THE MODERN IRISH LACE INDUSTRY. 421 



Thus from these small beginnings were gradually evolved in response 

 to the demands of fashion the wonderful productions of the seventeenth 

 and eighteenth centuries. 



I trust my lady readers will pardon me for saying that it has been noted 

 as a curious fact that lace showed little artistic character until men adopted 

 the fashion of wearing it. It was for the great noble and the prelate that 

 the magnificent specimens of " Point de Venise " were made in the seven- 

 teenth century. We read that a collar made for Louis XIV. at Venice cost 

 £60, a large sum of money at that time. The fashions in those days 

 changed as surely though rather more slowly than in our time ; and the 

 heavy laces were gradually supplanted by the laces having meshed grounds. 

 As men wore less, women wore more of them, and so laces of lighter texture 

 were sought after. The heavy Venetian points gave place to the lighter 

 "rose point." In France such laces as the "Points d'Alencon " and 

 " d'Argentan " and many other subordinate varieties rose into a position of 

 importance. 



Fig. 3 is from a fine specimen of Gros Point de Venise of the seventeenth 

 century. It is only a small portion of the collar ; the design is composed of 

 fine, bold forms peculiar to this description of lace. The raised portions 

 give an effect of richness ; the closeness and solidity of the work are remark- 

 able. The fine diapers and patterns formed by small holes on the flowers 

 and leaves are wo-rthy of notice, as well as the deUcate cresting which sur- 

 rounds some of the forms. There are very few " brides " or " ties " ; the 

 ornament is so designed that its forms mainly support each other. 



Fig. 4 is also a piece of needle-point lace, Venetian, seventeenth century. 

 It is probably a little later in period than the preceding specimen. The 

 forms have become smaller, and more delicate, and consequently many more 

 brides or ties are required to hold them in position. The workmanship is of 

 the choicest ; and it is possible that the greatest triumphs of the needle, so 

 far as craft is concerned, have been attained in this description of lace. 

 From the numbers of httle crestings which surround the forms, suggesting 

 the shape of frost or snow^ crystals, this lace has frequently been called 

 Point de Neige. At the right side of the figure it may be noticed that the 

 pattern is constructed on a vertical line and is symmetrical, from thence 

 branching off into scrolls which play over the surface. These symmetrical 

 portions occur at regular intervals. 



Flanders had almost always restricted herself to the manufacture of 

 pillow lace. It seems to have been introduced from Italy about 1536, and 

 so engaged the attention of the Flemings that they were soon recognised 

 as the chief producers of this lace. At the present time the lace makers of 

 Bruges, in common with those at many other places in Belgium, may be 

 seen busily engaged in the production of pillow lace. 



Fig. 5 represents a piece of Brussels pillow lace of the eighteenth century. 

 The pattern is floral, composed of sprays which intertwine with the meander 

 VN'hich separates the two grounds. There are also small detached sprays. 

 This contrast of a fine with a coarser ground is very effective, and may be 

 seen in the earlier French needle-point laces. It is well to note how spar- 

 ingly the fillings are used in all these antique laces. 



Fig. 6 represents a border of Mechlin lace, of possibly an early date. 

 The forms are large, and rather clumsily drawn. The pattern would seem 

 to have been made for an insertion rather than a trimming border, as the 

 ornament does not form the edge. 



