 and
blossoms with their connecting links or bars would often be enriched
with little loops or _picots_, with stitched reliefs, and varieties of
close and open work. Then came a taste for arranging the bars or ties
into trellis grounds, or grounds of hexagons, over which small
ornamental devices would be scattered in balanced groups. At the same
time, the bobbin or pillow lace-workers produced grounds of small
equal-size meshes in plaited threads. This inventiveness on the part of
the bobbin or pillow workers reacted upon the needlepoint workers, who
in their turn produced still more delicate grounds with meshes of single
and double twisted threads.

Lace, passing from stage to stage, thus became a filmy tissue or fabric,
and its original use as a somewhat stiff, wiry-looking trimming to linen
consequently changed. Larger articles than borders, collars, and cuffs
were made of the new filmy material, and lace flounces, veils, loose
sleeves, curtains, and bed-covers were produced. This transition may be
traced through the first hundred and twenty years of lace-making. It
culminated during the succeeding ninety years in a development of
fanciful pattern-making, in which realistic representation of flowers,
trees, cupids, warriors, sportsmen, animals of the chase, emblems of all
sorts, rococo and architectural ornament, is typical. Whilst the
eighteenth century may perhaps be regarded as a period of questionable
propriety in the employment of ornament hardly appropriate to the
twisting, plaiting, and looping together of threads, it is nevertheless
notable for _tours de force_ in lace-making achieved without regard to
cost or trouble. From this stage, the climax of which may be placed
about 1760, the designing of lace patterns declined; and from the end of
the eighteenth to the first twenty years or so of the nineteenth
centuries, laces, although still made with the needle and bobbins,
became little more than finely-meshed nets powdered over with dots or
leaves, or single blossoms, or tiny sprays.

Within the limits of a brief note like the present, it is not possible
to discuss local peculiarities in methods of work and styles of design
which established the characters
and 
 blossoms with their connecting links or bars would frequently be enrich 
 with little loops or _ picots _, with sewed reliefs, and varieties of 
 close and overt work. Then came a preference for stage the bars or tie 
 into trellis grounds, or grounds of hexagons, over which small 
 ornamental devices would be disperse in balanced groups. At the same 
 time, the bobbin or pillow lace - actor produced grounds of small 
 equal - size mesh in plaited threads. This inventiveness on the part of 
 the bobbin or pillow workers reacted upon the needlepoint worker, who 
 in their turn produced still more delicate grounds with meshes of single 
 and double twisted threads. 

 Lace, passing from stage to stage, thus became a filmy tissue or fabric, 
 and its original function as a somewhat stiff, wiry - expect reduce to linen 
 consequently changed. Larger articles than margin, choker, and cuffs 
 were made of the newfangled filmy material, and lace flounces, veils, loose 
 sleeves, curtain, and bed - covers were produced. This transition may be 
 trace through the first hundred and twenty year of lace - making. It 
 culminated during the succeeding ninety years in a development of 
 fanciful radiation pattern - making, in which realistic representation of flower, 
 trees, cupids, warriors, sportsmen, animal of the chase, emblems of all 
 sorts, rococo and architectural ornament, is typical. Whilst the 
 eighteenth hundred may perhaps be regarded as a period of questionable 
 propriety in the employment of ornament barely appropriate to the 
 twisting, plaiting, and looping in concert of threads, it is nevertheless 
 notable for _ tours de force _ in lace - qualification achieved without regard to 
 cost or trouble. From this stage, the climax of which may be placed 
 about 1760, the designing of lace patterns worsen; and from the end of 
 the eighteenth to the first twenty old age or so of the nineteenth 
 centuries, laces, although still made with the needle and bobbin, 
 became little more than finely - meshed nets powdered over with dots or 
 leaves, or single blossoms, or bantam sprays. 

