fashionable
trimmings, veils, and Spanish mantillas, are so called from their
original Venetian name, "merletti biondi," pale laces. De Gheltof
derives this appellation from the celebrated collar of Louis Quatorze,
and fancies it was made of the fair hair of the workers; but this is
only vague conjecture. The term was applied in the seventeenth century
to laces in silk, gold, and silver--never to thread laces. I confess I
do not find the reason for the name, but accept De Gheltof's
information that it was given by the authority of the magistrates of
Mercanzia in 1759.

This is but a very slight sketch of the history of lace. Venice being
its birthplace, and likewise the busy scene of its rehabilitation, I
have lingered over its school, and left but little space for the
discussion of those of Spain, Flanders, Belgium, and France. But these
have been thoroughly investigated, and their individual merits are
well appreciated, both as antique and modern dress decoration.

I have already said that the lace schools in France were instituted by
Colbert, who placed one at Auxerre, under the especial care of his
brother, the bishop of that city. Louis Quatorze made it one of his
splendid caprices, and not only set the example, but forced the
fashion into this luxurious and extravagant channel.

In Spain, lace was made to look its best by being worn stretched over
the great hoops of the "Guard-Infante;" and the fashion spread all
over Europe. The white laces, resembling carved ivory or those in gold
and silver, which remind one of solid jewellers' work, when spread
over the surface of these fortified outworks, guarding from all
approach the persons of the Infantas of Spain, assume in the portraits
by Velasquez, a dignity which is in keeping with their value. The
splendid designs show brilliantly on a background of scarlet, rose
colour, or black silk; and that which, hanging loosely, looks only
tawdry and ragged, had a magnificent effect when thus displayed.

For ecclesiastical purposes, these grand solid laces seem most
appropriate, being effective in large spaces, and easily seen at a
distance, hanging over the edge of the altar, as a border to the linen
cloths, or finishing the white alb of the officiating priest.

One cannot but agree with M. Blanc, who points out that each piece of
lace had its intention, and that a fashionable ball-dress trimmed with
the edging of an antique altar-cloth in loops, is in false taste, to