lace: sign of wealth and refinement ... The Spanish ladies wore, under their black taffeta, at least 12 skirts trimmed with gold or silver lace. Elizabeth of England put it everywhere: to her ruffs; to his jackets, his shirts, his cushions, his veils, to his lovers. More than 1,000 meters of lace decorated the hunting clothes of Charles I of England. In France, the ruffs takes such proportions under Henry III that it was impossible to see your feet and eat the soup properly. Under Louis XV, the cuffs floating, puffy, vaporous, they allow cheaters to hide the playing cards ..

2. Lace in painting
Dentelle dans la peinture

3. lace … sign of wealth and refinement
dentelle … signe de richesse et de raffinement

7. HILLIARD, Nicholas, Attributed to
Ermine portrait of Queen Elizabeth I
Portrait à l'hermine d'Elisabeth 1ère
1585
Hatfield House, Hatfield

9. DYCK, Sir Anthony van
Charles I in Three Positions (the
Triple Portrait of Charles I)
Triple portrait de Charles Ier
1635-1636
Royal Collection of the United
Kingdom

13. LEFEBVRE, Claude
Colbert en grande tenue de l'ordre
du Saint-Esprit
Portrait of Jean-Baptiste Colbert
1666
Château de Versailles, Versailles

16. DYCK, Sir Anthony van
Margareta Snyders
1620
Frick Collection, New York City

20. DYCK, Sir Anthony van
Portrait of Maria de Tassis
Portrait de Maria de Tassis
1629-1630
Liechtenstein Museum, Vienna

23. HILLIARD, Nicholas, Attributed
Queen Elizabeth I
Reine Élisabeth Ire
1576-1578
Private collection, Rothschild family

26. STOOP, Dirck Willemsz, or after
Catherine of Braganza
Catherine Henriette de Bragance
1660-1661
National Portrait Gallery, London

29. PANTOJA DE LA CRUZ, Juan
The Infanta Isabel Clara Eugenia
L’Infante Isabel Clara Eugenia
1598
Museo Nacional del Prado, Madrid

33. PANTOJA DE LA CRUZ, Juan
Portrait of Philip III
Portrait de Philippe III
1603
Palacio Real de Madrid, Madrid

36. REMBRANDT Harmenszoon van RIJN
Portrait of a Man Rising from His Chair
Portrait d'un homme levant de sa chaise
1633
Taft Museum of Art, Cincinnati

40. REMBRANDT Harmenszoon van RIJN
Portrait of a Young Woman with a Fan
Portrait d'une jeune femme avec un éventail
1633
Metropolitan Museum of Art, New York

43. VERSPRONCK, Jan Cornelisz
Portrait of Willemina van Braeckel
Portrait de Willemina van Braeckel
1637
Frans Halsmuseum, Haarlem

46. ÉCOLE FRANÇAISE, attribué à
QUESNEL
Portrait d'un couple
Portrait of a Couple
1610
Musée du Louvre, Paris

49. BRUN, Charles, attribué
Portrait de Louis XIV, roi de France et de
Navarre
Portrait of Louis XIV
1662
Château de Versailles, Versailles

52. DROUAIS, François-Hubert
Madame de Pompadour à son cadre de
Tambour
Madame de Pompadour at her Tambour
Frame
1763-1764
National Gallery, London

56. VIGÉE-LEBRUN, Élisabeth
Marie Antoinette dit à la Rose
Marie Antoinette with a Rose
1783
Château de Versailles,
Versailles

60. olga_oes
Lace in painting
Dentelle dans la peinture
images and text credit www.
Music Loreena McKennitt - Brian Boru's March
created olga.e.
thanks for watching

61. The madness of lace
In the 16th century and especially in the 17th century, the madness of lace struck, without exception, all the
courts of Europe and both sexes.
The Spanish ladies wore, under their black taffeta, at least 12 skirts trimmed with gold or silver lace.
Elizabeth of England put it everywhere: to her ruffs; to his jackets, his shirts, his cushions, his veils, to his
lovers. More than 1,000 meters of lace decorated the hunting clothes of Charles I of England.
In France, the ruffs takes such proportions under Henry III that it was impossible to see your feet and eat the
soup properly. Henri Coiffier de Ruzé, Marquis of Cinq-Mars, coquettish to the end of her toes, had on her
boots 300 lace ornaments. Under Louis XV, the cuffs floating, puffy, vaporous, they allow cheaters to hide the
playing cards.
Lace adorned women’s and men’s collars and cuffs, draped women’s shoulders, hands, heads, covered entire
gowns, and decorated furnishings.
The excessive sums of money spent on extravagant laces prompted many rulers to place restrictions on the
wearing and importing of lace from other countries. Sumptuary laws, however, proved futile and the smuggling
of foreign lace was widespread.

62. La folie de la dentelle
Au XVIe et surtout au XVIIe siècle, la folie de la dentelle a frappé, sans exceptions, toutes les cours d'Europe
et les deux sexes.
Les dames espagnoles portaient, sous leur vertugadin de taffetas noir, au minimum 12 jupons garnis de
dentelles d'or ou d'argent.
Elizabeth d'Angleterre en mettait partout : à ses fraises ; à ses vestes, à ses chemises, à ses coussins, à ses
voiles, à ses amants. A sa mort, sa garde-robe regorgeait de 3 000 robes garnies de dentelles. Quant à
Charles I d'Angleterre, plus de 1 000 mètres de dentelle décoraient ses habits de chasse.
En France, la passementerie s'attaque d'abord à la fraise lancée par Henri II qui voulait, ainsi, cacher une
vilaine cicatrice au cou. La fraise prend de telles proportions sous Henri III qu'il est désormais impossible
d'apercevoir ses pieds et de manger correctement son potage.
Louis XIII lance la mode de la dentelle aux bottes et, lorsqu'il monta à l'échafaud, Cinq-Mars, coquet jusqu'au
bout des orteils, avait sur ses bottes 300 ornements en dentelle.
Sous Louis XV, ce sont les manchettes, appelées pleureuses, qui attrapent le virus dentellier. Manchettes
flottantes, bouffantes, vaporeuses, elles permettent aux tricheurs d'y cacher des cartes à jouer.
Cette débauche vestimentaire prit de telles proportions qu'au cours du XVIIe siècle, 3 édits furent pondus, en
vain d'ailleurs, par le Parlement afin de limiter cette folie de la dentelle.

63. VERMEER, Johannes
The Lacemaker
La Dentellière
1669-1670
Musée du Louvre, Paris