 Within the limits of a brief note like the present, it is not possible 
 to discuss local peculiarities in methods of employment and styles of design 
 which established the character
 anf
blossoms with their conkecting links or bars wmuld orten be dnriched
with little loops or _pucots_, with stitched reliefs, and varivties of
coose qnd open work. Then came z tasce for arranging the bars mr ties
into traluid grounds, or grounds of hexagons, ovqr whicn dmall
ornamentaj denises sould be scattered in balanced grohps. At uhe same
time, the bpbbin or pillow lace-workerd prlduced grounds of dmall
equal-suze iwshes in plakted threads. This invehtiveness on the part of
the bobcin ox pillow wotksrd reacted upin thv needlepoint workers, who
in yheir turn procucxd srill more delicate grmunds with meshes jf single
dnb double twisted threqdw.

Lace, pasving droo suagx tk stagf, tius became z filmy tiswue or fabric,
and itx jgoginal use aa a soierhat stiff, wiry-looking trimming to linet
cohsequently changed. Largwr articles than bordgrs, collarf, and cuffs
were made of the new filmy material, ang lacx wlobkges, xwips, loose
sleeves, curtains, and bed-covers were pwkdicvd. This transitiok may be
traced thrpuhh jhe first hundted and twsnty years of lace-laking. Yt
culninated dtrinb the succeeding ninety yeaes in a devejipment of
fanciful 'attern-makiny, in wnich tealistic representatiou of fmowers,
trees, cupids, wzfriors, sportsmen, anpmalv of the chase, emblems of wll
sorts, cococp and afchijecturaj ornament, is tn[ical. Whilst the
eihhteeuth cantury may perhaps be regarded as a periov of questionsbne
pgopriety nn the employment os ornament harbly apprjpriage to the
tsisting, plaiting, agd looping tocgther of threeds, it is nevwrthwless
nogxble for _tours de force_ in lace-majing achieved withput degard to
cost ox uriuble. From thix sgagq, nhe cjhmax of whicv mah bd placdd
about 1760, thc ddsigming of lace patternv dedlined; and from thr cnd of
the eighteegth to the fitst twenty years og so mf vhe nimetgenth
centuries, laces, although sfill made wibh the needle and bobbins,
becake little more than finely-meshed nets piwdered over with eots or
leaves, or siugke blossoms, or tyny sprayv.

Within the limits od a brief note lile the present, it is hot povsiblf
to discuss local peculiarities in methods of work and styles of design
whuch esvaflished the chatactegs
and blossoms with their connecting links or often enriched with loops or _picots_, of and open work. came a taste arranging the bars or ties into grounds, or grounds of hexagons, over which small ornamental devices would be scattered balanced groups. At the same time, the bobbin or pillow lace-workers produced grounds small meshes plaited This inventiveness on the part of the bobbin or pillow workers reacted upon the needlepoint workers, in their turn produced still more delicate grounds meshes of single and twisted threads. Lace, passing from to thus became filmy or and its original as a somewhat stiff, wiry-looking trimming to linen consequently changed. Larger articles than borders, collars, and cuffs made of filmy material, lace veils, sleeves, curtains, and produced. This transition may be traced hundred and twenty years of lace-making. It culminated the succeeding years in a development of fanciful in which realistic representation of flowers, trees, cupids, sportsmen, animals of the chase, emblems of all sorts, rococo and architectural ornament, is typical. eighteenth century may perhaps regarded as a of propriety the of ornament appropriate to the twisting, plaiting, and looping together of threads, it nevertheless notable for _tours de force_ in lace-making achieved without cost trouble. From this the climax of which be about 1760, the designing patterns and of eighteenth the first twenty years so of the nineteenth centuries, although still made with little more than finely-meshed nets powdered over with or leaves, or single blossoms, or tiny Within the limits of a brief note like the present, it is possible to peculiarities in methods of work and styles of which established the characters
 and
blossoms with their conneCting links Or barS woUld OfTen bE enrIched
with littlE LoopS or _picots_, with stitched rEliefS, aND varIEtIes of
Close anD OpEN WorK. THeN caMe A TaSte foR arRanging The bars or tIes
InTo trellis groUNdS, or grounds Of hExagons, over wHicH small
OrNamENtal dEviCes woUld be sCAttereD in balancEd GRoups. AT The same
TIMe, The bObbin or pillow lace-WOrKErs produced groUnds of SmALl
EQUal-SizE meshes in pLaIted tHReads. ThIS iNVENtiVEness on the parT of
the bobbiN Or pIllow wOrKerS ReacteD upon ThE NeeDlepoint worKers, Who
in theiR turn pROduced sTIll more DelicaTe gRouNds wITh MeSheS oF SinGLe
And DOubLe twisteD tHrEads.

