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

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

Parasol The richly decorated parasols were made with varied patterns in various sizes. Their motifs generally follow the division of the parasol's frame, standing from eight rays. The flower bunches which stand separately, are usually situated towards the top and framed with a narrow strip with motifs,

41 but minute, round patterns also appear.

42 The two parasols of the museum stand for two different styles. The smaller one,

43 with the diameter of 65 cm has a regularly repeated pattern, divided into eight parts. (Fig. 19) The flower bunches point towards the rim from the decoration on the top, the rims are framed with a festoon, created from the same type of flowers. This is also encircled by a festoon of clinging leaves. This outer row of leaves was made separately, in a round and was sewn to the central part, which itself was constructed from five vertical strips (Fig. 19 - drawing). The bigger parasol, with a dimater of 117 cm,

44 (Fig. 20), is a little bit torn along the sewing; however, its wonderful and special pattern is enchanting. Its structure has a division of 16 parts, but the repetition of the pattern occurs in every fourth piece. Between the U-shaped flower festoons, there are seven types of butterflies in each quarter with a dense leaf-motive as a frame. It was made from thirteen, vertical ribbons (Fig. 20 - drawing). Small coats and cloak There are two pieces of clothes made with mixed technique, among the Chantilly laces. The elegant cloak

45 (Fig. 21) and small coat

46 (Fig. 22) were made from black 'guipure de Puy' lace. In the loosely constructed base (with picot-technique) huge flower bunches and flowers can be seen. Their lower rims and the ends of the sleeves were complemented with tulle lace pendants of Chantilly type,

47 displaying small flowers. However, besides the half stitch filling, clothwork was also applied. Both pieces were possibly made in the second half of the 19"' century, in Le Puy-en-Velay. Stole One of the most interesting pieces of the collection is a white stole, made with mixed technique, belonging to the inheritance of Archduke Ágost József Habsurg.

48 On the rims of the stole, there are roses, decorated with spiders and tulle stitch, made with dense clothwork and half stitch. The roses are lightly connected with legs and leaves. The tulle lace, penetrating to the central rims and the corners, the mixture of Lille and Chantilly laces is characteristic - concerning style and technique. The ribbon-like central part, the gimp thread and the forms and connections of the flowers are characteristic to the Chantilly laces.

49 The white flax-thread and the alternation of clothwork and half stitch are characteristic to the Lille laces. The rim is decorated with sewn fillings at certain places and made minute elements, characteristic to the gauze point type. (Fig. 23) Summary From the rough history of the collection, it is evident that there are several lace-collectors among the Hungarian collectors. Besides the preservation of family inheritances and personal belongings, they also pursued conscious activity of collecting. They were mainly the members of aristocracy and the richer bourgeois layer. The diversity and variety of the Chantilly lace collection of the Museum of Applied Arts shows that from its work of arts, even a whole costume could be composed, as dress accessories, narrow rim-laces to the shoulder and sleeve; tie and scarf to the neck, crinoline pair to the skirt and handkerchiefs, fans, shawls, parasols as costume accessories. During the minute examination of Chantilly laces, the small characteristics of the technology and the differences between the pieces can also be seen. Thus, the Chantilly laces were made from 9-13 centimetres wide ribbons, which made the best possible join of the strips important. The rich application of Chantilly laces reflected elegance and affluence.