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Contents
1. Cover
2. Title Page
3. Copyright Page
4. About the Author
5. About the Source Code and Project files
6. Contents
7. 1 Introduction to the Arduino

1. What Is an Arduino?
2. Why the Arduino Mega 2560?
3. The Arduino Mega 2560 Specifications
4. The Official Arduino Mega 2560
5. Arduino Mega 2560 Components
6. Overview of the C/C++ Language for the Arduino
7. Arduino Development System Requirements
8. Hands-on Example: A Simple Arduino “Hello World”
Program with an LED
9. Summary

8. 2 Introduction to the ESP8266

1. What Is the ESP8266

2. Technical Specification of the ESP8266
3. The ESP-01 Module
4. Overview of Essential AT Commands
5. Quick Start Guide to the AT Command Set
6. Hands-on Example: Using an ESP-01 with an Arduino
Mega 2560
7. The NodeMCU
8. Hands-on Example: The Blink Sketch
9. Hands-on Example: Multiple Blinking External LEDs
10. Summary

9. 3 Introduction to the Android

 1. What Is Android?
2. Hands-on Example: The Hello World Example
3. Importing Projects Between Android Studio Versions
4. Summary
10. 4 Arduino with ESP-01 and Android Basic Wireless Framework

1. The Arduino with ESP-01 and Android Basic Wireless

Communication Framework Overview
2. The Android Client Wireless Communication Framework
Code
3. The Menu Items
4. The WifiMessageHandler Class
5. Class Overview
6. The WifiMessageHandler Class Constructor
7. The MainActivity Class
8. The Arduino with ESP-01 Server Wireless Communication
Framework Code
9. Hands-on Example: The Basic Arduino, ESP-01, and
Android Wireless Communications Framework
10. Summary

11. 5 Arduino with ESP8266 (ESP-01 Module) and Android Wireless

Sensor and Remote Control Projects I

1. General System Overview

2. The HC-SR501 Infrared Motion Detector
3. Hands-on Example: The HC-SR501 Infrared Motion
Detector Alarm System
4. The FC-04 Sound Sensor
5. Hands-on Example: The Wireless Sound Sensor Alarm
System
6. The HC-SR04 Distance Sensor
7. Hands-on Example: HC-SR04 Distance Sensor Intruder
Alarm System
8. The YL-38/YL-69 Water/Moisture Detector
9. Hands-on Example: The Water Detector Water Leak
Wireless Alarm System
10. The Light Emitting Diode (LED)
11. Hands-on Example: The Remote Wireless Control of an
LED
12. The RGB LED (Common Ground Version)
 13. Hands-on Example: The Remote Wireless RGB LED
Control System
14. The CEM-1203(42) Piezo Buzzer
15. Hands-on Example: The Remote Wireless Piezo Buzzer
Control System
16. Summary
12. 6 Arduino with ESP8266 (ESP-01 Module) and Android Wireless
Sensor and Remote Control Projects II

1. The Reed Switch Magnetic Field Sensor

2. Hands-on Example: The Wireless Reed Switch Door Entry
Alarm System
3. The Ywrobot Flame Sensor
4. Hands-on Example: The Wireless Flame Sensor Fire Alarm
System
5. The Sunfounder Tilt Switch Sensor
6. Hands-on Example: The Tilt/Vibrate Wireless Alarm
System
7. TMP36 Temperature Sensor
8. Hands-on Example: The TMP36 Wireless Temperature
Monitoring and Alarm System
9. The Photo Resistor
10. Hands-on Example: The Wireless Remote Controlled Light
Activated LED
11. The DHT11 Temperature/Humidity Sensor
12. Hands-on Example: The Wireless DHT11
Temperature/Humidity Remote Monitoring and Alarm
System
13. Arduino Cameras
14. Hands-on Example: The ArduCAM OV2640 Camera
Wireless Remote Surveillance System
15. Summary

13. 7 Standalone ESP8266 (Model: NodeMCU ESP-12E) and Android

Wireless Sensor and Remote Control Projects

1. The Android and NodeMCU (ESP-12E) Wireless System

Overview
2. Modifying the Android Basic Wireless Framework for the
NodeMCU (ESP-12E) Platform
 3. The NodeMCU (ESP-12E) Basic Wireless Server
Framework
4. Hands-on Example: The Basic Wireless Framework Version
1.3 for the Android and NodeMCU Microprocessor
5. Hands-on Example: The Wireless Glass Break/Sound
Detector Alarm System
6. Hands-on Example: The Wireless HC-SR501 Infrared
Motion Detector Alarm System
7. The SW520D Tilt and Vibration Sensor
8. Hands-on Example: The Wireless Tilt and Vibration Sensor
System
9. The KeyesIR Obstacle Avoidance Sensor
10. Hands-on Example: The Wireless KeyesIR Obstacle
Avoidance Alarm System
11. The Funduino Water Level Sensor
12. Hands-on Example: The Wireless Water Level Detector
Alarm System
13. Summary
14. 8 Android, Arduino, ESP-01, and NodeMCU ESP-12E Wireless
Sensor and Remote Control Projects

