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Exploring the Variety of Random
Documents with Different Content
The Project Gutenberg eBook of Bobbins of
Belgium
 This ebook is for the use of anyone anywhere in the United
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included with this ebook or online at www.gutenberg.org. If you
are not located in the United States, you will have to check the
laws of the country where you are located before using this
eBook.

Title: Bobbins of Belgium

Author: Charlotte Kellogg

Release date: September 11, 2019 [eBook #60275]

Most recently updated: October 17, 2024

Language: English

Credits: Produced by F E H, MWS and the Online Distributed

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Internet Archive/American Libraries.)

*** START OF THE PROJECT GUTENBERG EBOOK BOBBINS OF

BELGIUM ***
 Transcriber’s Notes
A few words in relation to era/dialect have been retained e.g. tho, possest, stopt,
dropt, slipt, distrest.
The frontispiece spelling of the Queen of Belgium is Elisabeth, as shown in the photo
with her signature. Throughout the main text however, it has been spelt Queen Elizabeth.
These spellings have been left as printed.
In the Appendix, where there are two or more illustrations per page, the words (Top),
(Middle), (Bottom) have been used, to indicate the link with the text and illustration.
p.292: changed 4 to _d_
Printer errors have silently been corrected.
H.M. QUEEN ELISABETH OF BELGIUM
 BOBBINS OF BELGIUM
A BOOK OF BELGIAN LACE, LACE-WORKERS,
LACE-SCHOOLS AND
LACE-VILLAGES

By
CHARLOTTE KELLOGG
Of the Commission for Relief in Belgium, and Author of
“Women of Belgium”

FUNK & WAGNALLS COMPANY

NEW YORK AND LONDON
1920

Copyright, 1920, by
FUNK & WAGNALLS COMPANY
[Printed in the United States of America]
Published in February, 1920
Copyright Under the Articles of the Copyright Convention
of the Pan-American Republics and the
United States, August 11, 1910.
 DEDICATION
To the women of the Brussels war-time lace
committee—Madame Allard, the Vicomtesse de
Beughem, Madame Kefer-Mali, and the Comtesse
Elizabeth d’Oultremont, with admiration and
gratitude.
 CONTENTS
CHAPTER PAGE
Preface 15
Introduction 25
I. Turnhout 49
II. Courtrai 79
III. Thourout-Thielt-Wynghene 97
IV. Grammont 127
V. Bruges 143
VI. Kerxken 169
VII. Erembodeghem 189
VIII. Opbrakel 201
IX. Liedekerke 215
X. Herzele 231
XI. Ghent 247
XII. Zele 265
XIII. Appendix 275
Index 307
 LIST OF ILLUSTRATIONS
FACING PAGE

