REPORT OF NATIONAL MUSEUM, 1914. 55 
plain net were purchased and a well-known variety of lace made by 
applying patterns to it. Appliqué lace is represented by a Belgian 
nineteenth century example of extremely fine fond cr ground, and an 
appliqué 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 pifia 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 present 
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 