1. The ArduCAM Mini OV2640 2MP Plus

2. Hands-on Example: The Wireless ArduCAM Mini 2MP Plus
Camera Surveillance System
3. Hands-on Example: The Wireless ArduCAM Mini OV2640
2MP Plus Camera and HC-SR501 Infrared Motion Detector
Surveillance and Alarm System for the Arduino Mega 2560
Server
4. The Basic Android, Arduino with ESP-01, and NodeMCU
Wireless Multi-Client Framework
5. Overview of the Android Basic Wireless Framework Version
2.0 Application
6. Example of Setting Up the Arduino with ESP-01 for
Station/Client Mode
7. Hands-on Example: The ArduCAM OV2640 2MP Mini Plus
Camera Arduino Mega 2560 Client Surveillance System
with NodeMCU Server
8. Hands-on Example: The ArduCAM OV2640 2MP Mini Plus
Infrared Motion Detection Arduino Mega 2560 Client
Surveillance and Alarm System with NodeMCU Server
 9. Hands-on Example: The Infrared Motion Detection Alarm
System Using the NodeMCU Server
10. Hands-on Example: The ArduCAM OV2640 2MP Mini Plus
and Infrared Motion Detection Arduino Mega 2560 Client
Surveillance and Alarm System with NodeMCU Server with
an Infrared Motion Detection Alarm System
11. Summary
15. 9 The Bonus Chapter: The Emergency Backup Battery Power
System, Power Intensive Related Projects, Using the NodeMCU with
an ArduCAM Mini Camera, and Some Important Downloads

1. Circuit Troubleshooting Tips

2. Android Basic Wireless Framework APKs
3. Converting the Android Basic Wireless Framework Version
2.0 Project from Android Studio 1.5 to Android Studio 2.3.1
4. The Automatic Battery Backup Power Supply System
5. The SG90 9g Micro Servo
6. The YwRobot 545043 Power Supply Module for a
Breadboard
7. Hands-on Example: The Wireless Remote Control Servo
System Using the Arduino Mega 2560 and ESP-01 Server
8. Hands-on Example: The Remote Control Wireless DC
Motor Control System Using the Arduino Mega 2560 with
an ESP-01 Server
9. The Stepper Motor and the ULN2003 Stepper Motor Driver
Board
10. Hands-on Example: The Wireless Remote Controlled
Stepper Motor System Using the Arduino Mega 2560 and
the ESP-01 Server
11. The ArduCAM Library and GitHub
12. Hands-on Example: The Wireless NodeMCU and ArduCAM
Mini OV2640 Plus Surveillance System
13. The MQ-2 Smoke Detector
14. The 5-V Active Buzzer
15. Hands-on Example: The Wireless Remote Controlled
Smoke Detector Alarm System Using the Arduino Mega
2560 and the ESP-01 Server
16. The MQ-2 Smoke Detector (Analog Version)
17. Hands-on Example: Wireless Remote Controlled Smoke
Detector (Analog) Alarm System Using Arduino and ESP-
01
 18. Summary
16. Index

Guide
1. Cover
2. Title Page
3. A DIY Smart Home Guide: Tools for Automating Your Home
Monitoring and Security Using Arduino, ESP8266, and Android

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 Honeysuckle Sprig of
Modern Honiton.

A new branch of industry has lately opened to the Devonshire lace-

maker—that of restoring or re-making old lace. The splendid
mantles, tunics, and flounces which enrich the shop-windows of the
great lace-dealers of London are mostly concocted from old
fragments by the Devonshire lace-workers. It is curious to see the
ingenuity they display in re-arranging the "old rags"—and such they
are—sent from London for restoration. Carefully cutting out the
designs of the old work, they sew them upon a paper pattern of the
shape required. The "modes," or fancy stitches, are dexterously
restored, any deficient flower supplied, and the whole joined
together on the pillow.

Fig. 157.
 Old Devonshire Point.

TROLLY LACE.

Trolly lace comes next in order. It was quite different from anything
else made in Devonshire, and resembled many of the laces made in
the midlands at the present time. It was made of coarse British
thread, and with heavier and larger bobbins, and worked straight on
round and round the pillow. The origin of "Trolly" was undoubtedly
Flemish, but it is said to have reached Devonshire at the time of the
French Revolution, through the Normandy peasants, driven by want
of employment from their own country, where lace was a great
industry during the eighteenth century. The origin of "trolly" is from
the Flemish "Trolle Kant," where the design was outlined with a thick
thread, or, possibly, it may be derived from a corruption of the
French toilé, applied to distinguish a flat linen pattern from the
ground or treille, a general term for a net ground. It is now almost
extinct in Devonshire, remaining in the hands of the midland
counties,[1161] where it more properly belongs.[1162]

Fig. 158.
 Lappet made by the
late Mrs. Treadwin,
of Exeter, 1864.

To face page 412.

Trolly lace was not the work of women alone. In the flourishing days
of its manufacture, every boy, until he had attained the age of
fifteen, and was competent to work in the fields, attended the lace
schools daily.[1163] A lace-maker of Sidmouth, in 1869, had learned
her craft at the village dame school,[1164] in company with many
boys. The men, especially the sailor returned from sea, would again
resume the employment of their boyhood, in their hours of leisure,
and the labourer, seated at his pillow on a summer's evening, would
add to his weekly gains.

Mrs. Treadwin, in her younger days, saw some twenty-four men

lace-makers in her native village of Woodbury, two of whom, Palmer
by name, were still surviving in 1869, and one of these worked at his
pillow so late as 1820.

Captain Marryat also succeeded in finding out a man of sixty, one

James Gooding, dweller in Salcombe parish, near Sidmouth, who
had in his day been a lace-maker of some reputation. "I have made
hundreds of yards in my time," he said, "both wide and narrow, but
never worked regularly at my pillow after sixteen years of age."
Delighted to exhibit the craft of his boyhood, he hunted out his
patterns, and, setting to work, produced a piece of trolly edging,
which soon found a place in the albums of sundry lace-collecting
ladies, the last specimen of man-worked lace likely to be fabricated
in the county of Devon.[1165]

The lace schools of this time were a great feature, there being many
in every village, and as few other schools existed, boys in addition to
the girls of the place attended and learnt the industry. The usual
mode of procedure was this. The children commenced attending at
the age of five to seven, and were apprenticed to the mistress for an
average of two years, who sold all their work for her trouble: they
then paid sixpence a week for a time and had their own lace, then
threepence, and so on, according to the amount of teaching they
still required. The young children went first from ten to twelve in the
morning, to accustom them to work by degrees. At Honiton the full
hours were from eight to eight in the summer and in the depth of
winter, but in the spring and autumn less, on account of the light, as
candles were begun only on September 3rd—Nutting day—till
Shrovetide. The old rhyme runs:—

"Be the Shrovetide high or low,

Out the candle we will blow."

