- mid 19th century sample |
Mechlin is a name used to describe Flemish straight lace having gimp,
some of
which appeared as early as the early 1700s. Some authors use the term "early Flemish" or "early Flanders" for this type. During most of the 18th century it could have had any of several grounds, including: Mechlin, Flanders (five hole), armure (Binche spiders in half stitch. As the century progressed, more Mechlin ground was common, the others became infrequent. Some point ground laces occurred in the 18th century, but were rare. During the 19th century Mechlin ground laces continued to be made, but point ground became more common. Point ground laces often closely imitated the style of Mechlin laces, and one has to look closely at any early 19th century lace to be sure of the ground, because the designs were very much the same. |
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But there is more to it than this. Because Mechlin began so early,
and had
the history it did, the weaving in the cloth areas is also different. Point ground laces weave the cloth areas very much as in torchon, and they never (that I have ever seen) have a ring pair surrounding the cloth. Mechlin sometimes has a ring pair (the older laces especially are more likely to), but it may not be constant, it is worked unlike a modern Flanders ringpair. Revival Mechlin has odd thread paths, not torchon-like. The above description is by Lorelei Halley - visit her website for more information - http://www.loreleihalley.com/ |
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A fragment of Mechlin bobbin lace from the very early 1700s. Background mesh is a five-hole variation, also called rose ground or cinq trous. Design is a stylized, mirror-image. Characteristic outline or gimp of a heavier thread surrounds all the motifs. |
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The design of tiny trailing sprigs in a mostly mesh background is indicative
of the end of the eighteenth century, probably somewhere between 1780 and
1790. Background mesh is braided on two sides, twisted on the other, typical
of Mechlin. Other characteristics are an outline of a heavier thread called
a gimp. Mesh is continuous with the motifs.
from Elizabeth Kurella
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