ANTWERP.
"At Antwerp, bought some ruffles of our agreeable landlady, and set out at 2 o'clock for Brussels."—Tour, by G. L., 1767.
Before finishing our account of the laces of Brabant, we must touch upon the produce of Antwerp, which, though little differing from that of the adjoining towns, seems at one time to have been known in the commercial world.[[365]] In the year 1560 we have no mention of lace among the fabrics of Antwerp, at that period already flourishing, unless it be classed under the head of "mercery, fine and rare."[[366]] The cap, however, of an Antwerp lady[[367]] of that period is decorated with the fine lace of geometric pattern. (Fig. 63.) As early as 1698 the Flying Postman advertises as follows: "Yesterday, was dropped between the Mitre Tavern and the corner of Princes-street, five yards and better of Antwerp lace, pinner breadth. One guinea reward."
According to Savary, much lace without ground, "dentelle sans fond," a guipure of large flowers united by "brides," was fabricated in all the towns of Brabant for especial exportation to the Spanish Indies, where the "Gothic" taste continued in favour up to a very late period. These envoys were expedited first to Cadiz, and there disposed of. In 1696, we find in a seizure made by Monsieur de la Bellière, on the high seas, "2181 pieces de dentelles grossières à l'Espagnole assorties."[[368]] (Plate XLI.)
Since the cessation of this Spanish market, Antwerp lace would have disappeared from the scene had it not been for the attachment evinced by the old people for one pattern, which has been worn on their caps from generation to generation, generally known by the name of "pot lace" (potten kant). It is made in the Béguinages of three qualities, mostly "fond double." The pattern has always a vase (Fig. 64), varied according to fancy.[[369]] Antwerp now makes Brussels lace.
Fig. 63.
A Lady of Antwerp.—(Ob. 1598. After Crispin de Passe.)
One of the earliest pattern-books, that printed by Vorsterman[[370]]—the title in English—was published at Antwerp, but it only contains patterns for Spanish stitch and other embroidery—no lace. There is no date affixed to the title-page, which is ornamented with six woodcuts representing women, and one a man, working at frames. This work is most rare; the only copy known may be found in the Library of the Arsenal at Paris.
Fig. 64.