At Sidbury it was de rigueur that directly a young girl married,

however young, she wore a cap, but till then the lace-makers were
famous for the beautiful dressing of their hair. When school began
they stood up in a circle to read the "verses." If any of them read
"jokily," they were given a penalty, and likewise for idleness—so
much extra work. In nearly all schools they were taught reading
from the Bible, and in some they learnt writing; but all these are
now things of the past.

Fig. 159.

Venetian Relief in Point.—

Reproduced by the late Mrs.
Treadwin.

To face page 414.

Speaking of the occupation of lace-making, Cooke, in his Topography

of Devon, observes: "It has been humanely remarked as a
melancholy consideration that so much health and comfort are
sacrificed to the production of this beautiful though not necessary
article of decoration. The sallow complexion, the weakly frame and
the general appearance of languor and debility of the operatives, are
sad and decisive proofs of the pernicious nature of the employment.
The small unwholesome rooms in which numbers of these females,
especially during their apprenticeship, are crowded together are
great aggravations of the evil." He continues at some length, as
indeed do many writers of the eighteenth century, to descant on this
evil, but times are changed, sanitary laws and the love of fresh air
have done much to remedy the mischief.[1166] The pillows, too, are
raised higher than formerly, by which means the stooping, so
injurious to health, is avoided. Old lace-makers will tell stories of the
cruel severities practised on the children in the dame schools of their
day—of the length of time they sat without daring to move from the
pillow, of prolonged punishments imposed on idle apprentices, and
other barbarities, but these are now tales of the past.[1167]

Ever since the Great Exhibition of 1851 drew attention to the

industry, different persons have been trying to encourage both
better design and better manufacture, but the majority of the people
have sought a livelihood by meeting the extensive demand for cheap
laces. Good patterns, good thread, and good work have been thrown
aside, the workers and small dealers recking little of the fact that
they themselves were ruining the trade as much as the competition
of machinery and machine-made lace, and tarnishing the fair name
of Honiton throughout the world, among those able to love and
appreciate a beautiful art. Fortunately there are some to lead and
direct in the right path, and all honour must be given to Mrs.
Treadwin, who started reproducing old laces. She and her clever
workers turned out the most exquisite copies of old Venetian rose
point, Valenciennes, or Flemish. Her successor, Miss Herbert, carries
it on; and while we have Mrs. Fowler and her school at Honiton, and
Miss Radford at Sidmouth, it would be easier to say what the heads
and hands of the Devon lace-workers could not do than to
enumerate the many beautiful stitches and patterns they achieve;
needlepoint or pillow, tape guipure or vrai réseau—there are able
fingers to suit all tastes.[1168]
Mrs. Fowler, of Honiton, has made a spirited attempt to teach some
young people.[1169] She employs women and girls all the year
round, who work under the Factory Acts. The girls are taught
needlework in addition, and to put together the sprigs made by the
out-workers, the arrangement of which requires great taste and
careful superintendence. The County Council grants courses of
lessons in various places, some for all ages, others for children.[1170]
The Italian laces made at Beer is a new branch, established by Miss
Bowdon, and ably carried on by Miss Audrey Trevelyan of Seaton.
This Italian lace is made entirely on the pillow, and the way in which
the women of Beer have picked up the stitches and mode of making
speaks volumes for their skilfulness and adaptability. There are still a
good number of workers left in this most picturesque village.[1171]

Plate LXXXIX.

English, Devonshire. Made at Beer for the Paris

Exhibition of 1900.—Miss A. Trevelyan adapted an
Italian design to the old Honiton stitches.

To face page 416.

A beautiful county and a beautiful art have come down to us hand in

hand. Let us do our best to prevent the one being marred and the
other lost, and keep them both together to be a joy and a pleasure
for all time.
 JAPAN.

The versatile Japanese have copied the Honiton method of making

bobbin lace. The Government have encouraged a school at
Yokohama for pillow lace making, under the supervision of an
English lady, where they turn out lace of a distinctive Japanese
character.
 CHAPTER XXXIII.
SCOTLAND.

"With the pearlin above her brow."—Old Scotch Song.

"Pearlin-lace as fine as spiders' webs."—Heart of Midlothian.

From her constant intercourse with France, lace must have been
early known in Scotland.

Of its use for ecclesiastical purposes, at a period when it was still

unknown to the laity, we have evidence in the mutilated effigy of a
crosiered ecclesiastic which once stood in a niche of the now ruined
abbey church of Arbroath. The lace which adorns the robes of this
figure is very elaborately and sharply chiselled, and when first
discovered, still preserved some remains of the gold leaf with which
it had been ornamented.

In the Inventories of King James V. we find constant mention of

"pasment" of gold and silver,[1172] as well as an entry of—"Ane
gown of fresit clayth of gold, with pasment of perle of gold smyth
wark lynit with cramasy sating."[1173] And we have other proofs,
[1174] in addition to the testimony of Sir Walter Scott, as given in the

Monastery,[1175] that pasments of gold and silver as well as "purle,"

were already in daily use during King James's reign.

Indeed, as early as 1575 the General Assembly of Scotland found

necessary, as did the bishops in Denmark, to express its mind as to
the style of dress befitting the clergy, and prohibit "all begares
(gardes) of velvet on gown, hose, or coat, all superfluous cut-out
work, all sewing on of pasments and laces."
A parchment, too, found in the cabinet of the Countess of Mar,[1176]
entitled "The Passement Bond," signed by the Duke of Lennox and
other nobles, by which they engaged themselves to leave off
wearing "passement," as a matter of expense and superfluity, shows
that luxury in dress had early found its way into Scotland.

