100

HISTORY OF LACK.

of l'rinces-street, five yards and better of Antwerp lace, pinnerbreadth. One guinea reward.”

According to Savary, much lace without ground, “ dentellesans fond,” a guipure of large flowers touching each other, wasmade in all the towns of Brabant for especial exportation to theSpanish Indies, where the “ Gothic ” taste continued in favour upto a very late period. These envoys were expedited first toCadiz, and there disposed of. In 1696, we find in a seizure madeby Monsieur de la Belliere, on the high seas, “2181 pieces dedentelles grossieres a l’Espagnole assorties.” 92

Fig. 55.

A lady of Antwerp, ob. 1598 . After Crispin do Pusho.

■ 'w

Since the cessation of this Spanish market, Antwerp lace •would have disappeared from the scene had it not been for theattachment evinced by the old people for one pattern, which hasbeen worn on their caps from generation to generation, generallyknown by the name of “ pot lace ” (potten kant). It is made inthe Beguinages of three qualities, mostly “ fond double.” Thepattern has always a vase (Fig. 56), varied according to fancy. 53Antwerp now makes Brussels lace.

35 “Mercure Galant,” 1696.

33 The flower-pot was a symbol of theAnnunciation. In the early representa-tions of the appearance of the AngelGabriel to the Virgin Mary, lilies areplaced either in his hand or set as anaccessory in a vase. As Romanism de-

clined, the angel disappeared, and thelily pot became a vase of flowers; sub-sequently, the Virgin was omitted, andthere remained only the vase of flowers.The “ Potten” design is not peculiar toAntwerp lace.