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Lace Lesson #11 - Italian Cantu' vs. Belgian Rococo
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<p>[QUOTE="Northern Lights Lodge, post: 2131509, member: 13464"]Happy Mother's Day everyone!</p><p>I am giving myself a "treat" to discuss one of my VERY favorite laces...and one that is somewhat obscure and in the big picture, fairly modern!</p><p><br /></p><p>Italian lace making has always had a very strong and rich history in the lace world, since as early as the 1400's. As with most lace industries of the 1800's, the Italian industry also took a big hit when machines took over and devastated the handmade lace industry. In the late 1800's, a group of Italian noble and wealthy women sponsored and promoted workshops where old lace making skills and techniques were taught and revived. </p><p><br /></p><p>One of the results was Cantu'. It unfortunately, had a relatively short history beginning in the late 1800's and fading away with the onset of WWI. </p><p><br /></p><p>This graceful and bold bobbin lace, with it's distinctive serpentine vine winding it's way through each piece of lace is typically accented by 3 and 5 petal buds and tendrils. These are the trademarks of this interesting lace, although more complex and larger examples often incorporated other forms of leaves and elements. Larger pieces like tablecloths were often worked with the classic Cantu' elements; but then "cartouches" or "insets", made of needle lace, would be incorporated. The result being that the Cantu' elements were the canvas; upon which other things were framed! </p><p><br /></p><p>Cantu' lace was heavily produced between 1900-1920; and an AMAZING amount lace trimmed linens were exported! HUGE banquet cloths, runners, cocktail napkins, table napkins, curtains, bed covers...</p><p><br /></p><p>Most of the lace makers in Cantú worked in their homes on commissioned lace sold by local firms such as Tagliabue, Frigerio, Meroni and Colombo. Until recently, lace making was a compulsory subject at the State Institute of Interior Design and Arts in Cantú. The school is heir of the Royal School (1883) which in the 1930’s and 1940’s produced masterpieces based on Deco and abstract designs.</p><p><br /></p><p>One of the most remarkable features of Cantu' lace is the fact that it "usually" is worked with 7 pair of bobbins! That's only 14 threads to create this wide design! Another 7 pairs is usually worked in tandem to work the straight edge tape that runs parallel to the design! </p><p><br /></p><p>Because this lace only utilizes a few pairs and uses a relatively larger thread; it can be worked fairly quickly. It only stands to reason, if you are only handling 14 threads per row; it takes less time than going across a row with 100's of bobbins! For household linens; Cantu' was perfect!</p><p><br /></p><p>Handmade Italian Cantu' with typical design elements</p><p>[ATTACH=full]251239[/ATTACH] </p><p>This beautifully executed piece of Cantu' looks almost identical front and back.</p><p>Lower photo is the back. </p><p><br /></p><p>[ATTACH=full]251238[/ATTACH]</p><p><br /></p><p>This photo is a close up of the front.</p><p>[ATTACH=full]251240[/ATTACH] </p><p>Close up from the back. If you recall from Lesson #10 - Brussels lace; I discussed "bundling threads" to move them from one location to another. It is also found in other laces. In the Brussels example; the bundle is made on the "exterior" of the lace. </p><p><br /></p><p>With Cantu' and some other bobbin laces; this bundle is found or worked on the "interior". The bundle of threads being made FIRST rather than last! If you study the below photo; you will see a single arrow near the interior edge of the tendril...typically the threads (7 pair) would be bunched together and nestled along a line of pins that would be pre-placed around the inside curve of that tendril. The "bunch" of threads would nestle along that curve of pins until they reach the X. The two support braids/bars would be then worked with pairs from the bunch; then the bars were anchored TO the bunch. </p><p><br /></p><p>At this point, the working surface is turned 180 degrees; so that the bobbins now parallel the "bunch" that continue to lie snugly against the support pins on the inner curve of the tendril. The 7 pairs are fanned out; one pair is selected to be the "worker" and the worker pair is woven across the remaining threads and is worked "over and under" the bunch with a "sewing". (A maneuver utilizing a crochet hook or "needle pin"; which allows one thread of the pair to be pulled up into a loop and the second thread of the pair is slipped through the loop; they are then gently pulled back into place, the support pin removed and the worker continues on it's way.) A similar technique is used to create the center of the flower and petals.