EEPORT OF NATIONAL MUSEUM, 1&14. 55 



plain net were purchased and a well-loiown variety of lace made by- 

 applying patterns to it. Applique lace is represented by a Belgian 

 nineteenth century example of extremely fine fond or ground, and an 

 applique net lace once the property of Queen Charlotte. Later laces, 

 as Brussels, Chantilly, and Honiton, appear in profusion. Of these 

 Honiton is characterized by simple designing, while Brussels and 

 Chantilly run the gamut of florid patterns. Especially interesting 

 is a Honiton collar with rose, shamrock, and thistle design affected by 

 royalty. Of Spanish blonde, one of the few laces made with silk 

 thread, there are charming examples. 



Aside from the laces arranged to give an idea of the types and 

 varieties of this beautiful handiwork are other individual collections 

 placed together and containing rare and valuable specimens which 

 delight the connoisseur. The collection as a whole relates principally 

 to European work, but illustrations of Philippine embroidery and 

 drawn work of excellent quality and of Paraguay Indian lace have 

 been included. Among these are exquisitely fine piila handkerchiefs 

 with worked scenes, and examples of Philippine needlecraft which 

 will repay study. 



A special exhibit of great interest consists of weavings, embroid- 

 eries, samplers, tatting, knitting, and other handiwork of the Amer- 

 ican gentlewoman of the nineteenth century, together with appliances 

 and accessories, forming a series that is noteworthy on account of its 

 historical treatment of the pursuit of artistic expression during a 

 former period. The fascinating subject of white embroidery has not 

 as yet been given prominence, but a number of pleasing pieces of the 

 work are displayed in the wall and other cases on the south side of the 

 range. 



The collection of art fabrics is one of peculiar attractiveness on 

 account of the richness of its materials and colors, to which the spin- 

 ner, dyer, weaver, and metal worker gave their best craftsmanship. 

 Lace, more modest, employed only threads of white or rarely black 

 to create its marvels, but lace was the final touch, the supreme finish 

 to set off the rich colors of the costume. It is probable also that the 

 edges of stuffs as they came from the loom required lace for their 

 embellishment and in its origin lace appears to have been an out- 

 growth of this need. It seems remarkable that these brocades, cloths 

 of gold, velvets, satins, and embroideries should have survived the 

 vicissitudes of several centuries and still remain strong and fresh. 

 This is owing to the conscientious manner of their production, and 

 these works will endure when the evanescent fabrics of the j)resent 

 period have crumbled to dust. Another reason for their preserva- 

 tion is that most of the fabrics in the exhibit are in the form of 

 ecclesiastical vestments, which were systematically cared for in the 

 church wardrobes. Among the materials are French, Italian, and 



