-century “Nevil” altar-frontal, now at the South Kensington Museum, was bought for £50.
Queen Anne’s Lace Purchases: In 1710, Queen Anne paid £151 for 21 yards of Brussels edging and £1,418 two years later for Brussels and Mechlin lace.
A Napoleon-Era Garment: A christening garment for Napoleon’s son, “the King of Rome,” embroidered with Napoleonic “N’s,” crowns, and cherubs, sold for £120 in 1903.
The Value of Old Jacobean Hangings: In 1907, a set of Jacobean bed-hangings sold for £4000 at Christie’s. A full-sized bed-cover from this period can now sell for over £100.
A Painted Face Picture: A well-executed “painted face” needlework picture from the 18th century could fetch £15 to £30, though modern fakes can be found for as little as £2 to £3.
The Price of a Stuart Mirror: A Stuart mirror with stump embroidery depicting Charles I. and his Queen sold for £102 18s. 0d. in 1906.
A Stuart Jewel Casket: A jewel casket from the Stuart period with needlework and secret drawers sold for £47 5s. 0d. in 1906.
Old Samplers: In the early 20th century, a good 17th-century sampler could fetch £30 or more.

Terms:

Opus Anglicanum: The term for English embroidery of the 12th and 13th centuries, characterized by fine stitchery and rich use of gold and silver threads.
Réseau: The ground or network of a lace, typically made of plaited threads in pillow lace and buttonhole stitches in needlepoint lace.
Toilé: The pattern or design in a lace, which can be either worked with the needle or on the pillow.
Cordonnet: A raised cord used to outline the pattern in some types of lace, often made with horsehair as a base.
Jours: Open spaces within the pattern of lace, often filled with ornamental stitches.
Brides: The connections between various parts of a lace design, made of thread thrown across and buttonholed over.
Picots: Small loops used to decorate a bride.
Guipure: Lace having a tape-like design, usually made on a pillow.
“Petit Point”: A technique of embroidery using tiny stitches on a fine canvas, typically used for creating intricate needlework pictures.
“Stump Work”: A technique involving raised elements, often created with padding, to create three-dimensional effects in embroidery.
“Black Work”: A style of embroidery using fine black silk back-stitching or chain-stitching to create intricate patterns.

Examples:

St. Cuthbert’s Stole and Maniple: These 9th-century embroideries, worked by Queen Aelfled, showcase the early skill of English needlework and feature intricate figures in niches and clouds.
The Bayeux Tapestry: This famous embroidered work depicts scenes from the Norman Conquest, showcasing the crude, but historically significant, style of early embroidery.
The Syon Cope: This magnificent 15th-century cope features a complex design of interlacing quatrefoils, scenes from the life of Christ, and numerous coats of arms.
Queen Elizabeth’s Book: This book, now in the British Museum, has a green velvet cover with embroidered roses, pearls, and the Royal Arms, and contains a prayer written by Elizabeth herself.
A Stuart Casket: A typical Stuart casket might have a secret drawer, a fitted mirror, and be covered with intricate embroidery depicting floral designs or mythological scenes.
A “Painted Face” Picture: These 18th-century needlework pictures often feature charmingly painted faces, while the rest of the picture is embroidered with silk, showcasing a blend of painting and needlework.
A Black Silk and Hair Picture: This type of picture, often imitating engravings, used black silk and human hair of various shades to create a monochrome effect.
A Berlin-Wool Picture: These 19th-century pictures, often featuring crudely colored depictions of landscapes, animals, or biblical scenes, are a testament to the decline of artistic standards in needlework.
A Sampler: An elaborate 17th-century sampler might showcase a variety of lace, cutwork, and embroidery stitches, along with the alphabet, numerals, and moral verses.
A Jacobean Wall-hanging: These large hangings, often worked in crewel wool, typically feature intricate floral designs, birds, and fantastical landscapes.

Conclusion: “Chats on Old Lace and Needlework” offers a fascinating glimpse into the history of these delicate crafts. While acknowledging the once-great tradition of English lace and embroidery, the book also underscores the loss of craftsmanship and the decline in artistic standards that occurred in the 19th century. The book serves as a valuable resource for understanding the evolution of lace and embroidery, appreciating the artistry of these crafts, and recognizing the enduring value of antique pieces. As the book concludes, Lowes calls for a revival of genuine needlework artistry, urging readers to look to the past for inspiration and to cherish the remaining examples of “Opus Anglicum” as a testament to England’s once-great heritage.

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