Notwithstanding these entries, it was not until the arrival of Mary

Stuart in her northern dominions that lace in all its varieties appears.
The inventory of the Queen's effects in 1567, printed by the
Bannatyne Club, gives entries of passements, guimpeure d'or, and
guimpeure d'argent,[1177] with which her "robes de satin blanc et
jaune" were "bordées" and "chamarées." Each style of embroidery
and lace is designated by its special name. There is the "natte
d'argent faite par entrelatz, passement d'or et d'argent fait à jour,
chamarré de bisette,"[1178] etc.

The word dentelle, as told elsewhere,[1179] occurs but once.

We have also alluded to the will made by the Queen previous to the
birth of James VI., and her bequest of her "ouvrages maschés."[1180]
A relic of this expression is yet found in the word "mawsch," or
"masch," as the pinking of silk and muslin is termed in Scotland, an
advertisement of which accomplishment "done here" was seen a few
years ago in the shop-windows of the old town of Edinburgh.

In the Palace of Holyrood is still exhibited a small basket lined with

blue silk, and trimmed with a bone lace of rudely-spun flax, run on
with a ribbon of the same colour, recorded to be an offering sent by
Queen Elizabeth to her cousin previous to the birth of her godchild.
Antiquaries assert the story to be a fable. Whether the lace be of the
time or not, as a work of art it is of no credit to any country.
How Queen Mary, in her youth, was instructed in the arts of point
coupé and lacis, according to the works of Vinciolo, has been already
related.[1181] Of her talents as a needlewoman there is ample proof
in the numerous beds, screens, etc., treasured as relics in the
houses of the nobles where she was held captive. She knitted head-
dresses of gold "réseille," with cuffs and collars[1182] en suite,[1183]
to say nothing of nightcaps, and sent them as presents to Elizabeth,
[1184] all of which, we are told, the Queen received most graciously.
Mary, in her early portraits as Dauphine of France, wears no thread
lace. Much fine gold embroidered with passament enriches her
dresses; her sleeves are of gold rézeuil. In those of a later date, like
that taken when in Lochleven Castle, her veil is bordered with a
narrow bone lace—as yet a rarity—may be one of the same noted in
the Inventory of 1578, as "Fyve litell vaills of wovin rasour (réseau)
of threde, ane meekle twa of thame, passmentit with perle and black
silk."[1185]

When the Queen of Scots ascended the scaffold "she wore on her
head," writes Burleigh's reporter, "a dressing of lawn edged with
bone lace," and "a vest of lawn fastened to her caul," edged with the
same material. This lace-edged veil was long preserved as a relic in
the exiled Stuart family, until Cardinal York bequeathed it to Sir John
Cox Hippisley. Miss Pigott[1186] describes it of "transparent zephyr
gauze, with a light check or plaid pattern interwoven with gold; the
form as that of a long scarf."[1187] Sir John, when exhibiting the veil
at Baden, had the indiscretion to throw it over the Queen of
Bavaria's head. The Queen shuddered at the omen, threw off the
veil, and retired precipitately from the apartment, evidently in great
alarm.

"Cuttit out werk," collars of "hollie crisp," quaiffs of woven thread,

[1188] cornettes of layn (linen) sewit with cuttit out werk of gold,
wovin collars of threde, follow in quick succession. The cuttit out
werk is mostly wrought in gold, silver, cramoisi, or black silk.[1189]
The Queen's "towell claiths" are adorned in similar manner.[1190]

The Chartley Inventory of 1568[1191] is rich in works of point coupé

and rézeuil, in which are portrayed with the needle figures of birds,
fishes, beasts, and flowers, "couppés chascune en son carré." The
Queen exercised much ingenuity in her labours, varying the pattern
according to her taste. In the list are noted fifty-two specimens of
flowers designed after nature, "tirés au naturel;" 124 birds; as well
as sixteen sorts of four-footed beasts, "entre lesquelles y ha un lyon
assailant un sanglier;" with fifty-two fishes, all of divers sorts—giving
good proofs of the poor prisoner's industry. As to the designs after
nature, with all respect to the memory of Queen Mary, the lions,
cocks, and fishes of the sixteenth century which have come under
our notice, require a student of mediæval needlework rather than a
naturalist, to pronounce upon their identity.

James VI. of Scotland, reared in a hotbed of Calvinism, had not the

means, even if he had the inclination, to indulge in much luxury in
dress. Certain necessary entries of braid pasmentis of gold, gold
clinquant, braid pasmentis, cramoisi, for the ornamenting of clokkis,
coittis, breikis, and roobes of the King, with "Twa unce and ane half
pasmentis of gold and silver to werk the headis of the fokkis," made
up the amount of expense sanctioned for the royal wedding;[1192]
while 34 ells braid pasmentis of gold to trim a robe for "his Majesties
darrest bedfellow the Quene for her coronation,"[1193] gives but a
poor idea of the luxury of the Scottish court.

Various enactments[1194] were passed during the reign of James VI.

against "unnecessary sumptuousness in men's apparel," by which no
one except noblemen, lords of session, prelates, etc., were allowed
to wear silver or gold lace. Provosts were permitted to wear silk, but
no lace pearlin or pasmenterie, only a "watling silk lace" on the
seams.[1195] No one but the above same privileged persons were to
have pearlin on their ruffles, sarkis, napkins, and sokkis, and that
pearlin to be made in the kingdom of Scotland. This Act, dated 1621,
is the first mention we have found of Scottish-made lace.

