Another fact worthy of record is that of all the almost numberless designs that have been given to the world since the birth of lace there have been some one or two characteristics that tell as plainly as though expressed in words that each one of these designs was made at some particular period of history. It is well that this is so, for it has enabled the historian to trace, with more or less certainty, the development of the industry. In other words, a lace expert is enabled to tell from the fabric not only in what country it was made, but in what part of that country, and also the approximate date.
In the self-sufficiency of the present age we are apt to regard with a sort of supercilious disdain any story reflecting upon the supremacy of our forebears in any of the arts or the sciences; but that we cannot make, in a commercial way, such lace as was woven in the sixteenth and seventeenth centuries is beyond question. In the first place, time is lacking, and if it must be confessed, the great skill that comes only through years of constant practice is also lacking.
Modern real lace is artistic, even superior, but compared with such few specimens as have come down to us of the work of the lacemakers of old, its deficiency, particularly in the matter of the fineness of the execution and thread, is at once apparent. Hand-made lace is to-day produced all over the world; commercially its production is confined to France, Belgium, Germany, Spain, Italy and England, where large quantities are still produced. France, however, with that fostering care which she has bestowed upon her many other arts, and with that keen appreciation of the beautiful that is so inherent in her people, is far in the van in the matter of producing hand-made lace, though in respect to two or three types Belgium is in the front rank.
Real Honiton.
Real Florentine.
Coming down to the question of machine-made lace, it is necessary to observe at the outset that the same distinctions that exist between the genuine and the imitation do not obtain as applied to these fabrics. In other words, the knowledge that lace is a product of the frame rather than the fingers in no sense condemns it. For to such a high plane has the mechanical production of lace been lifted that one is almost tempted to say that the products vie in beauty of design and perfection of finish with the lace produced by hand. That there is warrant for this seeming exaggeration is borne out by the fact that not infrequently it is impossible for experts to tell the difference between two specimens of lace of the same design, one made by hand and the other by machine.