Szilágyi András (szerk.): Ars Decorativa 24. (Budapest, 2006)

Lilla ERDEI T.: Chantilly-Laces in the Textile Collection of the Museum of Applied Arts

in Fig. 21-22.) or other varied forms (see the stola, Fig. 23) into laces made with different techniques, then the rims are felled with a stronger type of technique, so that they can secure an appropriate strength and possibility for fixing. In this rare case, the motifs were filled with clothwork. Style The laces of the Museum of Applied Arts, except for an early, 19"' century fragment, a unit of a coat and cloak and a white stola from the beginning of the turn of the 19

th

—20

th centuries, all bear the stylistic marks of the Second Empire. Their motifs and structural characteristics are similar to the applied, gauze point Alençon, Argentan, and Bruxelles laces, as these latter were made in manufactures. Their main elements of motifs are different types of flowers (rose, lily, carnation, daisy) and are attached to each other in varied forms (flower-head, flower, garland, bunch of flowers, flower bush) complemented with leaves. Only one animal motive was found on one of the sun-shades, depicting seven types of butterflies. Besides naturalistic motifs, geometric motifs, slipped motifs with straight, long parts with a round end and swaying, curling patterns can also be found. In some places, little flower bunches, encompassed by cartouches can also be seen. The pieces, in which several techniques are combined are also worthy of attention. They were made later, at the turn of the 19"'-20'

h centuries. The introduction of the laces In Hungary, the wearing of clothes and accessories, decorated with Chantilly laces was the privilege of the royal court and the highest layers of aristocracy. However, at the beginning of the 20

lh century, the machine-made pieces appeared in the clothing of the urban bourgeois layer besides the aristocracy, as insertions in blouses, trimmings and decorations of accessories. (Fig. 5) Lace-trimming During the 19

lh century, on women's costumes there were several possibilities of application: as the decorations of a wide neckline, disclosing the shoulders, of ruffled sleeves, of the little frills on the huge skirts, of the bonnets with varied shapes, of the rims of the mantilles, of colourful sun-shades. The laces can be grouped into three types on the basis of the motifs of several smaller and bigger lace fragments, originating from the property of Dr. Ottó Fettick. The first type is the richest; lace fragments with seven different patterns belong to this group. The curved rims with Barouque tracing, made from rows of dots surround bowing flowers. For decorating the background small dots, in the parts between the arcatures honeycomb meshes are used. Their width is between 5 and 10 cm, their length is between 20—147 cm (Fig. 61a)}

1 The two pieces, belonging to the second group, have looser patterns and more rigid tacing. The flowertrailers running in two rows form small, angular cartouches, in which a flower can be found in a honeycomb mesh.

15 (Fig. 61b) One of the fragments is fixed to a machine-made tulle mesh, its length is 117 cm. According to the data-sheet's definition, it may have been the part of a lacefichu. The third group includes only one lace (Fig. 61c). which has geometric tracing,

14 its character is entirely different from the previous ones. It is strengthened with contour thread, the motive stands from a geometric pattern, created from dot rows. In two rows, triangles and squares are alternately decorated with tulle and honeycomb nets. On the basis of its peculiar, characteristic pattern, it may have been made around 1940, in Le Puy-en-Velay.

15 Flounce The continually enlarging crinoline skirts of the mid-19'

h century made the application of wide lace ribbons possible, whose form at the beginning was given by the several petticoats and later the crinoline frame. The width of the laces varied between 20 and 70 cm, their length in extreme cases could reach even 1400 cm. The lace was sewn to the skirt either by the upper, straight, unadorned rim or fleecily. The bent lower rim covered the upper rim of the lower lace in case of applying several layers. The collection includes three different flounces - the