They had not many models, and the best workwomen were those who devoted their whole life to one special pattern. Few were found so persevering. One widow, however, is recorded who lived to the age of eighty and brought up seven children on the produce of a narrow edging, which she sold at sixpence a yard.
Each pattern had its proper name—cock-eye, spider, lyre, chimney-pot, and feather.
The rich farmers' wives sat at their pillows daily, causing their household duties to be performed by hired servants from North Jutland. Ladies also, a century and a half ago, made it their occupation, as the motto of our chapter, from the drama of Holberg, will show. And this continued till the fashion of "hvidsom"—white seaming—the cut-work already alluded to, was for a time revived. This work was, however, looked upon as infra dig. for the wives of functionaries and suchlike, in whom it was unbecoming to waste on such employment time that should be devoted to household matters. Our informant tells of a lady in the north who thus embroidered the christening robe of her child by stealth in the kitchen, fearing to be caught by her visitors—cookery had in those days precedence over embroidery. Among the hoards of this child, born 1755, was found a most exquisite collection of old Tönder lace, embracing all the varieties made by her mother and herself, from the thick Flemish to the finest needle-point.
Plate LXXII.
Russian.—The upper piece of lace is needle-point "à brides picotées." Modern reproduction of a sixteenth century design. Width, 3⅜ in.
German. Saxon.—The lower piece bobbin-made by the peasants of the Erzgebirge. Nineteenth century. Width, 3¼ in.
Victoria and Albert Museum.
Plate LXXIII.
