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adorned with lace-a practice which may account for the number of perforated shirts in the market. Throughout this period the lace of the beautiful "Vandyke" style prevailed. The ruff having given place to the falling collar, favoured the employment of lace, which extended to the wristbands and to the tops of the funnel-shaped boots then in fashion. When Cinq-Mars, that favourite of Louis whom not even the king himself could shield from the long arm of Richelieu, bowed his handsome head on the block, he died the possessor of three hundred pairs of lace-trimmed boots, and an enormous collection of Italian point-lace cuffs and collars!

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twenty years the "Vandyke" point disappeared entirely, its place being usurped by the new rose-point; the latter being in turn supplanted by French point, the famous point d'Alençon and d'Argentan, both of which were simply imitations, first of Venice rose-point, and afterwards of the "point de Venise à réseau," as Brussels needle-point is an imitation of point d'Alençon. The Venise point "à réseau " marks a change in the taste for lace, which went on in the same direction for at least a century. In the early lace period the design or pattern-Gothic or florid, flat or raised-was the principal object, and the "brides," or connecting links, comparatively unimportant, the On full-dress occasions the boots were effect aimed at being the contrast between dispensed with, and low shoes with rich masses of needle-work and the material immense lace rosettes were worn; the over which they were displayed, and which garters being, also, of the richest point. appeared through the wide intervening With Marie de Medicis, Richelieu, and spaces. By degrees the connecting links fell Louis the Thirteenth, the grand, early into a sort of pattern of their own, and from period of point-lace came to an end in being entirely subsidiary in character grew favour of a rich and florid style of work, into a kind of importance. Little by little, which supplanted the ancient Gothic de- the raised flowers and scrolls were flattened, signs with great rapidity. The "Vene- and the "brides" multiplied into a regular tian,' rose," "Spanish," or "bone-ground-work, until the "point de Venise point," as it is called, is the "punto à réseau" was produced. The main features tagliato a fogliami" of the Italians, and its peculiarity consists in its high relief. The pattern is of flowers and scroll-work, admirably designed and raised high above the level of the "brides," which keep the whole together. Sumptuously beautiful, the Venetian point defies imitation in any other material, the most delicate ivory carving failing to convey a correct idea of its combined lightness and richness of effect. The relief is produced by a buttonhole stitch, with very slight variations. Colbert imported the manufacture into This beautiful rose-point was all the rage France through the agency, it is said, of a under the regency of Anne of Austria, certain Madame Gilbert, a native of Alençon. and during the early part of the reign Not only is the identity of the lady doubtful, of Louis the Fourteenth. Ladies wore but clouds hang over the following story: wristbands of three or four tiers of point- "In a short time Madame Gilbert arrived lace, and the immensely wide boot-tops, at Paris with the first specimens of her worn by the sterner sex, were literally work; the king, inspired by Colbert with filled up with lace. The eccentricity a desire to see it during a supper at which marked the fashion of the young king's court was the "canon," a species of skirt or frill descending from the garter to half way down the calf of the leg. There were single, double, and triple canons," some of which cost as much as seven thousand livres the pair. Satirists -Molière among them-attacked these canons," but in vain; the fashion lasted for about twenty years, and then went out as suddenly as it had come in. During this

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of this elegant lace were the conventional treatment of the flowers and other ornaments, the general flat look of the work, the extreme fineness of the stitches, the outlining thread or "cordonnet," stitched to the edges of the patterns and worked in flatly, and the square and excessively fine meshes of the "réseau" or ground-work itself. This was the lace, par excellence, of the Regency and the earlier part of the reign of Louis the Fifteenth.