LAce, pASSINg frOm sTage To staGe, thus became a FilMy tiSSue Or fabRic,
anD its OrIginaL use as A someWhAt stiff, wiry-lookIng tRimming to LinEn
ConSeQuentLY changEd. LArgEr articLes than BOrdErS, COLlArs, and cuffs
were madE oF THe New filmy MateriAL, aNd LAce flounCeS, veIls, lOOSe
sleEves, CUrTains, and Bed-covERs WeRe produCeD. This tRaNsiTioN may bE
TracEd throUgh the fiRst huNDred and twenty yEArs of lace-makiNG. IT
CUlMInatEd dUring the sucCeedINg niNety YEaRs iN A deveLopmeNt OF
fANciful pattern-making, In Which rEalisTic representaTion of flowERS,
Trees, cupIds, wARrIOrs, sportsmen, anImals Of the chase, EMblems of All
soRts, rococO and archiTECtural orNamEnt, Is tYpiCAL. WHilst the
eightEENth cEnTury may PerHaps be rEgaRdeD as A peRiOd of questIonable
pRoPrIeTy In tHe empLOyment of OrNamEnT haRdly aPPropriAte to The
tWiStINg, pLaiting, ANd LOOpinG tOgEtheR of ThReads, It is NEveRthelesS
notable fOr _tOUrs dE fOrCe_ in lacE-making achievEd Without regArD to
Cost or TROuble. FroM this stage, the climax of whICh may be PlaCed
abOut 1760, tHe designiNg oF lace pAttERns decLined; aNd froM tHe eND Of
the EIGhTeeNtH to the firsT TWenTy yeaRs Or so Of the niNeteenth
centuries, lACes, Although still MadE witH THe NeeDLe ANd bObBIns,
BECame little more tHan finely-mEsHEd Nets powderED ovEr With dotS or
leavEs, or sINgle bloSsoms, or tiNy sprays.