James VI. having granted to one James Bannatyne of Leith a patent

for the "importing of foraine pearlin" into the country, in
consequence of the great complaint of the embroiderers in 1639,
this patent is rescinded, and the King forbids the entry of all "foraine
pearlin."

The word lace does not exist in the Scotch language. "Pearlin" is the
term used in old documents, defined in the dictionaries to be "a
species of lace made with thread." In the old Scotch songs it
frequently occurs:—[1196]

"Then, round the ring she dealt

them ane by ane,
Clean in her pearlin keck, and
gown alane."
—Ross
H
e
l
o
n
o
r
a
.

Again—
 "We maun hae pearlins and
mabbies and cocks,
And some other things that
ladies call smocks."

As the latter articles may appear more familiar to the world in

general than "kecks," and "mabbies," and "cocks," we may as well
explain a "pearlin keck" to signify a linen cap with a lace border; a
"mabbie," a mob; a "cock," or cock-up, no more eccentric head-
dress than the lofty fontanges or commode of the eighteenth
century.

Again, in Rob Roy we have the term "pearlin:" when Bailie Nicol
Jarvie piteously pleads to his kinswoman, Helen Macgregor, he says
—

"I hae been serviceable to Rob before now, forbye a set of

pearlins I sent yoursell when you were gaun to be married."

The recollection of these delicate attentions, however, has little

effect on the Highland chieftainess, who threatens to have him
chopped up, if ill befalls her lord, into as many square pieces as
compose the Macgregor tartan, or throw him neck and heels into the
Highland loch.

Montrose, we read, sent his lace ruffles to be starched and dressed

before they were sewn on the embroidered sark he had made only
to wear at his execution. "Pearlin" was provided for him which cost
£10 an ell.

The close-fitting velvet cap, enriched with lace, appears in the

seventeenth century to have been adopted by the lawyers of the
Scotch courts. An example may be seen in the portrait of Sir Thomas
Hope, Lord Advocate of Scotland, who died in 1646, which hangs in
the Hall of the Advocates of Edinburgh. Another (Fig. 160) appears
in the engraving of Sir Alexander Gibson, Bart., Lord Durie, one of
the Lords of Session, who died two years previously.

In 1672, when lace—"point lace made of thread"—came under the

ban of the Covenanters, with a penalty of "500 merks toties
quoties," the wearing such vanities on liveries is strictly forbidden;
servants, however, are allowed to wear out their masters' and
mistresses' old clothes.

In 1674, his Majesty, understanding that the manufacture of "pearlin

and whyt lace made of thread (whereby many people gain their
livelihood) was thereby much prejudiced and impaired, declares that
from henceforth it shall be free to all and every person within this
kingdom to wear 'whyt lace,' as well as the privileged persons above
mentioned." Finding these exclusions of little or no avail, in January,
1685, the Act remits the wearing of lace, both native and foreign, to
all folks living.

Fig. 160.

Sir Alexander Gibson,

Bart. (Lord Durie,
Lord of Session. +
1644.)
The dead now came under the scrutiny of the Scotch Parliament,
who order all lace or poynt, gold or silver, to be disused at
interments, under the penalty of 300 pounds Scots.[1197]

From the united effects of poverty, Covenanters and legislation, after

the departure of the court for England, luxury, small though it was,
declined in Edinburgh.

It was not till 1680, when James II., as Duke of York, accompanied
by Mary of Modena and his "duteous" daughter Anne, visited the
Scotch capital, that anything like gaiety or dress can be said to have
surprised the strait-laced population.

Dryden, sneering at the barbarism of the Scotch capital, writes, in

the prologue to a play delivered at Oxford, referring to a portion of
the troop that accompanied the court to Scotland—

"Laced linen there would be a

dangerous thing;
It might perhaps a new rebellion
bring—
The Scot who wore it would be
chosen king."

The Highlander, however, when in full dress, did not disdain to adopt
the falling band and ruffles of guipure or Flanders lace.

The advertisements and inventories of the first years of the

eighteenth century give us little reason to imagine any change had
been effected in the homely habits of the people.

At the marriage of a daughter of Thomas Smythe, of Methuen, in

1701, to Sir Thomas Moncrieffe, the bride had a head-suit and
ruffles of cut-work which cost nearly six pounds ten shillings.[1198]
Few and scanty advertisements of roups of "white thread lace"
appear in the journals of the day.[1199]

And in such a state matters continued till the Jacobites, going and
coming from St. Germains, introduced French fashions and luxuries
as yet unheard of in the then aristocratic Canongate.

It sounds strange to a traveller, as he wanders among these now

deserted closes of Edinburgh, to read of the gay doings and of the
grand people who, in the last century, dwelt within these poor-
looking abodes. A difficult matter it must have been to the Jacobite
beauties, whose hoop (from 1725-8) measured nine yards in
circumference, to mount the narrow winding staircases of their
dwellings; and this very difficulty gave rise to a luxury of
underclothing almost unknown in England or elsewhere. Every lady
wore a petticoat trimmed with the richest point lace. Nor was it only
the jupe that was lace-trimmed. Besides

"Twa lappets at her head, that

flaunted gallantlie,"

ladies extended the luxury to finely-laced garters.

In 1720 the bubble Company "for the trading in Flanders laces"

appears advertised in the Scotch papers in large and attractive
letters. We strongly doubt, however, it having gained any
shareholders among the prudent population of Edinburgh.

The prohibition of lace made in the dominions of the French

king[1200] was a boon to the Jacobites, and many a lady, and
gentleman too, became wondrous loyal to the exiled family, bribed
by a packet from St. Germains. In the first year of George II., says
the Gazette,[1201] a parcel of rich lace was secretly brought to the
Duke of Devonshire, by a mistake in the similarity of the title. On
being opened, hidden among the folds, was found a miniature
portrait of the Pretender, set round with large diamonds. The packet
was addressed to a noble lord high in office, one of the most zealous
converts to loyalty.[1202]

Smuggling was universal in Scotland in the reigns of George I. and

George II., for the people, unaccustomed to imposts, and regarding
them as an unjust aggression upon their ancient liberties, made no
scruple to elude the customs whenever it was possible so to do.