H.M. Queen Elizabeth of Belgium, Frontispiece

Fifteenth Century Portrait 32
Showing heavy brocade as yet unrelieved by linen
or lace trimming.
Portrait of Charles IX (1570) 33
Linen collar showing picot edge made with the
needle.
Portrait Towards End of Sixteenth Century 40
Showing collar ornamented with bobbin-made
cluny.
Anne of Austria by Van Dyck 41
About 1635, cluny lace made with bobbins.
Abbé Berraly School, Turnhout 56
General view.
Nine-Year Children Making Point de Paris 57
Point de Paris Class 64
On dark days lamps are lighted behind bottles
filled with water, the rays passing through, fall in
spotlights on the cushions.
Winding Bobbins for the Children 65
Point de Lille, or Point D’Hollande 72
Mesh showing “Esprits” or dots characteristic of
this bobbin lace.
End of a Point de Paris Scarf About 2½ Yards Long on
Which Colette Worked One Year 73
In theAbbé Berraly School, Colette, 16-Years Old, Works
with 1,000 Bobbins 73
Belgian Lace Meshes(Plate I) 80
After Pierre Verhagen in “La Dentelle Belge.”
Belgian Lace Meshes (Plate II) 81
After Pierre Verhagen in “La Dentelle Belge.”
Bobbin Laces 88
Malines, Point de Paris, Valenciennes.
Cushion Cover Representing Belgium’s Gratitude to America
for Bread 89
Point de Paris lace combined with linen. The lower
right-hand centerpiece shows the rose design,
emblem of Queen Elizabeth.
Bobbin Laces 104
Torchon, Cluny, Old Flemish, Binche.
Table Cloth Showing Arms of the Allies 105
Cut linen with squares of Venise surrounded by
filet and cluny; Venise made with the needle; cluny
with bobbins.
A “Marie Antoinette” in Chantilly Lace 128
Made with bobbins, near Grammont.
Cushion Cover 129
Center Venise, borders Valenciennes, lace
executed by 12 workers in one month, embroidery
and mounting by four women in two months;
design by M. de Rudder.
Tea Cloth 129
Point de Paris, cock design.
Lace Makers of Bruges 144
Bruges and Similar Bobbin Laces 145
Lace Normal School, Bruges. Beginner’s Class 152
 Symbolic color pattern on left-hand easel;
demonstration bobbins attached to colored threads
at right.
Bed Cover in Duchesse or Brussels Lace 153
Made with bobbins; executed in Flanders by 30
women in three months; design by the Lace
Committee.
Rosaline, which Closely Resembles Bruges 160
Details for Bruges Lace 160
Made with bobbins on round cushion.
Doily Set in Point de Paris in the “Animals of the Allies”
Design, Executed at Turnhout 161
Point de Flandres or Flanders Lace 176
Flowers made with bobbins, mesh with needle;
designs by the Lace Committee.
Handkerchief in Needle-Point 177
Made near Alost. Both mesh and flowers made
with needle.
Detail Showing Seven Different Filling-in Stitches 177
Venise Designs by the Brussels Lace Committee 180
Handkerchief and Jewel Boxes; Flanders and Venise Over
Satin and Velvet 181
Venise Banquet Cloth Presented by the Lace Committee to
H.M. Queen Elizabeth on Her Return from Exile 192–193
Design by M. de Rudder; executed by 30 best
Venise-makers in Belgium in six months.
Cushion Cover in Venise 196
Pekinese dog; design by M. Allard.
Table Center in Flanders with Center and Border of Venise 197
Design by Lace Committee; executed in West
Flanders by five workers in 15 days.
“The Tourney” Banquet Cloth 208
 Design reproducing a mediæval painting in
Tournai, executed in Venise lace by 10 workers in
one month, mounting and embroidery by five
workers in one month. Price in Brussels, 1,000
francs.
“Arms of Allies” Cushion Cover in Venise, with Details in
Flanders 209
Needle-Point Scarf Expressing Gratitude of Belgium to
Holland. Presented to H.M. Queen Wilhelmina 216–217
Executed by 30 workers in eight months.
Bobbin Laces 224
Malines; Application, flowers sewn on tulle;
Duchesse, with Needle-Point insertion.
Application Details to be Sewed on Tulle 225
Upper flower shows open spaces left by bobbin
worker for needle worker; lower flower shows
both bobbin and needle work completed.
Wedding Gift of Mr. Hoover to Mrs. Page 240
Executed in Venise and Flanders lace by 30
women working three months. American eagles
with outspread wings, protecting the Belgian Lion
enchained in the four corners.
Flanders—Needle Mesh, Bobbin Flowers 240
Venise Lace Center, Border of Valenciennes 241
Lace executed in Flanders by 40 women in two
months; embroidery and mounting in Brussels by
four women in three months.
Valenciennes, Square Mesh 241
Fan in Needle-Point 256
Executed by three women in six weeks. “Shields of
the Allies,” design drawn by M. Knoff for the Lace
Committee.
Eighteenth Century Marriage Veil in Needle-Point,
Belonging to the Comtesse Elizabeth D’Oultremont 257
It would take 40 workers about a half year to copy
this veil.
At Work on Details of a Needle-Point Scarf to be Presented
to Queen Elizabeth 268
Needle Lace Class-Room in the Trade Union Lace School at
Zele 268
Needle-Point Illustration for the Fable of the Fox and the
Grapes 269
In the Zele Lace School. Joining Details of the Needle-Point
Scarf Presented to Queen Elizabeth 269
 PREFACE

