Szilágyi András (szerk.): Ars Decorativa 24. (Budapest, 2006)
Lilla ERDEI T.: Chantilly-Laces in the Textile Collection of the Museum of Applied Arts
No 1. Collection de Docteur Ottoh (?) Fettick Budapest" (see: Fig. 1/a) and "Éventail, dentelle Chantilly XIX siècle travail aux fuseaux, fabriqué à Bayeux No 2. Dr. Fettick" . Due to the testimony of the notes, both laces were made in the 1860s in the lace manufacture of Bayeux, run by Auguste Lefebure and later his sons (Ernest and Anatol). In this workshop, besides needle-lace (Blonde and Chantilly) sewn Alençon and Argentan laces were also made, that is why the different kinds of laces show similarity concerning their motifs. At the beginning they employed 400 labourers, later, due to the huge increase in demand, in the 1860s they provided a source of living for 10 000 lace-makers. At the end of the 19 th century, it could not compete with the machinemade laces, spreading more and more. The third fan has a gilded company mark in the lace of the silk box: "Manuf n Royale de Dentelles M"" Bâ va I-De beck S pel man s Bôval S r 96 Rue Royale BRUXELLES". The central motive of the wider fan-lace 3: (Fig. 16) is an asymmetric rosebush, with leaves and bending, Barouque-style tracing around it. The narrower fan has a denser pattern. 33 (Fig. 15) Three huge flower bunches are framed with geometrical lines and small flower buds. The third lace fan 34 (Fig. 14) has remained as a whole, together with its silk box and tortoiseshell rays. The fan laces are generally asymmetric, as a minute patch can be seen in the left, lower comer of it. It had a special function: when opening the fan, the whole picture of the fan can be seen; otherwise, the fastening of the fan hides the rim of the lace. These were constructed from smaller strips: the bigger one is made from five (four and the corner), the smaller one is made from six (five and the corner). (Fig. 14-16 - drawing) Shawl The huge lace shawls were popular when wearing crinoline or turnure. They were made in two different forms: in a triangle or an angular shape. The centre of the angular shawl is usually decorated with a tulle mesh. 35 According to the contemporary fashion magazines, 36 they were folded in a half at the two/third part in a way that the smaller part leans onto the centre of the mesh. That is why the several layers of lace had a richer effect. There are significant differences between the style, technique and motifs of the two, triangleshaped shawls of the museum's collection. One of them is known from the already mentioned photo (see Fig. 2), taken in Gyula, about the exhibition, organised around 1920. 37 (Fig. 17) The shawl is decorated in its lower part with festoons in three rows, separated with a dotted mesh. Between these, seven oval ribbons are laced in. Next to the upper rim with narrow festoons, the dense pattern is made more airy with U-shaped flower festoons. The parts between them is complemented with huge flower bunches. It was constructed from 25 strips, joined together vertically. (Fig. 17 - drawing) It was probably made around 1860, in Grammont. 38 The other shawl 39 has bigger flower heads in the mesh and it has a significant role. The pattern of the motifs is much more stirring and is of a greater scale, than the previous (Fig. 18). The central motive can be found in the lower corner of the shawl, it stands from dot rows and leaves, constructing great bends. Towards the two sides, connected trailers lead. Above them, there are symmetric flower bunches, drawn with rigid lines, differing from the motifs of the previous shawl. 4 " At the part of the neck, there is a semicircular pattern with wavy rim, recalling the motifs of the cashmere shawls of the age. It is constructed from ten, vertically joined strips, which split at several points (Fig. 18 drawing).
