resemblance to the hand-made product so close that even experts can hardly recognize the difference. If it were asked how the imitation lace can be distinguished from needle-point, the answer is that it is not made with looped stitches like the latter, nor has it the effect of plaited threads, as in pillow lace. Again, the toilé of machine-made lace is often found to be ribbed, and this lace is very generally made of cotton instead of the linen thread with which old needle-point and pillow lace is made. In the invention of substitutes for hand-made lace stitches Switzerland has been the leader, and by 1868 hundreds of machines, perfected from the invention of a native of St. Gall, were turning out a close imitation of the hand-made work. The most recent triumphs of this description are the imitations of Venetian point, in which a nearer approximation than ever before has been made to the needle-worked toilé, and also of the bride work. But, notwithstanding the marvelous results attained in machine-made lace, they are the triumphs of mechanism which cannot displace the superiority, and charm, and rarity, of the finest hand-made work. In the latter the personal equation, the skill and the loving, workmanlike fidelity of the individual toiler to his task impart a quality which dead mechanism can neither create nor supersede. Machine-made lace may be predominantly the lace of commerce, but hand-made lace is the natural expression and embodiment of a delicate and difficult art, and thus it will ever remain.
Insertion.—A kind of lace, embroidery or other trimming used to insert in a plain fabric for ornamental purposes. It is made with the edges on both sides alike, and often a plain portion of the material outside the work, so that it may be sewn on one side to the garment for which it is intended and to the plain part of the lace or border on the other.
Imitation Point d'Alençon.
Irish.—A term denoting a variety of laces made in Ireland, of which the two most individual and best-known kinds are the net embroideries of Limerick and the appliqué and cut cambric work of Carrick-ma-cross. Other varieties, which are imitations of foreign laces, are Irish point, resembling Brussels lace; black and white Maltese; silver, black and white blondes. The Limerick embroideries, for they cannot be strictly called lace, are an imitation of Indian tambour work, and consist of fine embroidery in chain-stitches upon a Nottingham net. Carrick-ma-cross, or Irish guipure, is a kind of so-called Irish point lace, made at the town of that name, but which is really nothing more than a species of embroidery, from which part of the cloth is cut away, leaving a guipure ground. It is not a very durable lace. The most popular patterns are the rose and the shamrock. Irish crochet is an imitation of the needle-point laces of Spain and Venice; that is to say, it resembles these laces in general effect. There is also a needle-point lace made of rather coarse thread, and used exclusively in Ireland and England. The manufacture of laces in Ireland is carried on by the cottagers, by the nuns in the convents, and in several industrial schools founded for that purpose. It has only become a popular industry within the last twenty-five years, as the costumes of the people in earlier times did not require lace ornamentation, and there was a widespread and deep-rooted aversion to the adoption of English fashions in clothing so long as certain sumptuary laws were unrepealed.
Afterward, under slightly more liberal conditions, English fashions were gradually adopted, and with them came the demand for a cheap Irish lace, as the foreign laces were too expensive. Not until 1743 was there any official attempt to encourage the industry, but in that year the Royal Dublin Society established prizes for excellence in lacemaking. This attempt lasted until 1774. In 1829 a school was opened in Limerick for instruction in the now celebrated lace or embroidery first made in that town; but in the famine years of 1846-48 more effectual measures were taken to spread a knowledge of the art, and several schools
were opened in different parts of the country. The Irish have never made a lace that can in any sense be called national, but great skill has been developed in the imitations of the foreign fabrics, and the Irish name has been so closely associated with some of them that they are popularly considered a native Irish product. The exhibition of Irish laces at the Mansion House in London in 1883 added materially to the reputation of these fabrics.
Irish Trimming.—A plain-patterned, woven lace, formerly used in ornamenting muslin underwear, pillow slips and the like.