</p><p><br /></p><p>Bars are added as the work continues and are some times connected AS the element is formed; and other times it is connected after the second or nearby element is formed. When the serpentine shape comes to it's finale; in this case at the end of the flower. The pairs are connected or "sewn" into the first petal and tiny knots are made so that the pairs can be cut away (marked with a O) and then then the pairs are all reattached at the spot where the next tendril breaks away from the last large tendril. </p><p><br /></p><p>In another observation: take a look at the "open" petals and the somewhat flag shaped open leaf. These two areas are worked on a "bias"...tricky till you get the hang of it. Ultimately it allows you to work a very wide area on one side (outer edge of the petal) and a very narrow area on the other (inner edge of the petal)... it is clever, effective and is another typical design element found in Cantu'.</p><p>[ATTACH=full]251241[/ATTACH] </p><p>In this lower tendril, you can see where the "main tendril sweeps down to the right...at the point where the smaller tendril shoots off from it; the pairs are "bunched" and are pinned again around the inside curl (as I described above)... when they re-converge with the main tendril, they may sometimes overlap a little or a sewing or some extra stitches may be worked to fill in any gaps. The result is a very seamless, continuous look.</p><p><br /></p><p>[ATTACH=full]251244[/ATTACH] </p><p>Beautifully worked handmade Cantu' utilizing more fanciful leaf elements.</p><p><br /></p><p>[ATTACH=full]251251[/ATTACH] Fanciful bird in Cantu'.</p><p><br /></p><p>[ATTACH=full]251245[/ATTACH] </p><p>Circa 1920 Cantu' lace featuring a cartouche (probably needle lace) figure. Some Cantu' also featured fanciful small butterflies or critters hidden in amongst the tendrils; worked in bobbin techniques.</p><p><br /></p><p>I also thought perhaps it would be a good time to discuss Belgian Rococo. At a glance it looks remarkably similar. Look carefully at the front.</p><p>[ATTACH=full]251246[/ATTACH] </p><p>Now look carefully at the back. What things jump out at you in comparison to Cantu'?</p><p>[ATTACH=full]251247[/ATTACH] </p><p><br /></p><p>They are both bobbin laces. They both have a serpentine tape, bars/braids, tendrils, a 3 petal bud, there is even a "bias" open work petal and a straight edge footing tape. </p><p><br /></p><p>Throughout history; laces have mimicked each other. There is a lengthy list of the reasons why...for another discussion. Ultimately, lace makers would attempt to recreate it; although often, perhaps not having learned the "tricks" which made the original lace special. I feel Rococo is one example of that! </p><p><br /></p><p>It does go the other way also; where a lace was mimicked and ultimately other techniques were added which actually made the finished lace MORE desirable or special.</p><p><br /></p><p>Now let's "virtually" pick apart the Rococo. Perhaps one of the most obvious differences is the tape. The main serpentine tape is very "thick" and almost "blocky"... it lacks that sinuous curve; the same can be said of the tendrils. Why?</p><p><br /></p><p>Close examination reveals that there IS NO internal bundling! The lace maker just worked ALL her pairs until she got to a tendril. At that point, she'd then divide off some threads to make the tendril and WORK it. When she got to the end; the threads would be divided into pairs, braided back to the tape, sewn in and then knotted and cut off if they weren't needed any longer. The result is quite clumsy. The tendrils end very "squarely" rather than a nice gradual point. </p><p><br /></p><p>It is hard to tell with this example; perhaps it was just a poorly drafted design; but the elements don't have their own "space"; they are just rather smashed together. I expect there may be some better examples of Rococo - but I've not encountered them.</p><p><br /></p><p>I have encountered a few pieces of machine Cantu'. Most are easily recognizable now that you understand how Cantu' is constructed and the typical elements found therein. There are a very FEW; that are purely Cantu' elements; most machine made examples just throw some Cantu' elements into the design as the serpentine shape does lend a nice flow to the piece...</p><p><br /></p><p>So that brings me to the end of today's dissertation. I hope you have learned something of interest. </p><p><br /></p><p>Happy Mother's Day!</p><p>Leslie[/QUOTE]</p><p><br /></p>
