Читать книгу Chats on Old Lace and Needlework - Emily Leigh Lowes - Страница 15

Table of Contents

Catherine de Medici's collection of "Lacis"—Establishment of lace-making by Colbert—"Point de France"—"Point d'Alençon"—"Point d'Argentan"—Modern reproduction of these at Burano, Italy.

France in the sixteenth century, as always, led the van of fashion. Lace appears to have been extensively used long before its apotheosis at the Court of Louis le Grand, otherwise Louis XIV. Catherine de Medici patronised the manufacture 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 of lacis and cutwork. Afterwards the Reticella laces of Italy were imported and had an immense vogue, but it was not until the artistically glorious time of Louis XIV. that an attempt was made to encourage a manufacture of French laces.

Colbert, the astute Minister of Louis XIV., became alarmed at the immense sums of money which went out of the country to purchase the laces of Venice, and, by means of bribing the best workers of the Venetian schools, he induced them to settle at L'Onray, near Alençon. In 1665 he had so far succeeded 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 be taken to have the truant lace-worker killed. If, however, he or she returned, complete forgiveness would be extended, and work found them for life at handsome remuneration. History does not tell us the result of this decree, but it evidently failed to destroy the lace manufacture of France.

At first the lace manufactured at Alençon received the name of "Point de France," and was absolutely indistinguishable from that of Venice. Its magnificence of design, indeed, may be said to have exceeded anything before attempted. 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 specimen of the lace, Madame de Montespan is seen seated under the crown, two small Indians are on either side; a tree bearing flags and trophies completes this tribute to the genius of the lace-makers and the splendour of the Court.

"POINT DE FRANCE." (The property of Lady Kenmare.)

POINT D'ALENÇON. (Author's Collection.)

The name "Point de France" is given to all lace made from its commencement by Colbert's direction until about 1678, when the lace-workers, perhaps forgetting the traditions of the Venetian school, developed a style of their own and the work became more distinctly French, being more delicate, finer in substance, the patterns clearer and more 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, and it gave to the world, not the finest lace, as it was impossible to surpass the earliest Venetian Point laces, but certainly the next lace in order of merit, "Point d'Alençon." The chief characteristic of the lace is the fine, clear ground, the stiff Cordonnet outlining the pattern, and the exquisite patterns in the "jours" or fillings.

The cordonnet of Alençon is the only one which has horsehair for its foundation. A strand of hair is carefully stitched down to the edges and is buttonholed over with the finest thread, and is said, although giving the lace quite a character of 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 stitched together in what is known as "fine joining." So elaborate was the original Point d'Alençon that no less than eighteen workers were engaged on one single piece. Later the number was reduced to twelve, when the patterns became less ornate.

Although the factory of Alençon existed well into the early nineteenth century, the style of lace gradually deteriorated, until it is now non-existent! The lace made during the long reign of Louis XIV. is considered by far the finest and best, showing both grandeur of style and pattern and exquisite workmanship. 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 finally caused the complete overthrow of Alençon lace, as of all fine art work in France. An attempt was made by Napoleon I. to revive it, but its glories had passed, and the hands of the workers had lost their cunning, the result being known as the worst type of lace, stiff and ugly in design and coarse of execution.