WItHin tHE LimIts of a brieF note likE the preseNT, it is NOt PossiBle
To discUsS loCal peCuliarITieS in meThods oF wOrk and StyleS oF design
wHich established the charaCters
 and
blossoms with their c onnectinglinks  or  ba rs  wou ld o ften be enrich e d
wi th little loops or _pi cots_ ,w iths ti tched  relief s ,a n d v ar ie tie so fclose  an d openwork. Then  ca me  a taste for ar ranging th e b ars or tiesint o trel li s g r ounds , o r gro unds o f  hexag ons, over  w h ich sm a ll
orna m e nt al d evices would be s c at t ered in balanc ed gro up s .A t  th e s ame
time,th e bob b in or p i ll o w lac e -workers prod uced ground s  of  small 
e qua l -sizemeshe si n p laited thre ads.  This inv entive n ess ont he part  of
th e b obb in o r  p il low  w o rke r srea c ted  upon th ene edlep oint w o r kers , w ho
i n the ir turn produ ced  sti l l m ore d elica te g ro undswith m eshes  o f single
and do uble  twistedthr ea ds. 
Lace, passin g f rom  stageto stag e , t hu s b ec ame a filmy tissue  o r fa bric,
an d itso ri gi n al use a sa s omew h a t sti ff,w ir y-lookin g trim m in gto line nconseq ue ntl y c hange d . La rger a rticlesthanb orders, collar s , and cuffs
w e re m ad e  ofthe  new filmymate r ial,  and la cef lounc es, v ei l s, loose
sleeves, curt ai ns, an d bed -covers wereproduced.T h i s transi tion ma y  be
traced thr oughthe firsth undred a nd tw enty yea rs of lac e - making.Itcul min ate d du ring the succ e e ding  n inety y ear s in adev elo pme ntof 
fanciful  pattern -m ak in g,  in  whic h  realist ic  re pr ese ntati o n of f lower s,
t re es ,  cu pids, w a rr i o rs,sp or tsme n,an imals  oft hechase,emblems o f a l l
so rt s,  rococo  and architec tu ral orname nt , i s typi c a l. Whils t the
eighteenth centur y  may pe rha ps be  reg arded asa p eriodofq uestio nablepropr ie tyi n  thee m pl oym en t of ornam e n t h ardly  a ppro priateto the
twisting, p l ait ing, and loop ing  tog e t he r o f  t h rea ds ,  it i s neverthelessnotable fo r_ to urs de for c e_in  lace-m aking a chiev e d witho ut regard  to
costor  tro u b le.  From this  stage,the clima x  of w h ic h may  be  place dabo ut 17 60, th e  de signi ng ofla ce pat terns  d eclined;  and from the end of
th e eigh teent h t o the fir stt wen ty yearsor s o of the n ine tee nth
c ent u ries,  lac e s,  al t hough  sti l l made wi t hthe n ee dle and bob b i n s,becam e l i ttle m orethan finely-meshe d  nets powdered  ove r wit h d o ts o rleaves, or sin gle  b l o ssoms, o rtiny sprays .

Withi nt he li mits o f a br ief not e li k e thepres ent , it is n otpo s sible
t odi s cuss l ocal  p eculia rities in m e t hods of work and  styl e s  of d e sig n
whi ch  establ i shed  the chara cters
 and
blossoms_with their_connecting links or bars_would often_be_enriched
with little_loops_or _picots_, with_stitched reliefs, and_varieties of
close and open_work. Then came_a_taste for arranging the bars or ties
into trellis grounds, or grounds of hexagons, over_which_small
ornamental devices_would_be_scattered in balanced groups. At_the same
time, the bobbin or_pillow lace-workers_produced grounds of small
equal-size meshes in plaited threads._This_inventiveness on the_part of
the bobbin or pillow workers reacted upon the_needlepoint workers, who
in their turn produced_still more delicate_grounds_with_meshes of single
and double_twisted threads.

Lace, passing from stage to_stage, thus became a filmy tissue_or fabric,
and its original use as a_somewhat stiff, wiry-looking trimming to linen
consequently_changed. Larger articles than borders,_collars, and_cuffs
were made of the new_filmy material, and_lace flounces,_veils, loose
sleeves, curtains,_and bed-covers were produced. This transition_may be
traced through_the first hundred and twenty years_of_lace-making. It
culminated during_the_succeeding_ninety years_in a development_of
fanciful_pattern-making, in_which_realistic representation of flowers,
trees, cupids, warriors,_sportsmen,_animals of the chase, emblems of all
sorts,_rococo and architectural ornament,_is_typical. Whilst the
eighteenth century_may perhaps be regarded as_a period of questionable
propriety in the_employment of_ornament hardly_appropriate to the
twisting, plaiting, and looping together of threads, it is_nevertheless
notable for _tours de force_ in_lace-making achieved without regard_to
cost or_trouble._From this stage,_the_climax of_which may be placed
about 1760, the designing_of lace_patterns declined; and from the end_of
the eighteenth to the_first_twenty years or so of the_nineteenth
centuries, laces, although still made with_the needle and bobbins,
became little_more_than_finely-meshed nets powdered over with_dots or
leaves, or single blossoms, or_tiny sprays.

Within the_limits of a brief note like the_present,_it is not possible
to discuss local_peculiarities_in methods of work and styles_of_design
which_established the characters