It was smuggling that originated the Porteous riots of 1736; and in

his description of the excited mob, Sir Walter Scott makes Miss Grizel
Dalmahoy exclaim—"They have ta'en awa' our Parliament. They hae
oppressed our trade. Our gentles will hardly allow that a Scots
needle can sew ruffles on a sark or lace on an owerlay."[1203]
 CHAPTER XXXIV.
LACE MANUFACTURES OF SCOTLAND.

"Sae put on your pearlins, Marion,

And kirtle o' the cramasie."—Scottish Song.

During the treasonable year of 1745 Scotland was far too occupied
with her risings and executions to give much attention to her
national industry. Up to that time considerable pains had been taken
to improve the spinning of fine thread, prizes had been awarded,
and the art taught in schools and other charitable institutions.

It was not till the middle of the eighteenth century that Anne,
Duchess of Hamilton, known to Society by tradition as "one of the
beautiful Miss Gunnings," seeing lace-makers at work when
travelling on the Continent, thought employment might be given to
the women of her own country by introducing the art into Scotland.
The Duchess therefore brought over women from France, and
caused them to teach the girls in her schools how to make "bunt
lace," as it was termed.

Sir John Sinclair thus notices the fabric:—"A small manufacture of

thread lace has long been carried on here. At an early period it was
the occupation of a good many women, but, from the fluctuation of
fashion, it has fallen greatly into disuse. Fashion again revived the
demand, and the late Duchess of Hamilton, afterwards of Argyle,
found still some lace-workers remaining, to whom her own demand,
and that of those who followed her example, gave employment. To
these her Grace added twelve orphan girls, who were clothed,
maintained, and taught at her expense. Others learned the art, and
while the demand lasted, the manufacture employed a good many
hands. Though the number is again diminished, there are still above
forty at the business, who make handsome laces of different
patterns, besides those who work occasionally for themselves or
their friends. Perhaps, under the patronage of the present
respectable duchess, the manufacture of Hamilton lace may again
become as flourishing as ever."[1204]

"The Duchess of Hamilton," says the Edinburgh Amusement of 1752,

"has ordered a home to be set up in Hamilton for the reception of
twelve poor girls and a mistress. The girls are to be taken in at the
age of seven, clothed, fed, taught to spin, make lace, etc., and
dismissed at fourteen."

The work of the fair Duchess throve, for, in 1754, we read how
—"The Duchess of Hamilton has now the pleasure to see the good
effects of her charity. Her Grace's small orphan family have, by
spinning, gained a sum of money, and lately presented the Duke and
Duchess with a double piece of Holland, and some suits of exceeding
fine lace ruffles, of their own manufacture, which their Graces did
them the honour to wear on the Duke's birthday, July 14, and which
vied with anything worn on the occasion, though there was a
splendid company present. The yarn of which the ruffles were made
weighed only ten drops each hank."[1205]

It was probably owing to the influence of this impulsive Irishwoman

that, in the year 1754, was founded The Select Society of Edinburgh
for encouraging the arts and manufactures of Scotland, headed by
the Duke of Hamilton. This society was contemporary with the Anti-
Gallican in England and the Dublin Society, though we believe, in this
case, Dublin can claim precedence over the capital of North Britain.

At a meeting of the society it was moved that "The annual

importation of worked ruffles and of bone lace and edging into this
country is considerable. By proper encouragement we might be
supplied at home with these ornaments. It was therefore resolved—
"That a premium be assigned to all superior merit in such work;
such a one as may be a mark of respect to women of fashion, and
may also be of some solid advantage to those whose laudable
industry contributes to their own support.

"For the best imitation of Dresden work, or a pair of men's ruffles, a

prize of £5 5s.

"For the best bone lace, not under twenty yards, £5 5s. The gainers
of these two best articles may have the money or a gold medal, at
their option."

As may be supposed, the newly-founded fabric of the Duchess was

not passed over by a society of which the Duke himself was the
patron. In the year 1757 we have among the prizes adjudged one of
two guineas to Anne Henderson, of Hamilton, "for the whitest and
best and finest lace, commonly called Hamilton lace, not under two
yards." A prize had already been offered in 1755,[1206] but, as stated
the following year, "no lace was given in." Prizes continued in 1758
and 1759 to be given for the produce of Hamilton; in the last year to
the value of four guineas.[1207]

The early death of the Duke of Hamilton; and the second marriage
of the Duchess, did not in any way impede the progress of Hamilton
lace, for, as late as 1778, we read in Locke's Essays on the Scotch
Commerce—"The lace manufactory, under the patronage of the
amiable Duchess of Hamilton (now Argyle), goes on with success
and spirit."

With respect to the quality of this Hamilton lace, laudable as were

the efforts of the Duchess, she succeeded in producing but a very
coarse fabric. The specimens which have come under our notice are
edgings of the commonest description, of a coarse thread, always of
the lozenge pattern (Fig. 161); being strong and firm, it was used
for nightcaps, never for dresses, and justified the description of a
lady who described it as of little account, and spoke of it as "only
Hamilton."

It appears that the Edinburgh Society died a natural death about

1764, but, notwithstanding the untimely demise of this patriotic club,
a strong impetus had been given to the lace-makers of Scotland.
[1208] Lace-making was introduced into the schools, and, what was
better far, many daughters of the smaller gentry and scions of noble
Jacobite houses, ruined by the catastrophe of 1745, either added to
their incomes or supported themselves wholly by the making of the
finer points. This custom seems to have been general, and, in
alluding to it, Mrs. Calderwood speaks of the "helplessness" of the
English women in comparison to the Scotch.

