Seven Centuries of Lace

by Maria Margaret Pollen

Then, as now, specimens of the world's treasures of art and handicraft arrived in Rome from all parts of the known world. I see no difficulty in recognising the antiquity of this alb. That the great Pope Boniface VIII. wore it is only a tradition, and no evidence is afforded or vouched for by the authorities at the Vatican. One evidence of its origin should not be overlooked which is the material, which I believe to be the real Byssus, or fine handspun linen from the plant Linum usitatissimum not at that time available in Europe. Dr. Bock remarks that this Byssus was much sought for in early Christian times under the name of Byssus of Alexandria.[K] The linen of the Assisi alb is of the same texture, which I can only describe as crisp and wiry, notwithstanding that in many parts it is much worn; on handling the linen it reminded one at once of the linen of Egyptian mummy cloths, and the Italian curators of both albs, while I must say profoundly indifferent as to the questions of design and execution, which interested me most, were all quite certain that they had known no linen texture resembling it in Italy. It was impossible not to call to mind in this connection, "Fine linen with broidered work from Egypt was that which thou spreadest forth to be thy sail."[L] The linen of the alb of Pope Boniface is slightly finer than that of the Assisi alb, and is heavily worked with lace ornaments of an Eastern character. The repeated geometrical patterns, or rosettes symmetrically grouped in squares, are worked by the needle in punto a rammendo (see Plate [3]), and the curious stitch called punto treccia, or tress-work, is introduced, as well as the punto a stuora, or matting stitch. It may be observed that in such early lacework the punto a festone, or buttonhole stitch, is never, or very rarely found, though afterwards it became almost the only stitch used in all needle-point, until the advent of the réseau.

In the alb of Pope Boniface there is no buttonhole stitch—the ornaments in squares called quadri were inserted in the linen of the alb, and were surrounded by rows of punto tirato worked in the linen itself. The flounce and insertions, or "falsature," of pillow-made lace were evidently added at a later date.

It is interesting to see in the fresco by Giotto (1276-1337), preserved in St. John Lateran, that Pope Boniface VIII. is supported by two ecclesiastics, one of whom is wearing an alb with what appears to be lace on the sleeve.

The tomb of the same pope, and of others of about the same date, afford still more cogent evidence. In the Crypt of St. Peter's, Rome, Pope Boniface VIII. is represented in full pontifical vestments lying on a bier which is draped with a richly ornamental pall; this is raised to show a linen cloth with a border of reticello work in what is termed by a learned writer "the well-known geometrical design of the thirteenth century." The Pope wears an alb with an ornamental border which is repeated on the sleeves.

The fact is, of course, acknowledged that linen cloth was used for bed-linen, towels, and other articles. For albs, linen, and linen only, was ordered by the rubric; therefore, if one sees an alb represented, whether by painting or sculpture, the intention to represent linen is implied. And, if ornamented, the intention to represent linen lace is clear in many instances, although the painter or sculptor cannot, of course, give us a facsimile as satisfying as the photographs we have here.

I will here refer to the well-known pictures by Giotto and his school. One in the Louvre, of the birth of St. John the Baptist, has most unmistakable lacework on the linen of the bed, and on the long towel gracefully depicted as hanging from the shoulder of one of the attendants.

A fresco, also by Giotto, in the Basilica of Assisi, represents the figure of the Divine Infant in a shirt with reticello ornament.

Duccio di Buoninsegna (1260-1340) and Lorenzetti (1276-1348) may be mentioned among many others, as in their paintings linen cloths are rendered with unmistakable needle-point ornament. It is quite clear that these laces were in general use before the fourteenth century, although it is not surprising that few specimens remain to us.

The pattern of the lacis, or sfilatura, in Plate No. [7], is geometrical, with an Eastern tendency, as in Pope Boniface's alb. It is singularly like the dresses of saints in some of the Ravenna mosaics, and the more ancient stitches can be seen in the specimen given, but there is no buttonhole stitch.