A comment on the preceding post about the status of crochet in the 1820s sent me back to revisit Elisabeth Bayle-Mouillard (the second of the early 19th-century authors on whom this blog focused shortly after its inception). The first edition of her “Young Ladies’ Handbook or Arts and Crafts” (Manuel des Demoiselles ou Arts et Métiers) was published in Paris, in 1826, under the pen name of Madame Celnart. The comment notes that this book served as the basis for a German counterpart written by Charlotte Leidenfrost, that appeared two years later and was the source of the text about crochet translated in the previous post.
Leidenfrost begins the preface to her “Small Handbook on Pleasant and Useful Activities for Young Women” (Handbüchlein zur angenehmen und nützlichen Beschäftigung für junge Damen), from 1828, by noting:
“The initiative for the present small work was taken when the publisher sent the author the Manuel des Demoiselles ou Arts et Métiers by Madame Celnart with the assignment of preparing a free translation.”
After a few complimentary words about Bayle-Mouillard’s efforts, Leidenfrost becomes rather critical of the stylistic and pedagogical shortcomings of the text she had been presented with. The preface goes on to note that the resulting German publication excludes some sections of the French one, completely rewrites others, and adds extensive new material, Continue reading “French crochet and non-crochet in 1826”
I’ve devoted an inordinate amount of blog space to slip stitch fabric made with a hook, tracing it back along a number of paths to its first appearance in printed sources in the mid-18th century, and discussing objects made in that manner found in museum collections. I’m going to restore some balance with material and written evidence of European hooked openwork from the same period, starting with an elaborate Robe à la Française in the collections of the Metropolitan Museum of Art (accession number 1995.235a,b), dated to the 1740s.
I saw it in their exhibition Interwoven Globe: The Worldwide Textile Trade,1500–1800 in late 2013. This was about a year before my interest in looped fabric was kindled, and ironically I didn’t take particular notice of a wide strip of chain mesh passementerie providing a prominent yoke around the dress extending to its hem, with a second piece of the same mesh along the hem between the ends of the yoke. In early 2016, my friend Dora Ohrenstein called my attention to their potential relevance to the developmental chronology of crochet. The ensuing discussion cascaded into a seminar on differentiating crocheted fabric from that made with other looped techniques, arranged by and held at The Met in May 2016.
The dress was not accessible for examination alongside the other objects presented to the seminar participants. One of the questions we had otherwise hoped to be able to answer was whether the chain mesh had been affixed to the dress when it was first made, thus conferring the 1740s dating on it, or could have been a later addition. We did get to take a close look at two specimens of comparable passementerie dated to the 18th century. I documented them in detail and let the dress slip out of mind. Continue reading “Diamond mesh”