Versailles-announced to his courtiers that he had just established a manufacture of point more beautiful than that of Venice, and appointed a day when he would inspect the specimens. The laces were artistically arranged over the walls of a room, hung with crimson damask. The king expressed himself delighted. He ordered a large sum to be given to Madame Gilbert, and desired that no other lace should appear at court except the new fabric, upon which he

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bestowed the name of 'point de France." "Siamese ambassadors, the keenest obIt is needless to say that the royal manu- servers putting them down as "bogus facture became the fashion. The ladies of envoys, dressed up to please the fancy of the royal household could henceforth only the king by his too obsequious courtiers. appear in trimmings and head-dresses, In 1679 the king gave a fête at Marly to the gentlemen in cuffs and cravats, of point his brilliant court. When, at sunset, the de France. All this is pleasant to write, and ladies retired to repair their toilettes, each easy to repeat, but it is odd that Madame found in her room a fresh toilette of Gilbert's name does not occur in any of the exquisite point-lace. Everybody-of rank, State papers now extant, and that the that is-wore lace in profusion. The statue names of other persons occur very fre- of Louvois, by Girardon, represents him in a quently. It would seem that, as a matter muslin cravat with falling lace ends of a bold of fact, a local historian either found a and handsome pattern; the Princess de Soutradition of the apocryphal Madame Gilbert, bise, a predecessor of the lady who preserved or invented that lady altogether. What is the name of Soubise for ever in onion sauce, clear is, that under Colbert the lace manu- appears, in an engraving in the Bonnard facture of Alençon was either launched collection, almost covered with lace. The with great success, or, as is more probable, head-dress of fine "guipure de Valenciennes" was developed from an earlier industry. towers aloft, à la Maintenon-whose cutlets The great minister established a lucrative also are celebrated. The body of the manufacture, which brought large sums dress is very low, with a gorget and edging of money into the kingdom, and justified of quilled "point d'Angleterre ;" and the him in his favourite remark that "Fashion train of rich brocade discovers in front a was to France what the mines of Peru petticoat of French point; the shoulders were to Spain." Favoured not only by are covered with a mantelet in double fashion but by prohibitive laws, the "point flounces of English (i.e., Flemish) lace. de France" speedily supplanted that of In another contemporary engraving apVenice; but its high price confined its use pears the dressing-room of a lady of to the rich-persons of moderate means quality, with a washstand completely contenting themselves with the cheaper covered with flounce upon flounce of the pillow-lace. Pictures and engravings of richest needle-point; on the dressing-table the time of Louis the Fourteenth bear is a looking-glass, draped with curtains of witness to the profuse employment of lace. heavy guipure. Again, we see a lady of It decorated the Church and its ministers. quality in "bathing dress." The wrapper Ladies gave "tours de chaire" of French-entirely of guipure, flowered with Valenpoint to the parish church; albs and altar- ciennes, low-necked and open in front to cloths, of point d'Argentan-a variety of the waist-is trimmed towards the top and Alençon-appear in the church registers. down to the bottom of the opening with At the marriage of Mademoiselle de Blois, point-lace; while the short sleeves, and the toilette presented by the king was "so the bottom of the peignoir, are also of rich trimmed with French point, that the stuff point. The same rich trimming hangs could not be seen." The valance and cover-around the bath itself. Even the domestics let of the bed were of the same material. It was the custom, on the birth of a Dauphin, for the papal nuncio to go to the palace and present to the new-born child a consecrated "layette" of baby-linen, on behalf of the pope. The shirts, handkerchiefs, and other linen were in half-dozens, and trimmed with the richest point. At the audience given by the Dauphiness to the Siamese ambassadors, she received them in a bed almost covered with superb point, and the king, proud of his manufacture, presented the astonished yellow men with cravats and ruffles of the finest work. Perhaps, however, the ambassadors understood those costly presents better than the less wellinformed of the French court imagined, for there were odd rumours about the

of the court of Louis the Fourteenth were dressed in sumptuous lace. In the collection just referred to, may be seen the four women in waiting on the baby Duc d'Anjou: the rocker, the nurse, the holder, and the promenader are all covered with rich lace. The nurse and the rocker of the Duc de Bourgoyne are in very low dresses, with bodies and petticoats trimmed with needle-point. The cradle and the clothes of the prince are covered with lace.

