[347] “Compte Rendu de la Commission Archéologique, St. Petersburg, 1881.” Pl. iii. pp. 112,119.
[348] In the British Museum is the lining of a shield which shows the arms of Redvers, third Earl of Albemarle (who died 1260), applied in different coloured silks.
[349] Lent by the Archæological Museum at Madrid.
[350] Rees’ Cyclopædia speaks of embroideries “on the stamp or stump,” as being so named “when the figures are high and prominent, supported by cotton, wool, or hair;” also in “low and plain embroideries, without enrichment between.” He speaks of work “cut and laid on the cloth, laid down with gold, enriched with tinsel and spangles.” Rees’ Cyclopædia, “Embroidery,” 1819.
[351] “Opus consutum.” The way in which this applied work is used in India, for the special adornment of horse-cloths, saddles, and girths, is very interesting.
[352] The chapter on “application,” in the Handbook of Embroidery of the Royal School of Art Needlework, will be useful to those who need instruction in the most practical, and therefore the quickest way of doing cut work.
[353] Mrs. Palliser’s “History of Lace.” The origin of needle-made lace-work is attributed by M. de Gheltof to the necessity for disposing of the frayed edges of worn-out garments. This I think somewhat fanciful. Fringes may have been so suggested.
[354] See M. Blanc’s “Art in Ornament and Dress” (p. 200).
[355] Mrs. Bayman (late Superintendent in the School of Art Needlework) writes thus: “I see no reason to doubt that the word guipure is derived from ‘guipa’ or ‘guiper,’ a ribbon-weaver’s term for spinning one thread round another; and that guipure was originally more like what we now call ‘guimp,’ or like ‘point de Raguse,’ first being made of thread, of more or less thickness and commoner material, wound round with a finer flax, silk, or metal; then they cut shapes, bold scrolls, and leaves out of cartisane, vellum, or parchment, winding and covering them over with the more precious thread. These figures were then connected by brides, only as close as was required to hold them together, and leaving large open spaces, thus forming the large scroll patterns seen in so many old pictures.” No doubt the heavy “Fogliami” and “Rose point” laces developed themselves from these still older kinds of point. As the cord and card lace disappeared, the name slid on to all laces with large, bold patterns and open brides, though the special method which first created it had been effaced. Latterly, embroidered netting or laces have been called “guipure d’art.” Littré gives the derivation of the word; he says it is from the Gothic Vaipa, or German Weban or Weben (g and p replacing the w and b).
[356] The word lace came from France, where it was called lacis or lassis, derived from the Latin laqueus (a noose). These words originally applied to narrow ribbons—their use being to lace or tie.