Early Valenciennes can only be distinguished from Flemish laces of the same age by the difference in the ground. By reference to the little [chart] of lace stitches the distinction will easily be seen, the Valenciennes being much closer and thicker in the plait, and having four threads on each side of its diamond-shaped mesh. Conventional scrolls and flowers were used as designs for the toile, the ground and the pattern being made at the same time.
This lace is said to have been worked, like that of Brussels, in dark, damp cellars, the moist atmosphere being necessary to prevent the tiny thread breaking. The lace-workers became nearly blind, and quite useless, long before they reached thirty years of age.
So expensive was the fabric that a pair of ruffles for a gentleman's coat would sell for 4,000 livres. Madame du Barri made extravagant use of this lovely lace. In her wardrobe accounts are mentioned, in 1771, head-dress, throatlets, fichus, and ruffles, "all plissé de Vraie Valenciennes." The amount of lace used for a head-dress alone is said to have cost 2,400 livres.
The "Vraie Valenciennes" was practically indestructible, earning the nickname of the "Eternal Valenciennes" from its durability. The well-to-do bourgeoise used to invest her savings in real lace, treasuring and wearing it on all best occasions for a lifetime.
The lace-makers of the town itself were so satisfied with their own lace that they proudly boasted that if a length commenced in the town of Valenciennes were taken and completed by the same worker, and with the same thread, outside their own damp atmosphere, the exact point of difference would be shown in the piece.
"OLD LILLE."
(Author's Collection.)
The earliest Valenciennes laces show a closer design than that made later, which, by the way, many connoisseurs much prefer. The latter type is of clearer ground and more open design. The flowers do not follow the large scroll-like pattern of Flanders, but suggest the detached sprays and festoons of Alençon and Argentan. In both types there is no cord outlining either pattern or edge. All is flat as a piece of fine lawn.
Lille.
By no means a favourite lace at any time, Lille ranks next in merit as a hand-made lace. The mesh is clearer and larger than most French or Belgian laces, being made by the simple twisting of two threads on four sides. The patterns are simple, and are outlined with a loose flax thread of silky appearance. The straight edges which characterise Old Lille lace certainly did not lend elegance to it. A large manufacture in black lace was commenced, and the black silk mantles of the eighteenth century were lavishly trimmed with it. It is entirely out of favour at this day, however, only the finest white variety being sought after.