Madame de Maintenon wore magnificent lace, as did the fair Fontanges, who, by tying a lace handkerchief round her head to confine her hair while hunting, produced the famous coiffure which bears her name even unto this day. Lace was still considered the common property of

both sexes. Dainty damsels decked themselves in clouds of Alençon and Valenciennes; but doughty warriors loved lace no less. There was once (in 1690) terrible consternation because the French army had run short of lace-the officers were literally in rags-till the courtesy of the enemy presented them with a supply. One famous necktie owed its existence to the battle of Steinkirk, fought by Marshal Luxembourg against William of Orange. The young French princes of the blood were suddenly ordered into action. Hastily twisting their lace cravats, instead of going through the laborious process of tying them, they rushed to the charge, and gained the day. In honour of this event both ladies and gentlemen wore their cravats twisted carelessly for years, and, oddly enough, the style became as popular in England as in France. About this period ladies began to wear the "engaging" ruffle, depending in a double or treble tier from a short sleeve. Something of the same kind, only in inferior material, was worn a few years ago. In the picture of Madame Palatine-the out-spoken mother of the regent, Philip of Orleans, and the patroness of John Law-the forearm is half-concealed by a flood of the richest lace. The "bath equipage" of needle-point continued to be an article of fashionable luxury. Madame de Maintenon presented Madame de Chevreuse with a magnificent set of bathing lace. In these days this luxury seems misplaced, but only when the customs of the past are forgotten. French ladies of the seventeenth and eighteenth centuries admitted their intimate friends, male as well as female, not only to the "ruelle "-or alley by the bedside-but also to the bathroom. In the latter case the bath was "au lait," i.e., rendered opaque and milky by the mixture of some essence. So late as 1802, Mr. Holcroft, when in Paris, received a polite note from a lady at whose house he visited, requesting to see him. He went, and was informed by her maid that the lady was in her warm bath, but that she would announce his arrival. She returned, and led him to a kind of closet, where her mistress was up to her chin in water!

In speaking of the fashion of the reign of Louis the Fourteenth, the famous dolls must not be forgotten. The custom of dressing up these dolls prevailed at that haunt of the blue stockings, the Hôtel Rumbouillet, where one, termed "la grande Pandore," at each change of fashion was exhibited in full dress; and a second,

or little Pandora, in morning costume. These dolls were sent to Vienna and Italy, to Moscow and Constantinople, loaded with the finest laces France could produce. Even when English ports were closed in war-time, a special permission was given for the entry of a large alabaster doll, four feet high, the Grand Courrier de la Mode. In the war of the First Empire, this privilege was denied to Englishwomen, who then began to dress badly. The practice of sending dolls, instead of fashion plates, appears to be ancient. M. Ladornie asserts that, in the royal expenses for 1391, figure so many livres for a doll sent to the Queen of England; in 1496 another was sent to the Queen of Spain; and in 1571 a third to the Duchess of Bavaria. Henry the Fourth writes, in 1600, before his marriage to Marie de Medicis: "Frontenac tells me that you desire patterns of our fashion in dress. I send you, therefore, some model dolls." Perhaps the custom was borrowed from Venice, where, at the annual fair held in the Piazza of St. Mark on the Day of the Ascension (a fair which dates from 1180), a rag doll was exposed in the most conspicuous place, and served as a model for the fashion of the year.

With Louis the Fourteenth disappeared the richest period of lace. From the Vandyke collars of his father's reign, lace had, under the Grand Monarque, become hardly less artistic, if lighter and more conventional in its style; but the day was approaching when mere texture was to supersede design. Weeping ruffles, and the jabot, or breast frill, came into fashion. Ruffles, like all new fashions, were laughed at by the satirists, who explained that they were worn by sharpers to facilitate the manipulation of cards and dice, and pretended that many wearers of gay ruffles were actually shirtless. There appears to have been some foundation for the latter sneer. Maréchal de Richelieu-who, all warrior, astronomer, and lady-killer as he was, could not spell thus wittily explained his mental condition: "They supplied me with no shirts; but I have bought me some ruffles." There were various kinds of ruffles for grande and demi toilette for night and day, and many of them cost large sums. The Archbishop of Cambray possessed four dozen pairs of the costliest kind, and poor Louis the Sixteenth, the year before his death by the guillotine, owned fifty-nine pairs-twenty-eight of point, twenty-one

