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Chats on Old Lace and Needlework

Chapter 5 THE LACES OF ITALY

Word Count: 875    |    Released on: 01/12/2017

netian

eige"-"Gros Point"-"Punto Tagliato a F

ads stretched across, afterwards being buttonholed into a variety of designs. The edges are then again worked upon with loops or picots, and in "Rose Point" tiny stars or roses are worked on suitable parts of the design, sometimes the "roses" or "stars" being three in numbers, one poised upon the other. This is known as "Point de N

rsonal influence of his reign, frequently having tiny figures worked in the design. A collar in my possession has the Indian worshipping the sun (the King's glory was said to rival th

ational Library at the South Kensington Museum, may be seen the very patterns designed by Vinciolo, Vicellio, and Isabella Parasole. These publications actually came from Venice, and being

POINT (V

E VENISE (FL

's Coll

G THE MEDICIS COLLAR TO

n and called Spanish Point), and Point Plat de Venise. A much rarer variety is "Venetian point à réseau," which is the flat point worked roun

of lace; the wonderful diversities of the fillings worked in buttonhole stitches; the elaborate decoration of

dicis introducing the Medici collar trimmed with Venetian points specially to display them. At a little later period the collar became more falling and the heavier "Gros point" was used. Men and women al

re genuine works of art, worked slowly and patiently under the clear light of the Italian skies by women who were naturally artistic and beauty loving, and who, while working the shining needle and fairy thread in and out of the intricacies of the design sang the pretty "Lace

gth, and was sold for £145 by one of our leading lacemen. Barely 5 yards of Venetian lace, only 2 inches wide and in rags,

commanded high prices. In the inventory of Q

Italian Cut-worke,

ork lace of Italy, wit

paid £29 f

PLE OF "GROS P

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1 Chapter 1 A BRIEF HISTORY OF LACE2 Chapter 2 THE ART OF3 Chapter 3 THE ART OF LACE-MAKING4 Chapter 4 THE LACES5 Chapter 5 THE LACES OF ITALY6 Chapter 6 THE LACES No.67 Chapter 7 THE LACES OF GENOA AND MILAN8 Chapter 8 THE LACES No.89 Chapter 9 THE LACES OF FRANCE10 Chapter 10 THE PILLOW11 Chapter 11 THE PILLOW LACES OF FRANCE12 Chapter 12 THE LACES No.1213 Chapter 13 THE LACES OF FLANDERS14 Chapter 14 THE MODERN15 Chapter 15 THE MODERN BRUSSELS LACES AND MECHLIN16 Chapter 16 OTHER17 Chapter 17 OTHER CONTINENTAL LACES18 Chapter 18 A SHORT19 Chapter 19 A SHORT HISTORY OF LACE IN ENGLAND20 Chapter 20 ENGLISH21 Chapter 21 ENGLISH LACES22 Chapter 22 SCOTCH23 Chapter 23 SCOTCH AND IRISH LACES24 Chapter 24 HOW TO25 Chapter 25 HOW TO IDENTIFY LACE26 Chapter 26 SALE27 Chapter 27 OLD ENGLISH EMBROIDERY28 Chapter 28 THE GREAT29 Chapter 29 THE GREAT PERIOD OF EMBROIDERY30 Chapter 30 ECCLESIASTICAL31 Chapter 31 ECCLESIASTICAL EMBROIDERIES AND VESTMENTS32 Chapter 32 TUDOR33 Chapter 33 TUDOR EMBROIDERY34 Chapter 34 EARLY35 Chapter 35 EARLY NEEDLEWORK PICTURES AND ACCESSORIES36 Chapter 36 STUART37 Chapter 37 STUART CASKETS AND MIRRORS38 Chapter 38 EMBROIDERED39 Chapter 39 EMBROIDERED BOOKS AND BLACK WORK 40 Chapter 40 STUART No.4041 Chapter 41 STUART PICTURES42 Chapter 42 SAMPLERS43 Chapter 43 SAMPLERS No.4344 Chapter 44 THE WILLIAM45 Chapter 45 THE WILLIAM AND MARY EMBROIDERIES46 Chapter 46 PICTORIAL47 Chapter 47 PICTORIAL NEEDLEWORK OF THE EIGHTEENTH CENTURY48 Chapter 48 NEEDLEWORK49 Chapter 49 NEEDLEWORK PICTURES OF THE NINETEENTH CENTURY50 Chapter 50 EMBROIDERY51 Chapter 51 EMBROIDERY IN COSTUME 52 Chapter 52 SALE No.5253 Chapter 53 SALE PRICES54 Chapter 54 CONCLUSION55 Chapter 55 CONCLUSION No.5556 Chapter 56 No.5657 Chapter 57 No.5758 Chapter 58 No.5859 Chapter 59 No.5960 Chapter 60 No.60