The Honiton revival, the impetus to protect and preserve Bucks Point, and the finest of the Beds laces all derive in one way and another from the new designs and the new enthusiasm for handwork exemplified by the Arts and Crafts movement, so the movement didn't so much create new laces in Britain as nourish the ones that were already there. There is one exception--Ruskin lace, a cutwork and needlelace based on Renaissance styles which was really created de novo in the late 1800's, continued to be made on a commercial basis well into the 20th century, and is still being taught today--see http://www.ruskinlace.org.uk/ for evidence on how well Ruskin lace has endured into the 21st century.
Of course, William Morris and the Pre-Raphaelites were medievalists, and that may account for why they did relatively little themselves to encourage a craft which didn't exist in their favored historical period.... Sue from Raleigh At 21:04:16 EST 2/4/2007, Devon wrote: >I am going to Scotland this spring, actually making a circuit from >Manchester to Manchester, and would be interested to hear anything about >Scottish made >laces. One thing I can't figure out is why the Art Nouveau and the Craftsman >movement which produced Modernista lace in Spain, Aemilia Ars in Italy and >the laces of the Weiner Werkstatte and the Industrial schools of the >countries >of the Austro-Hungarian Empire seem to have passed by the laces of the >British Isles so completely. Am I missing something? I am planning to go to >the >Ruskin Museum when I visit England and Scotland, but apart from that, I don't >seem to see much lace stemming from those artistic movements. Yet the >PreRaphaelites, like William Morris, seem to be very needlework oriented. > >Any thoughts? > >Devon Susan Lambiris Raleigh, NC http://home.earthlink.net/~slambiris/ - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