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of Valenciennes, and ten described as-but the favour of the Great Napoleon, "Angleterre." Everybody had ruffles who desired to "bring luxury back again,' nobles, sharpers, and lackeys even restored Alençon to life. Meanwhile, "Monsieur de Paris," the executioner, Brussels point appeared as a serious rival, mounted the scaffold in a velvet suit as it still remains, to the more ancient provided with point-lace "jabot " and manufacture. In 1801 we hear of the ruffles. Madame de Créquy, describing Princess Caroline Murat, in her white her visit to the Dowager Duchess de la mantelet of Brussels needle-point; and the Ferté, says that when that lady received appearance of Madame Récamier, when her, she was lying in a state bed under a she received her guests reclining in her coverlet of Venice point made in one piece. bed, has been recorded in enthusiastic "I am persuaded," she adds, "that the terms. The bed-curtains were of the trimmings of her sheets, which were of finest Brussels lace, bordered with garpoint d'Argentan, were worth at least lands of honeysuckle, and lined with satin forty thousand crowns.' To such a pitch of the palest rose. The "couvrepied" was had the taste for lace-trimmed linen of the same material, and from the pillow reached, that, in 1739, when the eldest of embroidered cambric fell cascades of daughter of Louis the Fifteenth was Valenciennes. It has been estimated that married to the Prince of Spain, the bill to reproduce now the laces made for the for these articles alone amounted to marriage of Marie Louise would cost a twenty-five thousand pounds sterling, to million of francs; but although the emperor the horror of Cardinal Fleury. Nearly strove to drive taste in the direction of half a century later Swinburne writes the national manufacture, fashion was too from Paris: "The trousseau of Mademoi-strong to be controlled, and took more selle de Matignon will cost a hundred kindly to the light than to the heavier thousand crowns. The expense here of and better class of laces. We find the rigging out a bride is equal to a hand- Princess Pauline refusing to some portion in England. Five thousand quantity of lace she had ordered, and pounds' worth of lace, linen, &c., is a leaving the emperor to buy it, and give it common thing among them." away. In every description of the toilette of a lady of fashion, we find her in Indian muslin, trimmed with "Angleterre." Indian muslin of excessive fineness was greatly in request for the famous "toilettes diaphanes," and appears in all the portraits and fashion plates of the period. The Duchess d'Abrantes gives a minute account of her trousseau. There was plenty of Indian muslin, embroidered and trimmed with Valenciennes, Malines, and Angleterre; but the "garnitures" in needle-point were of Brussels, not of French, manufacture. At the civil marriage, before the mayor, the bride wore 66 a dress of Indian muslin" (fearfully scanty, we must recollect), "embroidered with the needle, in openwork, as was then the fashion. This dress had a train, was high at the neck, and with long sleeves-the front breadth embroidered all over, as well as the body and the bottom of the sleeves— then called 'amadis.' The ruff was in magnificent needle-point, and upon my head I had a cap of Brussels point. To the top of the cap was attached a little crown of orange flowers, from which hung a long veil of 'point d'Angleterre,' which fell down to my feet, and in which I could almost enfold myself. . . . . . This profusion of rich laces, so fine and soft, seemed

Towards the latter part of the reign of Louis the Well-beloved, French point was rivalled by the Flemish laces, generically termed "Angleterre" in France, and "Mechlin" in England. Argentan and Alençon were pronounced winter laces, the lighter pillow-lace being deemed more appropriate for hot weather. Madame Dubarry's lace accounts give a grand idea of her consumption of "Angleterre" and "Malines." When the star of Marie Antoinette rose on the murky atmosphere of the French court, a tremendous reaction set in in favour of simplicity. Indian muslin supplanted the fine point of the old school, and the lace makers of Alençon actually set themselves to work to imitate the inferior laces made on the pillow. At this period the rich garnitures shrank to narrow edgings-"semé de pois; the only article of lace which escaped degradation being the "lappets,' worn on occasions of ceremony. Whether of point or pillow lace, these were always rich and handsome, and their arrangement was rigidly prescribed by the etiquette for various occasions.