I
entered the lace-world by the grim door of war. For it was the war-
time work of the women of the Brussels Lace Committee that
opened the way to me.
Long before the war, Queen Elizabeth in Belgium, like Queen
Margharita in Italy, had sought means to protect the lace worker,
through centuries the victim of an economic injustice, not to say
crime, and to rescue and develop an industry threatened from many
sides. In 1911 she gave her royal encouragement to a group of
prominent Belgian women who organized as “Amies de la Dentelle,”
Friends of Lace, and began a lace-saving campaign by trying to
remedy the deplorable condition of most of the lace schools, the
defective teaching, long hours, and pitiful pay. They could insist in
the schools, as they could not elsewhere, on the right to inspect, to
grant or refuse patronage. They subsidized worthy institutions, and
advocated the establishment of a lace normal school and of a special
school of design. Education they felt to be the main road leading out
of the prevailing misery, and they were making progress along this
road, when suddenly the Invader poured over their borders.
While other women hurried to open refuges and hospitals and
soup-kitchens, a few of the Friends of Lace remembered first the
lace-makers; and by November 1914, had effected a war emergency
organization, known as the Brussels Lace Committee, with Mrs.
Whitlock as honorary president. Unfortunately most of the lace
dealers failed to cooperate with them, but they won the approval of
the powerful Belgian Comité National, which, with the Commission
for Relief in Belgium, carried on the relief of the occupied territory
throughout the war. And with an initial gift of $25,000 from America
to be converted into lace, they were able to start their work. It soon
came to be directed altogether by four women; The Comtesse
Elizabeth d’Oultremont, Lady-in-Waiting to Queen Elizabeth; the
Vicomtesse de Beughem, an American; Madame Josse Allard, and
Madame Kefer-Mali. At the same time the aid and protection of
workers on filets and other commonly called “imitation” laces, was
assigned by the Comité National to another group of women, the
“Union Patriotique des Femmes Belges.”
The Brussels Lace Committee employed, as trusted business
director of their offices, M. Collart, generously released to them by
the Allard Bank, and as technical expert, Madame Sharlaecken,
before the war with the Compagnie des Indes, one of the largest
lace houses in Belgium; and as the work developed, an increasing
number of designers and aides necessary to a lace business were
added.
During the first few months the situation seemed utterly hopeless;
thread was impossible to obtain; and even if the thread were
forthcoming, no one could say who would buy the laces they might
encourage the women to make; the Germans were cutting off
successive sections of the lace-making areas where they had
established sub-committees, and were forbidding communication
with them. And yet these four women continued bravely to create
the foundations of a great lace business—for an extraordinary
commercial organization grew from their efforts.
However, despite all their intelligence and devotion, such a result
would have been impossible but for a hard-won diplomatic victory. In
early 1915 Mr. Hoover forced an international agreement which
permitted the C. R. B. to bring thread for the Lace Committee into
Belgium, and to take out an equivalent weight in lace, to be sold in
the Allied countries for the benefit of the workers. England required
a rigid control of the thread, and that it be given only to
establishments open to inspection by the C. R. B. At one time these
thread shipments were stopt—a period of cruel anxiety for the
women—but happily after a re-adjustment they were continued. And
once these international guaranties were obtained, the Belgian
Comité National was able to arrange for the distribution of the
thread to the various, even remote, lace centers, and for the return
of the finished laces to Brussels. They granted the women a subsidy
of $10,000 and insured to each dentellière the chance to make at
least three francs worth of lace a week—a small minimum, to be
sure, but every one understood it might be increased later, and that
if each of the many thousands of workers was to have an equal
opportunity, it could not in the beginning be more. After this the
Lace Committee had at times as many as 45,000 women on its lists.
The work in the schools and out of them began to bear fruit. The
sweating system, and payment in kind (in clothing and food) were
practically wiped out, and inspection and control established.
Everywhere the standard of design and of execution was raised; old
patterns were restored and improved, and by the end of the war
2,237 new designs had been added.
But this was not advance through open country. There was
constant danger that at any moment the way might be completely
barred; at any time the guaranties covering the thread importations
might be withdrawn. The Germans early originated a “Lace Control”
of their own, and tried in every possible way to win over the Belgian
workers, and to buy up all the lace in the country. They accused the
Brussels Committee of being a political and patriotic body existing
chiefly to defeat the occupying powers and the Flemish activists.
Then there were other courage-testing difficulties. But despite all
obstacles and perils, the women persisted, and continually the
precious skeins of thread, with their message of “Carry On” were
flung out from Brussels to the farthermost corners of the land,
binding all together in a firm and beautiful web of hope and
confidence. For the enemy was right in suspecting the Committee of
a purpose deeper than that of merely trying to save women from the
soup-line; they carried on a patriotic work of highest importance. To
them I owe a personal debt of gratitude, for they permitted me to
follow their devoted service closely, and they opened the door for
me to a new world of beauty and interest.
 INTRODUCTION

L
aceis a tissue composed of mesh and “flowers” (pattern), or
either one alone, produced with a needle and single thread, or
with several threads manipulated by means of bobbins. It is the
product of a natural evolution from early embroideries and weaving.
We possess no contemporaneous history of the origins and
development of the lace art, partly, perhaps, because of the
tradition, strong among the initiated, of hiding its secrets, and of the
consequent difficulty of an outsider to master them, and partly
because successive wars and world cataclysms have interrupted or
destroyed its progress.
We have ample proof, however, that lace in some form existed in
remote antiquity,—in early Egypt, in Persia, in Bysance and Syria,
where it was chiefly made by slaves; the Greeks and Hebrews speak
of needle lace as known throughout all time. It was not, in these
oriental countries, the delicate white mesh that we call lace, which
would have been most unbecoming to dark skin, but included richly
colored passementeries and filets and fringes, woven of gold and
silver thread, of dyed wool and cotton, and of the coarse linen fiber
of the Nile Valley. It was usually of hieratic and symbolic design, and
sometimes sown with gems—all capable of brilliantly enhancing the
beauty of the East. Egyptian ladies of 6,000 years ago trimmed their
robes with elaborate lengths of filet, and covered their dead with it.
In the Cinquantenaire Museum at Brussels there is the photograph
of a remarkable little woven linen bag, similar to one we might carry
to-day, which was found in the tomb of a Priestess of Hathor,
bearing the mark of one of the earlier dynasties. Its mesh is almost
identical with that of our modern Valenciennes, and it was
undoubtedly made with bobbins.