In the journals of the day we have constant advertisements,

informing the public of the advantages to be gained by the useful
arts imparted to their offspring in their establishments, inserted by
ladies of gentle blood—for the Scotchwomen of the last century no
more disdained to employ themselves in the training of youth than
does now a French dame de qualité to place herself at the head of
the Sacré-Cœur, or some other convent devoted to educational
purposes.[1209]

Fig. 161.

Hamilton.
The entry of all foreign laces was excluded by law. The Scotch
nation of the Hanoverian persuasion were wrath at the frivolity of
the Jacobite party. "£400,000 have been sent out of the country
during the last year," writes the Edinburgh Advertiser of 1764, "to
support our exiled countrymen in France, where they learn nothing
but folly and extravagance." English laces were not included in the
prohibition. In 1763, that "neat shop near the Stinking Style, in the
Lukenbooths," held by Mr. James Baillie, advertises "Trollies, English
laces, and pearl edgings." Four years later, black silk lace and
guipure are added to the stock, "mennuet," and very cheap bone
lace.[1210]

Great efforts, and with success, were made for the improvement of
the thread manufacture, for the purchase of which article at Lille
£200,000 were annually sent from Scotland to France. Badly-spun
yarn was seized and burned by the stamp master; of this we have
frequent mention.[1211]

Peuchet, speaking of Scotland, says:—"Il s'est formé près

d'Edinbourg une manufacture de fil de dentelle. On prétend que le fil
de cette manufacture sert à faire des dentelles qui non-seulement
égalent en beauté celles qui sont fabriquées avec le fil de l'étranger,
mais encore les surpassent en durée. Cet avantage serait d'autant
plus grand que l'importation de ce fil de l'étranger occasionne aux
habitans de ce royaume une perte annuelle de £100,000."[1212]

Whether about the year 1775 any change had taken place in the
legislation of the customs of Scotland, and they had become
regulated by English law, we cannot say, but suddenly constant
advertisements of Brussels lace and fine point appear in the Gazette,
and this at the very time Loch was doing his best to stir up once
more Scotch patriotism with regard to manufactures.[1213]
The Scotch Foresters set the example at their meeting in 1766, and
then—we hear nothing more on the matter.

The Weekly Magazine of 1776 strongly recommends the art of lace-

making as one calculated to flourish in Scotland, young girls
beginning to learn at eight years of age, adding: "The directors of
the hospital of Glasgow have already sent twenty-three girls to be
taught by Madame Puteau,[1214] a native of Lisle, now residing at
Renfrew; you will find the lace of Renfrew cheaper, as good and as
neat as those imported from Brussels, Lisle, and Antwerp." David
Loch also mentions the success of the young Glasgow lace-makers,
who made lace, he says, from 10d. to 4s. 6d. per yard. He adds: "It
is a pleasure to see them at work. I saw them ten days ago." He
recommends the managers of the Workhouse of the Canongate to
adopt the same plan: adding, they need not send to Glasgow for
teachers, as there are plenty at the Orphan Hospital at Edinburgh
capable of undertaking the office. Of the lace fabricated at Glasgow
we know nothing, save from an advertisement in the Caledonian
Mercury of 1778, where one William Smith, "Lace-maker," at the
Greenhead, Glasgow, informs the public he has for some years
"made and bleached candlewicks." Anderson and Loch did not agree
on the subject of lace-making, the former considering it an unstable
fabric, too easily affected by the caprices of fashion.[1215]

Be that as it may, the manufacture of thread for lace alone employed

five hundred machines, each machine occupying thirty-six persons:
the value of the thread produced annually £175,000. Loch adds, that
in consequence of the cheapness of provisions, Scotland, as a
country, is better adapted to lace-making than England. In
consequence of Loch's remarks, his Majesty's Board of Trustees for
the Fisheries and Manufactures, after asking a number of questions,
determined to give proper encouragement and have mistresses for
teaching the different kinds of lace made in England and France, and
oblige them to take girls of the poorer class, some from the
hospitals, and the mistress for five years to have the benefit of their
work. A girl might earn from 10d. to 1s. per day. They gave a salary
to an experienced person from Lisle for the purpose of teaching the
making of thread; his wife to instruct in lace-making. With the
records of 1788 end all mention of lace-making in Scotland.[1216]
 CHAPTER XXXV.
IRELAND.

"The undoubted aptitude for lace-making of the women of Ireland."—Juror's

Report, International Exhibition. 1862.
"It is peculiarly interesting to note the various foreign influences which have
done their part in the creation of Irish lace. Italian and Flemish, Greek,
French and English, all have lent their aid."—A. Loyd. The Queen, Feb. 6th,
1897.

Little is known of the early state of manufactures in Ireland, save

that the art of needlework was held in high estimation.

By the sumptuary laws of King Mogha Nuadhad, killed at the Battle

of Maylean, A.D. 192, we learn that the value of a queen's raiment,
should she bring a suitable dowry, ought to amount to the cost of six
cows; but of what the said raiment consisted history is dark.

The same record, however, informs us that the price of a mantle,

wrought with the needle, should be "a young bullock or steer."[1217]
This hooded mantle is described by Giraldus Cambrensis as
composed of various pieces of cloth, striped, and worked in squares
by the needle; maybe a species of cut-work.