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During the French Revolution, the French lace manufacture was suspended the finest of all, that of Argentan, for ever

like a cloudy shell of network round my face, waving about in the curls of my hair." The Emperor Louis Napoleon, following the traditions of his uncle, strove to revive the drooping glories of Alençon. In 1856 the most magnificent orders were given for the imperial layette, a full description of which appeared in the illustrated papers of the time; but the most expensive piece of work ever turned out of the ancient city was a dress, valued at two hundred thousand francs, exhibited in 1859. It was purchased by the emperor for the empress, who, it is said, afterwards presented it to the Pope as a trimming for his rochet. The great costliness of this beautiful fabric is easily understood when the process of manufacture is known. Point d'Alençon is made entirely by hand, with a fine needle upon a parchment pattern, in small pieces, afterwards united by invisible seams. Each part is executed by a special workwoman. Formerly it required eighteen different hands to complete a piece of lace; the number is now reduced to twelve. The design, engraved upon a copper plate, is printed off in divisions upon pieces of parchment ten inches long, each numbered according to their order. Green parchment is now used, as being a good colour for the eyes, and as enabling the work women to detect faults easily. The pattern is next pricked upon the parchment, which is stitched to a piece of very coarse linen, folded double. The outline of the pattern is then formed by two flat threads, which are guided along the edge by the thumb of the left hand, and fixed by minute stitches, passed, with another thread and needle, through the holes in the parchment. When the outline is finished the work is given over to the "réseleuse," to make the ground, which be of two kinds, "bride" and may "réseau," as previously explained. The ground-work having been put in, the flower-worker supplies herself with a long needle and a fine thread; with these she works a button-hole stitch from left to right, and, when arrived at the end of the flower, the thread is thrown back from the point of departure, and she works again from left to right over the thread. This gives a closeness and evenness to the work unequalled in any other point. Then follow the "modes or small ornaments, and various other operations, which being completed, the threads which unite parchment, lace, and linen together, are cut with a sharp razor between the two folds of

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linen; any little defects are repaired, and then remains the great work of uniting all the pieces imperceptibly together. This devolves upon the head of the workshop, and requires the greatest nicety. An ordinary pair of men's ruffles would be divided into ten pieces; but, when the order must be executed quickly, the subdivisions are even greater. The stitch by which these sections are worked together is termed "assemblage." When finished, a steel instrument, called "aficot," is passed into each flower, to polish it and remove any irregularities in its surface. Excepting the introduction of horse-hair into the "cordonnet," the method of producing Brussels point is identical with that pursued at Alençon. The younger lace, however, light and beautiful as it is, hardly shows to advantage by the side of the genuine French point.

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When the golden bowl is broken,
At the sunny fountain side;
When the turf lies green and cold above
Wrong, and sorrow, and loss, and love;
When the great dumb walls of silence stand
At the doors of the undiscovered land;
When all we have left in our olden place
Is an empty chair and a pictured face;
When the prayer is prayed, and the sigh is sighed,
We-shall be satisfied.

What does it boot to question,
When answer is aye denied?

Better to listen the Psalmist's rede,
And gather the comfort of his creed;
And in peace and patience possess our souls,
While the wheel of fate in its orbit rolls,
Knowing that sadness and gladness pass
Like morning dews from the summer grass,
And, when once we win to the further side,
We shall be satisfied.

AT THE ROYAL ACADEMY.

I WONDER What those admirable artists, Sir Joshua Reynolds and Thomas Gainsborough-who were glad to get their fifty guineas, or less, for the portraits which now fetch their thousands and tens of thousands, would think of that "Academy fever" which affects London at the end of the Easter holidays. Symptoms of the disease set in at an earlier date. Artcritics are not averse to giving the public

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