The latest OIDFA magazine has arrived, and has a
fascinating article in it which does answer some of
the things I was querying in the earlier posting on
point ground laces. Claire le Goaziou describes a
sample book of black and white silk point ground lace
from Grenoble from a school operating between 1772 and
1791. The samples have a lot of ground with smallish
designs. Gimps are used, but the solid areas seem to
be worked in the same thread as is used for the
ground, not with the gimp, so although the lace is
called white or black blonde (it's one way of
confusing people!) it is not at all like the black and
white blondes of 50 or so years later, with very bold
separate motives worked with gimps as weavers.
The solid bits on the black lace do look as though
they are make in half stitch, though this is not
mentioned, but the white cloth is said to be in cloth
stitch (the photo is not clear enough to see.) The
black thread is generally thicker, the gimp being a
bundle of these threads, sometimes plaited. Again,
the grounds are different. The white is said to be
honeycomb and point ground (I am not sure if the
honeycomb is with the full and gap rows, or honeycomb
stitch at every hole on a point ground grid - point
vitre, not point ferme, in Bayeux-speak). The black
ground is said mainly to be Paris ground/kat stitch -
"seemingly worked without a pricking judging by the
mistakes!" - and point ground.
I should have thought that these differences would
have been driven purely by the look of the result.
To put the icing on the cake, there is a Chantilly
pattern from Nathalie Grangeon, of a rather stylish
leaf. The sample has half the ground in point ground,
half in honeycomb/point vitre. It's fairly open, so
could be kat stitch, but the holes in the lace look
wrong for that. The diagram of the leaf suggests that
pairs are added and thrown out of the half stitch at
three-pair crossings, which looks very neat, and I'll
certainly be trying it out where it might be useful in
my Bucks or Beds!
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