Page:EB1911 - Volume 16.djvu/57

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LACE
Plate III.
Fig. 8.—MARY, COUNTESS OF PEMBROKE, WEARING
A COIF AND CUFFS OF RETICELLA LACE.

National Portrait Gallery. Dated 1614.

Fig. 11.—JAMES II. WEARING A JABOT AND CUFFS
OF RAISED NEEDLEPOINT LACE.

By Riley. National Portrait Gallery. About 1685
(Figs. 8 and 11, photo by Emery Walker.)

Fig. 9.—HENRI II., DUC DE MONTMORENCY, WEARING A
FALLING LACE COLLAR. By Le Nain. Louvre. About 1628.

(By permission of Messrs Braun, Clement & Co.,
Dornach (Alsace), and Paris.)

Fig. 10.—SCALLOPPED COLLAR OF TAPE-LIKE
PILLOW-MADE LACE.

Possibly of English early 17th-century work. Its texture is
  typical of a development in pillow-lace-making later than that
of the lower edge of “merletti a piombini” in Pl. II. fig. 3.  

Fig. 12.—JABOT OF NEEDLEPOINT LACE WORKED
PARTLY IN RELIEF, AND USUALLY KNOWN AS
“GROS POINT DE VENISE.”

Middle of 17th century. Conventional scrolling stems with off-
shooting pseudo-blossoms and leafs are specially characteristic.

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