In foarme of surplois."[[53]]
These,[[54]] with handkerchiefs,[[55]] sheets, and pillow-beres,[[56]] (pillow-cases), were embroidered with silks of various colours, until the fashion gradually gave place to cut-work, which, in its turn, was superseded by lace.
The description of the widow of John Whitcomb, a wealthy clothier of Newbury, in Henry VIII.'s reign, when she laid aside her weeds, is the first notice we have of cutwork being in general use. "She came," says the writer, "out of the kitchen in a fair train gown stuck full of silver pins, having a white cap upon her head, with cuts of curious needlework, the same an apron, white as the driven snow."
We are now arrived at the Renaissance, a period when so close a union existed between the fine arts and manufactures; when the most trifling object of luxury, instead of being consigned to the vulgar taste of the mechanic, received from artists their most graceful inspirations. Embroidery profited by the general impulse, and books of designs were composed for that species which, under the general name of cut-work, formed the great employment for the women of the day. The volume most generally circulated, especially among the ladies of the French court, for whose use it was designed, is that of the Venetian Vinciolo, to whom some say, we know not on what authority, Catherine de Médicis granted, in 1585, the exclusive privilege of making and selling the collerettes gaudronnées[[57]] she had herself introduced. This work, which passed through many editions, dating from 1587 to 1623, is entitled, "Les singuliers et nouveaux pourtraicts et ouvrages de Lingerie. Servans de patrons à faire toutes sortes de poincts, couppé, Lacis & autres. Dedié à la Royne. Nouvellement inventez, au proffit et contentement des nobles Dames et Demoiselles & autres gentils esprits, amateurs d'un tel art. Par le Seigneur Federic de Vinciolo Venitien. A Paris. Par Jean le Clerc le jeune, etc., 1587."
Two little figures, representing ladies in the costume of the period, with working-frames in their hands, decorate the title-page.[[58]]
The work is in two books: the first of Point Coupé, or rich geometric patterns, printed in white upon a black ground (Fig. 2); the second of Lacis, or subjects in squares (Fig. 3), with counted stitches, like the patterns for worsted-work of the present day—the designs, the seven planets, Neptune, and various squares, borders, etc.
Vinciolo dedicates his book to Louise de Vaudemont, the neglected Queen of Henry III., whose portrait, with that of the king, is added to the later editions.
Various other pattern-books had already been published. The earliest bearing a date is one printed at Cologne in 1527.[[59]]
Fig. 2.
