DOI Heft:
Nr. 117 (December 1902)
DOI Artikel:Levetus, A. S.: Some modern austrian pillow and point lace
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.19877#0182
Modern Austrian Lace
COLLAR IN PILLOW LACE DESIGNED BY FRAULEIN HOEMANNINGER
EXECUTED BY THE IMPERIAL ROYAL
SCHOOL OF LACE-MAKING, VIENNA
towards reviving it in Austria, as did Queen Mar-
garita in Italy. It was they who, in their respec-
tive countries, by setting a noble example, en-
couraged the humble workers, not only by giving
orders, but by setting the fashion ; and since that
time—the seventies—the fashion has remained.
The Empress placed herself at the head of a com-
mittee of high-born ladies pledged to wear Austrian
lace, and so set the example to others. At the present
time the Archduchess Maria Theresa takes a warm
interest in the art of lace-making, and helps in
every way possible; though, being a widow, it is
not permissible, according to Austrian Court
etiquette, for her to hold any public position, no
matter what the character of it may be.
But, in spite of fashion, no change was made in
the patterns till five years ago, when modern art
" awoke one day to find itself famous." Professor
Hrdlicka succeeded Hofrath Storck as teacher at
the Kunst Gewerbe Schule, and to him is due
the merit of giving the incentive to new creations,
his wife, Mathilde Hrdlicka, and Fraulein Hoi-
manninger composing the designs for the " new
school." A special atelier was arranged for them in
170
the Austrian Museum. There they design the pat-
terns, and there they are copied and sent to the
various Royal schools in the Crown Lands and
provinces of Austria under the direction of the
Austrian Museum. These designs are first sent
to the Imperial Royal Lace Schools, where the
making of point-lace is taught by Frau Pleyer and
pillow-lace by Frau Jamnig. These ladies work-
out the patterns, seek for and evolve new stitches,
and teach them to the students in training that they
may spread their knowledge. These students are
at absolutely no expense for their training, all being
paid by Government, and neither the " Central "
School nor the sister ones can even boast a
prospectus.
The products of the New Austrian technique in
lace were seen for the first time at the Paris Exhibi-
tion of 1900, where the lace exhibited was accorded
universal praise, and the grand prix was awarded
to it.
In designing, neither Frau Hrdlicka nor Fraulein
Hofmanninger are deterred by any probable
difficulties in the executing of their patterns. The
fan in point lace here reproduced, designed
COLLAR IN PILLOW LACE DESIGNED BY FRAULEIN HOEMANNINGER
EXECUTED BY THE IMPERIAL ROYAL
SCHOOL OF LACE-MAKING, VIENNA
towards reviving it in Austria, as did Queen Mar-
garita in Italy. It was they who, in their respec-
tive countries, by setting a noble example, en-
couraged the humble workers, not only by giving
orders, but by setting the fashion ; and since that
time—the seventies—the fashion has remained.
The Empress placed herself at the head of a com-
mittee of high-born ladies pledged to wear Austrian
lace, and so set the example to others. At the present
time the Archduchess Maria Theresa takes a warm
interest in the art of lace-making, and helps in
every way possible; though, being a widow, it is
not permissible, according to Austrian Court
etiquette, for her to hold any public position, no
matter what the character of it may be.
But, in spite of fashion, no change was made in
the patterns till five years ago, when modern art
" awoke one day to find itself famous." Professor
Hrdlicka succeeded Hofrath Storck as teacher at
the Kunst Gewerbe Schule, and to him is due
the merit of giving the incentive to new creations,
his wife, Mathilde Hrdlicka, and Fraulein Hoi-
manninger composing the designs for the " new
school." A special atelier was arranged for them in
170
the Austrian Museum. There they design the pat-
terns, and there they are copied and sent to the
various Royal schools in the Crown Lands and
provinces of Austria under the direction of the
Austrian Museum. These designs are first sent
to the Imperial Royal Lace Schools, where the
making of point-lace is taught by Frau Pleyer and
pillow-lace by Frau Jamnig. These ladies work-
out the patterns, seek for and evolve new stitches,
and teach them to the students in training that they
may spread their knowledge. These students are
at absolutely no expense for their training, all being
paid by Government, and neither the " Central "
School nor the sister ones can even boast a
prospectus.
The products of the New Austrian technique in
lace were seen for the first time at the Paris Exhibi-
tion of 1900, where the lace exhibited was accorded
universal praise, and the grand prix was awarded
to it.
In designing, neither Frau Hrdlicka nor Fraulein
Hofmanninger are deterred by any probable
difficulties in the executing of their patterns. The
fan in point lace here reproduced, designed