Dear Alex, While I agree in spirit with your observation, I am in the somewhat unusual situation of trying to review information in a museum data base, and determine the best term for the technique. Interestingly, the data base has a separate field for âcultureâ which gives the geographical origin of the piece. In some cases, this was probably guesswork as when the museum received a piece of lace in Milanese technique and entered Milanese in its classification of the lace, and then put Milan as its place of origin. But, in other cases, especially, the case of the Magdalena Nuttall collection, there are pieces with geographical locations that do not seem to correspond with the techniques and these are very interesting, as I think that Magdalena Nuttall may have provided information about where she purchased them. For instance, we were just examining a piece that looks like Duchesse, which I would definitely say was from Belgium, but our information says it is from Saxony, Germany. She has about 800 pieces and some of the locations for them are very specific and not very intuitive. At first you look at these pieces and think, this is a mistake, but more and more, I think it is a very important insight into late 19th century lace production. As I try to check this information, I am finding all sorts of corroboration for these strange designations, often the contemporaneous writings of the late 19th early 20th century, which as you observed in an earlier email are often unfairly discounted. So, in the interest of lace scholarship, I think it is significant where the pieces were made, as it illuminates the point you were making that these pieces of fashion lace were made all over Europe as a commercial activity. Devon
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