At the Committee Bureau I had seen many of the wonderful cloths made from Venise details from this convent (among them the cloth typifying the burning cities, presented to Mrs. Hoover), but I had never imagined anything so lovely as the exhibit the sisters had been arranging on the long, low table, while we were passing from chair to chair following the magic needles.... We turned to find the separate parts of a banquet cloth to be offered to Queen Elizabeth on her return from exile, assembled for us. Two hundred and twenty details, there were, on which during the darkest days of the war, women had worked with unfaltering faith and love. M. de Rudder, a well-known Belgian artist, had drawn the design for the Lace Committee. The border, edged with ivy, the symbol of endurance, is composed of ferns and wild flowers, eels and sea-weed, suggesting the forests and fields and waters of Belgium. Adjoining them are the coats of arms of destroyed cities, bordered by a band of lilies of the valley, signifying the return of happiness. In the center, the four patron saints of Brussels, Saints Michel and George, and Saints Elizabeth and Gudule, are enwreathed with olive branches. Saint Elizabeth, above the Red Cross, represents the Queen and her devoted service as nurse during the war, while the eight medallions near her carry the names of the Beatitudes. Opposite Saint Elizabeth is Saint George, who represents King Albert. Below him is the Belgian decoration for bravery, and in the surrounding medallions are woven the names of battles won by him. Between Saint Elizabeth and Saint George, are the immortal words spoken by His Majesty as he went from the Chamber, sword in hand, on the 4th of August, 1914: “J’ai foi dans nos destinées! Un pays qui se défend s’impose au respect de tous, ce pays ne périt pas!” It is one thing to mention a few of the two hundred and twenty details of this glorious cloth, it is quite another to hold any one of them in one’s hand and realize its perfection, its incredible combination of softness and delicacy and firmness and regularity. The twelve sisters gathered happily about us, as we sat before the table quite breathless over the discovery of one new beauty after another in their truly royal gift.
And then they brought us something much less important, but nevertheless exquisite, the work of Sister S., which they show rarely, a length of Rose Point about four inches wide, and which even the women of the Committee after their long years’ constant experience in lace, said they had never seen surpassed. The linen thread ordinarily used in Venise runs from Number 200 to Number 300. This lace, whose base is formed by an ethereal interlacing of vines and tendrils, is made with Number 2000. One can work on it scarcely more than two or three hours a day, and then only under the best light. Sister S. brought me the magnifying-glass, without which I could not have followed the exquisitely varied points, and lifted the infinitesimal petals of the tiny flowers incrusting the background of interwoven tendrils. In some of these microscopic blooms were as many as four layers of petals. It would be useless to attempt to describe the loveliness that results from the blending of the background of vines and lifted blossoms. I asked what a meter of such lace would bring and learned that it will probably be sold in Paris for 1,000 francs, tho these sisters would be happy to guard it as one of their convent treasures.
CUSHION COVER IN VENISE
Pekinese dog design, by M. Allard
TABLE CENTER IN FLANDERS WITH CENTER AND BORDER OF VENISE