18 REPORT OF NATIONAL, MUSEUM^ 1909. 



Hennen Jennings, almost certainly of a later period, because of the 

 greater freedom displayed in its design, in which are found symbols 

 of the Passion; while of much earlier date are a handsome Gothic 

 lace altar cloth, lent by Mr. Edson Bradley, and an Italian cut-work 

 altar cloth of most interesting description, lent by Mrs. Pinchot. 

 From these ancient forms of embroidery was evolved ' point lace,' 

 and, turning from specimens of the one to specimens of the other, it 

 is not difficult to follow the process — to observe how, as interest in 

 craftsmanship increased and the workers became more exj^ert, atten- 

 tion centered upon the pattern which was being created, and the 

 foundation was permitted to pla}^ a less and less important part, 

 until the Avork literally resolved itself into stitches in the air — 

 ' punto in aria.' And as the change was made in the method of work, 

 in the technique of the production, so a new spirit is seen to have 

 crept into the character of the design, geometric figures being cast 

 aside, and scrolls and floral motives taking their place. The same 

 change is seen to have occurred in both the painting and sculpture of 

 the same period. The Renaissance released art from the strait-jacket 

 in which it had been confined and, as though to compensate for its 

 years of imi^risonment, it directly burst into full bloom. Recall the 

 carving in the stone work on some of the palaces in Venice ; note the 

 ivory carvings of the same period; yes, even the furniture; and then 

 turn to some of the specimens of Venetian lace, and the common 

 inspiration — the unity of spirit which animated the workers — must 

 be recognized. Of Venetian point some excejDtionally beautiful 

 specimens are included in this collection, lent by Mrs. James Harri- 

 man, Mrs. Pinchot, Mrs. Robert R. Hitt, Mrs. Xorman Williams, 

 and others. Because of extraordinary beauty of design and delicacy 

 of execution, special reference, perhaps, should be made to a set of 

 collar and cuffs of seventeenth century rose point lent by Mrs. Har- 

 riman, as well as to a cape of gros point de Venice lent by Mrs. 

 Pinchot, which, despite certain characteristic heaviness, displays 

 remarkably fine workmanship. It has been said that Venetian lace 

 attained a grace and perfection which baffle all description, and so 

 it would seem. The fine rose point, with its delicacy of execution, 

 comi:»lexity of stitch, and beauty of pattern; the gros point, with its 

 vigor of line and sumptuous effect, deserve most truly to be ranked 

 with other works of art. 



" The early geometric patterns of the ' punto a reticella ' and even 

 the 'ixnito in aria ' were, we are told, derived from Greece and the 

 Ionian Isles, these arts having been transplanted from the East 

 through the channels of commerce. It is, therefore, of sj^ecial in- 

 terest to find with the Venetian laces in this collection 4 yards of 

 very rare reticella, probably produced in Greece in the sixteenth cen- 



