Mr. A. Cole’s lectures on lace, his volume of photographs, and M. Seguin’s valuable work, are full of information.
M. Urbani de Gheltof’s “Technical History of Venetian Laces,” translated into English by Lady Layard, is a beautiful little book and a worthy imitation of the ancient lace-books of the sixteenth and seventeenth centuries.[370]
The subject has been so thoroughly discussed by adepts in connection with its revival as a local industry in its original cradle, that I will confine myself to a few observations on its history and its place in decorative art.
Fringes, Knotting, Netting, Knitting, Crochet, Tatting, and Lace-making, are all parts of the same branch of ornamental needlework. They are all “trimmings,” in the sense of being decorative edges to more solid materials. They are not available as coverings for warmth or decency; but they serve to give the grace of mystery to the object they drape or veil. They soften the outlines and the colours beneath them, while they permit them to peep through their meshes. They are hardly to be included in what is called high art, having more affinity with grace, refinement and coquetry, than with æsthetic culture or noble thought.
This tendency in lace work may be the reason that the masculine mind does not, in general, appreciate these lovely textures, but rather despises them (even when the designs are beautiful and ingenious), as being flimsy and deficient in honest intention; whereas women have always greatly prized them for their delicacy and refinement, and their great value, on account of the time, trouble, and eyesight expended upon them. Their knowledge of stitches also enables them to appreciate their variety, and the taste shown in their selection and arrangement for carrying out each design.
Lace stitches are almost innumerable.[371] Upwards of a hundred are named, and their variations are endless. But a volume would not suffice us for entering into the details of the craft; many of its stitches have been imported into embroideries in gold, silk, and crewels; and such adaptations are always allowable, provided the effect is good.
We have every reason to believe that the claims of Venice as the first and original school of lace-making have been satisfactorily proved.[372] Genoa, Florence, Milan, especially the last,[373] followed suit. Germany, France,[374] and Spain soon started their schools; but Lady Layard believes that Spain received all her inspiration and the greater part of her laces from Venice, which likewise sent teachers to France and to Brussels—or rather, we may say, had many first-class workwomen decoyed from her manufactories to assist in starting rival industries in other countries.[375]
The first pattern-books were printed in Venice in the sixteenth century; and these “Corone di belle e virtuose donne,” as they are sometimes entitled,[376] were imitated in France and Germany.
Venice was proud of her industry, and of the noble ladies who fostered it. It is recorded in the “Virtù in Giocco of Giovanna Palazzi” that Giovanna Dandolo, or “la Dandola,” (wife of the Doge Malapiero,) was the first patroness of Venice laces. She also fostered the art of printing in Venice, and is spoken of as a “principessa di gran’ spirito, ne di private fortune,” and her memory is cherished in connection with these proofs of her patriotism. We hear also that Morosin or Marosin, wife of the Doge Marin Grimani, patronized Venetian lace-making. Her forewoman, or maestra, was a certain Cattina Gardin, and through her the art was settled at Burano, where it has been so lately revived.
At the Cathedral of Burano, is kept in the sacristy, perhaps the finest existing piece of artistic lace of the sixteenth century. It contains many groups of figures from the history of our Lord, beautiful both in design and execution, worked in “Punti Fogliami,” and filled in with exquisite tracery. This was the border of an antipendium.