The Atlantic Monthly, Volume 18, No. 107, September, 1866. Various
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much upon the ancient pattern-books yet in existence. Parchment patterns, drawn and pricked for pillow lace, bearing the date of 1577, were lately found covering old law-books, in Albisola, a town near Savona, which was a place celebrated for its laces, as we infer from the fact that it was long the custom of the daughters of the nobles to select these laces for their wedding shawls and veils. There is a pretty tradition at Venice, handed down among the inhabitants of the Lagoons, which says that a sailor brought home to his betrothed a branch of the delicate coralline known as "mermaids' lace." The girl, a worker in points, attracted by the grace of the coral, imitated it with her needle, and after much toil produced the exquisite fabric which, as Venice point, soon became the mode in all Europe. Lace-making in Italy formed the occupation of many women of the higher classes, who wished to add to their incomes. Each lady had a number of workers, to whom she supplied patterns, pricked by herself, paying her workwomen at the end of every week, each day being notched on a tally.
In the convent of Gesù Bambino, at Rome, curious specimens of old Spanish conventual work—parchment patterns with lace in progress—have been found. They belonged to Spanish nuns, who long ago taught the art of lace-making to novices. Like all point lace, this appears to be executed in separate pieces, given out by the nuns, and then joined together by a skilful hand. We see the pattern traced, the work partly finished, and the very thread left, as when "Sister Felice Vittoria" laid down her work, centuries ago. Mrs. Palliser received from Rome photographs of these valuable relics, engravings from which she has inserted in her history of lace. Aloe-thread was then used for lace-making, as it is now in Florence for sewing straw-plait. Spanish point has been as celebrated as that of Flanders or Italy. Some traditions aver that Spain taught the art to Flanders. Spain had no cause to import laces: they were extensively made at home, and were less known than the manufacture of other countries, because very little was exported. The numberless images of the Madonna and patron saints dressed and undressed daily, together with the albs of the priests and decorations of the altars, caused an immense consumption for ecclesiastical uses. Thread lace was manufactured in Spain in 1492, and in the Cathedral of Granada is a lace alb presented to the church by Ferdinand and Isabella,—one of the few relics of ecclesiastical grandeur preserved in the country. Cardinal Wiseman, in a letter to Mrs. Palliser, states that he had himself officiated in this vestment, which was valued at ten thousand crowns. The fine church lace of Spain was little known in Europe until the revolution of 1830, when splendid specimens were suddenly thrown into the market,—not merely the heavy lace known as Spanish point, but pieces of the most exquisite description, which could only have been made, says Mrs. Palliser, by those whose time was not money.
Among the Saxon Hartz Mountains is the old town of Annaburg, and beneath a lime-tree in its ancient burial-ground stands a simple monument with this inscription:—
"Here lies Barbara Uttman, died on the 14th of January, 1576, whose invention of lace in the year 1561 made her the benefactress of the Hartz Mountains.
'An active mind, a skilful hand,
Bring blessings down on Fatherland.'"
Barbara was born in 1514. Her parents, burghers of Nuremberg, removed to the Hartz Mountains for the purpose of working a mine in that neighborhood. It is said that Barbara learned the art of lace-making from a native of Brabant, a Protestant, whom the cruelties of the Duke of Alva had driven from her country. Barbara, observing the mountain girls making nets for the miners to wear over their hair, took great interest in the improvement of their work, and succeeded in teaching them a fine knitted tricot, and afterwards a lace ground. In 1561, having procured aid from Flanders, she set up a work-shop in Annaburg for lace-making. This branch of industry spread beyond Bavaria, giving employment to thirty thousand persons, and producing a revenue of one million thalers.
Italy and Flanders dispute the invention of lace, but it was probably introduced into both countries about the same time. The Emperor Charles V. commanded lace-making to be taught in schools and convents. A specimen of the manufacture of his day may be seen in his cap, now preserved in the museum at Hôtel Cluny, Paris. It is of fine linen, with the Emperor's arms embroidered in relief, with designs in lace, of exquisite workmanship. The old Flemish laces are of great beauty and world-wide fame.
Many passages in the history of lace show how severely the manufacture of this beautiful fabric has strained the nerves of eye and brain. The fishermen's wives on the Scottish coast apostrophize the fish they sell, after their husbands' perilous voyages, and sing,
"Call them lives o' men."
Not more fatal to life are the blasts from ocean winds than the tasks of laborious lace-makers; and this thought cannot but mingle with our admiration for the skill displayed in this branch of woman's endless toil and endeavor to supply her own wants and aid those who are dear to her, in the present as well as in the past centuries.
In the British Museum there is a curious manuscript of the fourteenth century, afterwards translated "into our maternall englisshe by me William Caxton, and emprynted at Westminstre the last day of Januer, the first yere of the regne of King Richard the thyrd," called "the booke which the Knight of the Towere made for the enseygnement and teching of his doughtres."
The Knight of the Tower was Geoffory Landry, surnamed De la Tour, of a noble family of Anjou. In the month of April, 1371, he was one day reflecting beneath the shade of some trees on various passages in his life, and upon the memory of his wife, whose early death had caused him sorrow, when his three daughters walked into the garden. The sight of these motherless girls naturally turned his thoughts to the condition of woman in society, and he resolved to write a treatise, enforced by examples of both good and evil, for their instruction. The state of society which the "evil" examples portray might well cause a father's heart to tremble.
The education of young ladies, as we have before stated, was in that age usually assigned to convents or to families of higher rank. It consisted of instruction in needle-work, confectionery, surgery, and the rudiments of church music. Men were strongly opposed to any high degree of mental culture for women; and although the Knight of the Tower thinks it good for women to be taught to read their Bibles, yet the pen is too dangerous an instrument to trust to their hands. The art of writing he disapproves,—"Better women can naught of it." Religious observances he strictly recommends; but we shudder at some of the stories which even this well-meaning father relates as illustrations of the efficacy of religious austerities. Extravagance in dress prevailed at that time among men and women to such a degree that Parliament was appealed to on the subject in 1363. From the Knight's exhortations on the subject, this mania seems to have affected the women alarmingly, and the examples given of the passion for dress appear to surpass what is acknowledged in our day. Yet the vast increase of materials, as well as the extended interests and objects opened to woman now, renders the extravagance of dress in the Middle Ages far less reprehensible.
The record of woman's work in the Middle Ages includes far more than the account of what her needle accomplished. The position of the mistress of a family in those centuries was no sinecure. When we look up at castles perched on rocks, or walk through the echoing apartments of baronial halls, we know that woman must have worked there with brain and fingers. The household and its dependencies, in such mansions, consisted of more than a score of persons, and provisions must be laid in during the autumn for many months. As we glance at the enormous fireplaces and ovens in the kitchens of those castles and halls, and remember the weight of the armor men wore, we can readily imagine that no trifling supply of brawn and beef was needed for their meals; and the sight of a husband frowning out of one of those old helmets because the dinner was scanty, must have been a fearful trial to feminine nerves. The title of "Lady" means the "Giver of bread" in Saxon, and the lady of the castle dispensed food to many beyond her own household.
The task of preparing the raiment of the family devolved upon the women; for there were no travelling dealers except for the richest and most expensive articles. Wool, the produce of the flock, was carded and spun; flax was grown, and woven into coarse linen; and both materials were prepared and fashioned into garments at home. Glimpses of domestic life come down to us through early legends and records, some of which modern genius has melodized. Authentic history and romantic story often show us that women of all ranks were little better, in fact, than household drudges to these splendid knights and courtly old barons.