[QUOTE="Northern Lights Lodge, post: 2131509, member: 13464"]Happy Mother's Day everyone! I am giving myself a "treat" to discuss one of my VERY favorite laces...and one that is somewhat obscure and in the big picture, fairly modern! Italian lace making has always had a very strong and rich history in the lace world, since as early as the 1400's. As with most lace industries of the 1800's, the Italian industry also took a big hit when machines took over and devastated the handmade lace industry. In the late 1800's, a group of Italian noble and wealthy women sponsored and promoted workshops where old lace making skills and techniques were taught and revived. One of the results was Cantu'. It unfortunately, had a relatively short history beginning in the late 1800's and fading away with the onset of WWI. This graceful and bold bobbin lace, with it's distinctive serpentine vine winding it's way through each piece of lace is typically accented by 3 and 5 petal buds and tendrils. These are the trademarks of this interesting lace, although more complex and larger examples often incorporated other forms of leaves and elements. Larger pieces like tablecloths were often worked with the classic Cantu' elements; but then "cartouches" or "insets", made of needle lace, would be incorporated. The result being that the Cantu' elements were the canvas; upon which other things were framed! Cantu' lace was heavily produced between 1900-1920; and an AMAZING amount lace trimmed linens were exported! HUGE banquet cloths, runners, cocktail napkins, table napkins, curtains, bed covers... Most of the lace makers in Cantú worked in their homes on commissioned lace sold by local firms such as Tagliabue, Frigerio, Meroni and Colombo. Until recently, lace making was a compulsory subject at the State Institute of Interior Design and Arts in Cantú. The school is heir of the Royal School (1883) which in the 1930’s and 1940’s produced masterpieces based on Deco and abstract designs. One of the most remarkable features of Cantu' lace is the fact that it "usually" is worked with 7 pair of bobbins! That's only 14 threads to create this wide design! Another 7 pairs is usually worked in tandem to work the straight edge tape that runs parallel to the design! Because this lace only utilizes a few pairs and uses a relatively larger thread; it can be worked fairly quickly. It only stands to reason, if you are only handling 14 threads per row; it takes less time than going across a row with 100's of bobbins! For household linens; Cantu' was perfect! Handmade Italian Cantu' with typical design elements [ATTACH=full]251239[/ATTACH] This beautifully executed piece of Cantu' looks almost identical front and back. Lower photo is the back. [ATTACH=full]251238[/ATTACH] This photo is a close up of the front. [ATTACH=full]251240[/ATTACH] Close up from the back. If you recall from Lesson #10 - Brussels lace; I discussed "bundling threads" to move them from one location to another. It is also found in other laces. In the Brussels example; the bundle is made on the "exterior" of the lace. With Cantu' and some other bobbin laces; this bundle is found or worked on the "interior". The bundle of threads being made FIRST rather than last! If you study the below photo; you will see a single arrow near the interior edge of the tendril...typically the threads (7 pair) would be bunched together and nestled along a line of pins that would be pre-placed around the inside curve of that tendril. The "bunch" of threads would nestle along that curve of pins until they reach the X. The two support braids/bars would be then worked with pairs from the bunch; then the bars were anchored TO the bunch. At this point, the working surface is turned 180 degrees; so that the bobbins now parallel the "bunch" that continue to lie snugly against the support pins on the inner curve of the tendril. The 7 pairs are fanned out; one pair is selected to be the "worker" and the worker pair is woven across the remaining threads and is worked "over and under" the bunch with a "sewing". (A maneuver utilizing a crochet hook or "needle pin"; which allows one