Comment

Comment by Elizabeth Ligeti on June 4, 2020 at 10:30pm

As I understand it, the Punto in Aria is worked with the needle thread laying the outline - as you go- and doing the filling stitches, whereas the "Other way" (which is the way I prefer to work!) is to couch down an outline first, and then do the filling stitches separately. 

Whatever - the final outcome looks very much the same!!  I love your photos of these lace pieces, Devon. Thank you for them - they are so clear, and one can see the separate stitches etc.  I am No scholar, but I am enjoying the conversation!

Comment by Devon Thein on June 4, 2020 at 2:51pm

Reticella was worked on a framework of threads from a woven fabric. Workers began to make diagonal support threads across the woven framework and to work on either side of those support threads. Afterward support threads were laid without the woven framework. Buttonhole stitches were worked on these, working outward from an interior skeletal thread and this is called punto in aria. At a certain point, workers began to lay threads to surround the design area and to fill these areas with needle lace stitches, including more decorative ones. In the later case, was the lace still called punto in aria, or is there another name for it? Does it make a difference if the lace was worked from an interior support thread out, or filling in exterior laid threads, or is the basic style the determinant of whether something is punto in aria? Here are some examples. The first three look like classic punto in aria to me. The last three have areas that look like they might be filled, principally because the needle lace stitches are not solid. Would the last three be punto in aria?

Comment by Laurie Waters on May 25, 2020 at 7:34pm

Regarding Genoa knock-offs, look carefully at the Sansepolcro industry, they did a lot of that kind of work. Heather Toomer and I are translating the book "Ginna Marcelli e il Merletto di Sansepolcro' published 1996, based on a few things we have just discovered.

Comment by Helen Bell on May 25, 2020 at 6:44pm

Hmmm.  Will have to do some research, as I don't remember which book or thesis I read about it in.  It may even have been a paper or document I found on the web.  I don't think there's very much info about it though.

I wonder if Pat Earnshaw's reference to 'snail's head pattern' is a reference to to early Honiton and the Honiton 'slugs'.

Comment by Devon Thein on May 25, 2020 at 3:46pm

Also, Pat Earnshaw refers to something called a "snail's head pattern" illustrating this term with a photo that looks a bit like these laces. Does anyone know what she means by "snail's head" in this context? I have never heard the term before. 

Comment by Devon Thein on May 25, 2020 at 3:41pm

Do you know of anything I could read about the Genoa knock off industry of older styles? 

Comment by Helen Bell on May 25, 2020 at 3:28pm

Your interesting thread transfer looks awfully like a fat plait, which we use in Beds all the time, and you do see it in the old Beds.  It's a very convenient way to move a group of threads from one place to another.

Lorelei's piece below almost looks like the edge was added at a later date, as it seems to have a different 'vibe'/style to it.  I'd also argue that close inspection could reveal a different level of workmanship, supporting the theory of multiple workers (lacemakers).

Is it possible/plausible that it's a knock off from the 1800's?  I know Genoa had quite an industry going at that time that was essentially a 'knock off' industry of the older styles.  The quality of the work and consistency of the square tallies/cucumbers shows some skill and attention to workmanship.

Fascinating piece.

Comment by Devon Thein on May 25, 2020 at 2:58pm

Even as the previous piece has yet to truly be understood, I have encountered another piece which seems to be related in technique which I am also at a loss to identify. However, it looks somewhat like plate 253 in Levey, if only because of the strapwork design in it. I think it may have been remade, so maybe there are pieces from more than one original in it. However, I really find some of the techniques to be interesting and not things I have seen. Levey talks about the tape laces transitioning into the part laces such as Brussels lace (plate 255 a-d) and perhaps this is an example of that. There seems to be an underlying psychology of the same loop construction as in Fiandra, or Noue or occhiolino, all words for the same loop phenomenon. But then the tape becomes a motif and the motif is filled, sometimes with a raised edge like in Honiton, sometimes simply filled. Also there are some very weird transfers of pairs that are quite intriguing. Thoughts? 

Comment by Lorelei Halley Administrator on May 24, 2020 at 8:54pm

As for a date, I don't think it is very old. The odd collection of motifs just does not fit a date around 1700. More likely revival era, or even New Revival Era, somebody laughing at all of us, putting this collection of ideas in the same piece of lace. It shows some knowledge of Revival Era Binche, some knowledge of rib loops backed by half stitch (more likely continental than English), and the little snowflake is also more likely continental.

A marvelous puzzle for us to discuss. Thanx Devon.

Comment by Lorelei Halley Administrator on May 24, 2020 at 8:47pm

I haven't a clue what to call it. But here is what I see.

Green outlines an area of cucumber tallies, a motif that often occurs in Binche, particularly Revival Era and modern Binche.  But this piece is a part lace, not a straight lace (Binche is a straight lace}.

The blue outlines an area of tenstick/rib. It is made usually with 5 pairs, though more can be used. One side of the narrow tape is worked as a sewing edge, and the other ctctc, return with the 2nd pair. I have seen this motif in a lace at the Art Institute of Chicago dating from around 1700. And it also occurs in more recent laces, including 20th century.

The red outlines a small number of those loops with half stitch (I think) laid on top of it. (Remember a part lace is worked with the wrong side facing the lace maker.) 

The pink outlines an area filling which may be the small snowflake, also from Binche.

I will attach some photo examples.

lower left hand corner, 2nd tape from left. 

Perryman sampler that I made. http://lynxlace.com/images/lace597b.jpg  

Little snowflake several variants 

An Art Institute piece with the rib loops, backed by half stitch. 

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