I find that it is often supposed that no specimens exist of ancient Maltese lace. It is, however, well known there that lace was made in Malta and Gozo at all events as early as about 1640. The early flounce (Plate [80]) was bought in Valetta more than fifty years ago, and inquiries made convince me that it was made, as my Maltese informant expressed it, "before the time of Lascaris." The Maltese often use the expression "time of Lascaris" or of "Carafa," "Manoel," etc., to date anything. These were the names of different Grand Masters before the islanders invited English occupation in 1800. There is no doubt that the disturbance caused by the French occupation affected lace-making so that it fell into abeyance, but before that time great quantities of these simple, strong and useful laces were made, principally, of course for church use. The narrower edgings (Plate [98]) were used for the fine white lawn head-dresses worn with the beautiful national gala dresses, now only preserved by the great Maltese families as relics of the past.
Number 1, Plate [88], is a very curious early pattern called gotico in Italy.
Numbers 2 and 3 are Sicilian peasant laces.
Number 4, Tuscan peasant lace called piedi di gallini (fowls' feet).
Number 5 is a Tuscan peasant lace called zeccatello.
Plate [89] illustrates six peasant laces from Russia, Madeira, Portugal, Ceylon, and Le Puy, made before 1850.
In the Genoese laces in Plates [90] and [91] we have examples of what may be called the second manner of bobbin lace. The patterns of conventional sprays and flowers are made on the pillow separately, and afterwards joined by brides picotées, also bobbin-made. In the lace made in this second manner, in which many laces were made at successive periods in Milan, Genoa, Brussels and Honiton, the threads forming the connecting brides, and later the réseau, can be detected by looking on the reverse of the lace, as they are seen passing behind the patterns. An example of this carrying threads across is shown in the Honiton lace, Plate [118].
Plate [92] represents one of the finest examples I have seen of Genoese bobbin lace, trine a fuselli. The design is of gracefully arranged scrolls and flowers, and includes five birds which are introduced in the most spirited manner. The several tapey shapes, made separately and joined by brides, form the complete design or pattern, the fillings between them are very good, and include the starlike work characteristic of Genoa. This illustration is on a reduced scale in order to show the pattern of the lace. Plate [93] represents the exact size of the same lace.
Plate [94] is a flounce of Milanese bobbin lace, trine a fuselli. The pattern is of scrolls and flowers, a heraldic crowned eagle and small birds, with various fillings in the spaces enclosed. A very strong réseau connects the whole.
Plate [95], a flounce of the same lace, has a very beautiful flowing design of scrolls, with a background of the characteristic réseau of Milanese work.