thread of the pair to be pulled up into a loop and the second thread of the pair is slipped through the loop; they are then gently pulled back into place, the support pin removed and the worker continues on it's way.) A similar technique is used to create the center of the flower and petals. Bars are added as the work continues and are some times connected AS the element is formed; and other times it is connected after the second or nearby element is formed. When the serpentine shape comes to it's finale; in this case at the end of the flower. The pairs are connected or "sewn" into the first petal and tiny knots are made so that the pairs can be cut away (marked with a O) and then then the pairs are all reattached at the spot where the next tendril breaks away from the last large tendril. In another observation: take a look at the "open" petals and the somewhat flag shaped open leaf. These two areas are worked on a "bias"...tricky till you get the hang of it. Ultimately it allows you to work a very wide area on one side (outer edge of the petal) and a very narrow area on the other (inner edge of the petal)... it is clever, effective and is another typical design element found in Cantu'. [ATTACH=full]251241[/ATTACH] In this lower tendril, you can see where the "main tendril sweeps down to the right...at the point where the smaller tendril shoots off from it; the pairs are "bunched" and are pinned again around the inside curl (as I described above)... when they re-converge with the main tendril, they may sometimes overlap a little or a sewing or some extra stitches may be worked to fill in any gaps. The result is a very seamless, continuous look. [ATTACH=full]251244[/ATTACH] Beautifully worked handmade Cantu' utilizing more fanciful leaf elements. [ATTACH=full]251251[/ATTACH] Fanciful bird in Cantu'. [ATTACH=full]251245[/ATTACH] Circa 1920 Cantu' lace featuring a cartouche (probably needle lace) figure. Some Cantu' also featured fanciful small butterflies or critters hidden in amongst the tendrils; worked in bobbin techniques. I also thought perhaps it would be a good time to discuss Belgian Rococo. At a glance it looks remarkably similar. Look carefully at the front. [ATTACH=full]251246[/ATTACH] Now look carefully at the back. What things jump out at you in comparison to Cantu'? [ATTACH=full]251247[/ATTACH] They are both bobbin laces. They both have a serpentine tape, bars/braids, tendrils, a 3 petal bud, there is even a "bias" open work petal and a straight edge footing tape. Throughout history; laces have mimicked each other. There is a lengthy list of the reasons why...for another discussion. Ultimately, lace makers would attempt to recreate it; although often, perhaps not having learned the "tricks" which made the original lace special. I feel Rococo is one example of that! It does go the other way also; where a lace was mimicked and ultimately other techniques were added which actually made the finished lace MORE desirable or special. Now let's "virtually" pick apart the Rococo. Perhaps one of the most obvious differences is the tape. The main serpentine tape is very "thick" and almost "blocky"... it lacks that sinuous curve; the same can be said of the tendrils. Why? Close examination reveals that there IS NO internal bundling! The lace maker just worked ALL her pairs until she got to a tendril. At that point, she'd then divide off some threads to make the tendril and WORK it. When she got to the end; the threads would be divided into pairs, braided back to the tape, sewn in and then knotted and cut off if they weren't needed any longer. The result is quite clumsy. The tendrils end very "squarely" rather than a nice gradual point. It is hard to tell with this example; perhaps it was just a poorly drafted design; but the elements don't have their own "space"; they are just rather smashed together. I expect there may be some better examples of Rococo - but I've not encountered them. I have encountered a few pieces of machine Cantu'. Most are easily recognizable now that you understand how Cantu' is constructed and the typical elements found therein. There are a very FEW; that are purely Cantu' elements; most machine made examples just throw some Cantu' elements into the design as the serpentine shape does lend a nice flow to the piece... So that brings me to the end of today's dissertation. I hope you have learned something of interest. Happy Mother's Day! Leslie[/QUOTE]
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