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bone-lace seller, who died July 27th, 1617, and bequeathed to the poor of the parish the benefit of a hundred pounds. A similar bequest was made in the same year by Mrs. Minifie, a lace maker, so that both lace dealer and maker may have carried on their business for thirty years before they died.

      In the latter part of James I.'s reign Honiton lace is frequently mentioned by contemporary writers. Westcote, in his View of Devon, 1620, says, "At Axminster you may be furnished with fine flax-thread there spunne. At Hemington and Bradnich with bone-laces now greatly in request." Acts were passed under Charles I. for the protection of the bone-lace makers, "prohibiting foreign purles, cut works, and bone-laces, or any commodities laced or edged therewith;" and these benefited especially the Devonshire workers, their goods being close imitations of the much-coveted Flemish pillow-laces.

      Pillow-lace was preceded in England, as elsewhere, by darned netting and cut-work. A fine example of the ancient English net embroidery may be seen on the monument, in Exeter Cathedral, of Bishop Stafford, who died in 1398.

      The pillow was introduced in the early part of Elizabeth's reign, and at first coarse thread-laces of geometrical design were worked on to it. Plaited and embroidered edgings, or purles, for the ruff, worked in silk, gold and silver wire, or thread came next, and formed the staple article during the first half of the seventeenth century. The patterns were imitated from Italian cut-work and reticella, with some marked peculiarities of workmanship and detail, such as the introduction of stars, wheels, and triangles, which are only found on English laces. The sculptor of Lady Pole's monument in Colyton Church (1623), evidently copied the bone-lace on her cape from a specimen of Devonshire make, and equally characteristic of the ancient patterns of the county is the probably plaited lace on a tucker and cuffs that adorn the effigy of Lady Doddridge in Exeter Cathedral (1614). Illustrations of these interesting examples of early Devonshire workmanship are given in Mrs. Palliser's "History of Lace."5

      There is another very fine specimen in Combe Martin Church, the effigy of Judith Hancock (1637). The figure is life-size, and the dress is covered with point-lace and looped with points of ribbon.

      The reason of the coarseness of early lace was that pins were rare and fetched a high price, and the humble workers in cottages employed fish-bones about which to twist their threads, stuck into the parchment in the shape of the pattern. The bobbins were made of "sheeps' trotters." It is now very difficult to procure specimens of this fishbone-lace.

      The lace produced by James Rodge and his contemporaries had large flowing guipure patterns, united by bride picotees, the latter worked in with the Brussels ground. Brides are the small stripes or connection of threads overcast with stitches which bind the sprigs together. The English lace-makers could not make this exquisite stitch with the thread that England produced, and the thread was brought from Antwerp. At the end of last century it cost from £70 to £100 per pound. Old Brussels lace was made on pillows, while the modern Brussels is worked with needles.

      The visitor to Honiton, Beer, or any village around may see lace-making on pillows. The women have round or oval boards, stuffed so as to form a cushion, and placed on the knees of the worker: a piece of parchment is fixed over the pillow, with the pattern drawn on it; into this the pins are stuck through holes marked for the purpose. Often as many as four hundred bobbins are employed at a time on a pillow. Many of the "bobbins" and "turns" to be seen in Devonshire cottages are very old: the most ancient are inlaid with silver. On some, dates are carved, such as 1678 or 1729. On some, Christian names are cut, such as John and Nicholas; probably those of the sweethearts of the girls who used them. Jingles, or strings of glass beads, may be seen hanging to them, with a button at the end, which came from the waistcoat of the John or the Nicholas who had given the bobbin as a keepsake. What life-stories some of these old bobbins could tell!6

      Children began to make lace as early as four years old; indeed, unless early trained to the work their hands never acquire deftness. Board schools and compulsory education are destroying the ability to work as of old, as well as too often killing the desire for work in the hearts of the children.

      Boys and girls were formerly taught alike, and in some of the seaside villages fishermen took up their pillows for lace-making when ashore.

      Guipure à bride and scalloped-border laces in the Louis XIV. style were followed by laces grounded with Brussels vraie réseau. In the working of the latter, Devonshire hands were decidedly superior to their Continental rivals. This beautiful ground, which sold at the rate of a shilling the square inch, was either worked in on the pillow after the pattern had been finished, or used as a substratum for lace strips to be sewn on. The detached bouquets of the Rococo period, and the Mechlin style of design towards the end of last century, eminently suited the Devon lace-workers, as dividing the labour. Each individual hand could be entrusted with the execution of a floral design, which was repeated mechanically. The superior finish of the Honiton sprigs between 1790 and 1815 was mainly due to this, but it was fatal to all development of the artistic faculty and to general deftness. During this period Honiton produced the finest laces in Europe. What greatly conduced to the improvement of Honiton lace was the arrival of Normandy refugees at the outbreak of the French Revolution in 1793. The Normans were quicker and sharper than the Devon workers, and they stirred them up to great advance in their work. They taught them to make trolly lace, which is worked round the pillow instead of on it; and through their example the Devonshire women gave up the slovenly habit of working the ground into which they had slipped, and returned to the old double-threaded réseau, or ground like the old Flemish, the flowers worked into the ground with the pillow, instead of being appliqué.

      Honiton lace made in proper fashion with sprigs was formerly paid for by covering the work with shillings.

      There is a curious notice of Honiton lace in a note by Dr. James Yonge; who "was again at Honiton, April 23rd, 1702," and witnessed the rejoicings in celebration of the coronation of Queen Anne.

      "Saw a very pretty procession of three hundred girls in good order, two and two march with three women drummers beating, and a guard of twenty young men on horseback. Each of the females had a white rod in her hand, on the top of which was a tossil made of white and bleu ribband (which they said was the Queen's coleurs) and bone-lace, the great manufacture. Then they had wandered about the town from ten in the morning [it was eight in the evening when he saw them] huzzaing every now and then, and then wearing their rodds. Then they returned at nine, and then break up very weary and hungary."7

      Taste declined during the latter part of last century, and some of the designs of Honiton lace were truly barbarous – frying-pans, snails, drumsticks, and stiff flowers. But there were always some who did better. At the beginning of this century all taste was bad. Bald imitations of nature prevailed, without any regard to the exigencies of art. Roses and other flowers were worked in perspective; it was thought sufficient to servilely copy nature and leave grouping to chance.

      Queen Adelaide had a dress made of Honiton lace. By her desire all the flowers were copied from nature, and the first letter of each spelt her name.

      Amaranth.

      Daphne.

      Eglantine.

      Lilac.

      Auricula.

      Ivy.

      Dahlia.

      Eglantine.

      The present Queen also had her wedding-dress of Honiton lace, and it cost a thousand pounds.

      Unhappily, design sank very low. Perhaps the lowest stage of degradation in design was reached in 1867, when a Honiton lace shawl sent to the Paris Exhibition from Exeter received a prize and commendation. Nothing can be conceived worse. That it should have been rewarded with a medal shows that either the judges pardoned the ineptitude in design for the sake of the excellence of the work, or else that they themselves stood on the same level of artistic incompetence which then prevailed. Since then, happily, design has been more studied. There is still a good deal of very sorry stuff produced – as far as artistic design is concerned – but at the same time there is much faithful copying of good antique work. All old work

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