Cotton spinning was one of the most important textile industries. Over a million spindles were employed, most of them in the two provinces of Hainault and Brabant, and in the city of Ghent. Most of the cotton came from America and Egypt.
An Old Lacemaker
Verviers, in Liège, was the center of the wool-spinning industry. Here again the superior skill of the artisans established the reputation of the Belgian article. Most of the wool came from Australia and the Cape.
For its flax spindles, however, Belgium raised its own material. The flax of Courtrai was considered the best in all Europe. More than half the finished thread was exported to England. The abundance of this material doubtless led to the early development of lace-making, for which the women of the country became so famous.
Flanders claims to be the birthplace of pillow-lace—dentelles aux fuseaux—and disputes with Italy the invention of lace generally. In earlier times drawn or cut work was often confused with lace, as was embroidery of one sort or another, and for this reason it is difficult to trace the art definitely back to its beginning. Ornamental needlework was done in Old Testament days, for Isaiah mentions those who “work in fine flax and weave networks.” But real lace-making—the interweaving of fine threads of flax, cotton, silk, of silver, gold or hair, to form a network—did not appear till the time of the Renaissance, when all the arts of Europe awoke to life. In a chapel at St. Peter’s, in Louvain, was an altar-piece painted in 1495 by Quentin Matsys, which showed a girl making lace on a pillow like those still in use to this day.
The manufacture of lace began in Brussels about the year 1400. The city excelled from the first in the quality of the work done there. This was due to the fineness of the thread of Brabant, which the women spun inch by inch with such painstaking care that it defied competition. A pound of flax was sometimes transmuted into lace worth several thousand dollars.
The lace industry was the only one in Flanders which survived the upheavals of the sixteenth century. Its prosperity alone tided the distracted people over their difficulties and saved them from the ruin which threatened. The women plodded on at their slow task, hour after hour, thread after thread, for a pitiful few cents a day, and never knew that they had saved their country. “They are generally almost blind before thirty years of age,” wrote an early chronicler.
The women of Belgium have always been specially adept with the needle, and it may be that the rainy weather so prevalent there had something to do with the development of this indoor industry. Certainly lace-making is—or was, until very recently—practised in all the provinces except Liège, and in some districts it could be said that every woman, young or old, handled the bobbins or the needle. It was, indeed, the national industry.
As a rule, the women worked to order and by contract, and were paid by the piece. The lace, when finished, was handed over to the local middleman, who, in turn, sold it to the contractors in the cities. The children learned the art from their mother or—more often—from the nuns in the various convent schools. They would enter these schools when six or eight years old, and often remained there till their marriage. The nuns did much to keep up the ancient traditions of the art, and even in their convents in the Far East today they make a point of teaching the native children to copy European laces.