Morgan, who wrote in 1588, declares the saffron-tinted shirts of the

Irish to contain from twenty to thirty ells of linen. No wonder they
are described—

"With pleates on pleates they

pleated are,
As thick as pleates may lie."
[1218]
It was in such guise the Irish appeared at court before Queen
Elizabeth,[1219] and from them the yellow starch of Mrs. Turner may
have derived its origin. The Irish, however, produced the dye not
from saffron, but from a lichen gathered on the rocks. Be that as it
may, the Government prohibited its use, and the shirts were reduced
in quantity to six ells,[1220] for the making of which "new-fangled
pair of Gally-cushes," i.e., English shirts, as we find by the
Corporation Book of Kilkenny (1537), eighteenpence was charged if
done with silk or cut-work. Ninepence extra was charged for every
ounce of silk worked in.

An Irish smock wrought with silk and gold was considered an object
worthy of a king's wardrobe, as the inventory of King Edward IV.
[1221] attests:—"Item, one Irishe smocke wrought with gold and
silke."

The Rebellion at an end, a friendly intercourse, as regards fashion,

was kept up between the English and the Irish. The ruff of
geometric design, falling band, and cravat of Flanders lace, all
appeared in due succession. The Irish, always lovers of pomp and
show, early used lace at the interments of the great, as appears
from an anecdote related in a letter of Mr. O'Halloran:—"The late
Lord Glandore told me," he writes, "that when a boy, under a
spacious tomb in the ruined monastery at his seat, Ardfert Abbey
(Co. Kerry), he perceived something white. He drew it forth, and it
proved to be a shroud of Flanders lace, the covering of some person
long deceased."

In the beginning of the eighteenth century a patriotic feeling arose

among the Irish, who joined hand in hand to encourage the
productions of their own country. Swift was among the first to
support the movement, and in a prologue he composed, in 1721, to
a play acted for the benefit of the Irish weavers, he says:—
 "Since waiting-women, like
exacting jades,
Hold up the prices of their old
brocades,
We'll dress in manufactures
made at home."

Plate XC.

Irish, Youghal.—Needle-point fan mount, made at the

Presentation Convent, Youghal, for H.R.H. Princess Maud of
Wales on her marriage, 1896. Width in centre 8½ in.
Photo in Victoria and Albert Museum.

To face page 436.

Shortly afterwards, at a meeting, he proposed the following

resolution:—

"That the ladies wear Irish manufactures. There is brought annually

into this kingdom near £90,000 worth of silk, whereof the greater
part is manufactured; £30,000 more is expended in muslin, holland,
cambric, and calico. What the price of lace amounts to is not easy to
be collected from the Custom-house book, being a kind of goods
that, taking up little room, is easily run; but, considering the
prodigious price of a woman's head-dress at ten, twelve, twenty
pounds a yard, it must be very great."

Though a club of patriots had been formed in Ireland since the

beginning of the eighteenth century, called the Dublin Society, they
were not incorporated by charter until the year 1749; hence many of
their records are lost, and we are unable to ascertain the precise
period at which they took upon themselves the encouragement of
the bone lace trade in Ireland. From their Transactions we learn that,
so early as the year 1743, the annual value of the bone lace
manufactured by the children of the workhouses of the city of Dublin
amounted to £164 14s. 10½d.[1222] In consequence of this success,
the society ordain that £34 2s. 6d. be given to the Lady Arabella
Denny to distribute among the children, for their encouragement in
making bone lace. Indeed, to such a pitch were the productions of
the needle already brought in Ireland, that in the same year, 1743,
the Dublin Society gave Robert Baker, of Rollin Street, Dublin, a prize
of £10 for his imitation of Brussels lace ruffles, which are described
as being most exquisite both in design and workmanship. This
Brussels lace of Irish growth was much prized by the patriots.[1223]
From this time the Dublin Society acted under their good genius, the
Lady Arabella Denny. The prizes they awarded were liberal, and
success attended their efforts.

In 1755 we find a prize of £2 15s. 6d. awarded to Susanna Hunt, of

Fishamble Street, aged eleven, for a piece of lace most
extraordinarily well wrought. Miss Elinor Brereton, of Raheenduff,
Queen's County, for the best imitation of Brussels lace with the
needle, £7. On the same occasion Miss Martha M'Cullow, of Cork
Bridge, gains the prize of £5 for "Dresden point." Miss Mary Gibson
has £2 for "Cheyne Lace,"[1224] of which we have scarcely heard
mention since the days of Queen Elizabeth.
Bone lace had never in any quantity been imported from England. In
1703 but 2,333 yards, valuing only £116 13s., or 1s. per yard,
passed through the Irish Custom House. Ireland, like the rest of the
United Kingdom, received her points either from France or Flanders.

The thread used in the Irish fabric was derived from Hamburg, of
which, in 1765, 2,573 lbs. were imported.

It was in this same year the Irish club of young gentlemen refused,
by unanimous consent, to toast or consider beautiful any lady who
should wear French lace or indulge in foreign fopperies.

During the two succeeding years the lace of various kinds exhibited
by the workhouse children was greatly approved of, and the thanks
of the Society offered to the Lady Arabella Denny.[1225]

Prizes given to the children, to the amount of £34 2s. 6d.; the same
for bone lace made by other manufacturers; and one half the sum is
also to be applied to "thread lace made with knitting needles."

A certain Mrs. Rachel Armstrong, of Inistioge (Co. Kilkenny), is also

awarded a prize of £11 7s. 6d. "for having caused a considerable
quantity of bone lace to be made by girls whom she has instructed
and employed in the work." Among the premiums granted to "poor
gentlewomen" we find: To Miss Jane Knox, for an apron of elegant
pattern and curiously wrought, £6 16s. 6d., and silver medals to two
ladies who, we suppose, are above receiving money as a reward.
The Society recommend that the bone lace made be exposed for
sale in the warehouses of the Irish Silk Company. In consequence of
the emulation excited among all classes, advertisements appear in
the Dublin News of ladies "very capable of instructing young misses
in fine lace-making, needlework point, broderie en tambour, all in the
genteelest taste."
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