and Edouard, roi d'Angleterre (1640). Cassandre, the first of his novels, was published during the years 1640-43, in ten volumes. Its popularity was such that the first volumes were twice reprinted before the completion of the last, and the whole reprinted twice during La Calprenède's life (1650-54). It was again printed in 1731, and condensed into three volumes in 1752. This novel is interesting because it shows that La Calprenède was well acquainted with the romances of chivalry as well as with Greek novels. Cassandre was followed by Cléopatre (1647) in twelve volumes (begun in 1647), and this by Faramond: histoire de France (begun in 1661), which La Calprenède left unfinished at its seventh volume. Five more volumes were added by Pierre de Vaumorière. All these purport to be historical novels. Faramond has also the interest attaching to the first attempt at a novel of national history. La Calprenède is the first

French novelist who had a conscious and defined

plan in writing. Cassandre was rendered into German, Italian, and Dutch. In England Cléopatre was the favorite; yet three English dramas are based on Faramond. If priority be taken into account, La Calprenède is the most significant, if not the best, of the idealist novelists of the century. Consult Körting, Geschichte des französi schen Romans im XVIIten Jahrhundert, vol. i. (Oppeln, 1891).

LACANDÓN, lä'kån-dōn'. A tribe of Mayan stock (q.v.), formerly occupying a considerable territory upon the Lacandón and Usumacinta rivers of Chiapas (Mexico) and Guatemala, but now confined to the more inaccessible region at the head of the latter stream in the Petén district of Guatemala. Their language is a dialect of the standard Maya of Yucatan. For a long time they maintained an aggressive resistance to the Spanish power, and still retain a large measure of independence, with many of their ancient customs and religious rites, avoiding contact with the white man so far as possible, although nominally subject to Guatemala. The stories formerly current of large aboriginal cities and great temples still extant in their territory are now known to have been false.

LACAZE-DUTHIERS, lä’käz'-dy'tyârʼ, HENRI DE (1821-1901). A comparative anatomist, author of a series of elaborate and richly illustrated memoirs on mollusks, parasitic crustacea, and the red coral. He was born at Montpezat, May 15, 1821; was appointed in 1865 to the chair of zoology at the Museum of Natural History, and three years later he was called to the Sorbonne. Elected a member of the Academy of Sciences in 1871, he afterwards became its president: He was founder of the marine zoölogical laboratories of Roscoff and of Banyuls

sur-Mer, on the Mediterranean; also founder and

editor of Archives de la zoologie cxpérimentale. During the last thirty years of his life he was the animating spirit of French zoology.

LACCADIVES, lăkki-divz (Skt. Laksa Dvipa, hundred thousand islands). A group of small coral islands in the Arabian Sea, about 200 miles west of the Malabar coast of Hindustan, aggregating about 744 square miles in area (Map: India, B 6). They are low and flat and mostly barren, and but few of them are inhabited, The population is (1901) 10,274, consisting chiefly of Moplahs, people of mixed Arabian and Hindu

descent, professing Mohammedanism. The isl ands are divided into two groups, the northern belonging to the Madras district of South Kanara, the southern being administered by the collector of Malabar. The chief product is cocoanuts, whose fibres are almost the only article of export. As the numerous coral reefs make navigation dangerous, the commerce is carried on almost exclusively in native vessels, manned by the daring sailors of the islands.

LACCOLITE, or LACCOLITH (from Gk. λákкos, lakkos, pit + Mitos, lithos, stone). A mass of intrusive rock (see ROCK) having the general shape of a mushroom, and supposed to be formed as the result of molten rock material being forced up from below through a fissure or crevice until, by taking a new direction along more nearly horizontal planes of bedding, it forces the overlying beds upward into a dome. Laccolites constitute a variety of batholite (q.v.) or boss. They were first described from the Henry Mountains of Utah, where the erosive agencies of the atmosphere have removed the inclosing arched roof of sedimentary strata and revealed the igneous core of the laccolite. Laccolites have since been described from many other localities, the best known, however, being in the Western United States. For illustration, see GEOLOGY.

LACE (OF. las, laz, lags, Fr. lacs, It. laccio, net, from Lat. laqueus, snare, from lacere, to allure). An ornamental fabric of linen, cotton, or silk thread made either by the hands, somewhat after the manner of embroidery, or by machinery. It differs from embroidery in that it is not a decoration of an existing fabric, but a fabric in itself, and has been defined as "an open, perforated material formed by the series of threads of which it is composed being twisted together in such a manner as to form patterns."

HAND-MADE LACE belongs to two general classes: That which is made with a needle, called needlepoint, or simply point lace; and that which is made with bobbins on a pillow, called bobbin or pillow lace. In addition there is the machine lace, which is usually a more or less close imitation of the patterns of both point and pillow lace. The various knitted and crocheted edgings, usually of domestic manufacture, though used for the same ornamental purposes as lace, are not true laces. See KNITTING; also CROCHET.

There is no documentary or other evidence of lace earlier than the fifteenth century, but the process of lace-making was so gradually evolved from the much older art of embroidery that it is difficult to determine just when the first true lace was made. Lace-making was doubtless suggested by embroidery on thin gauzes, nets, and linens. This form of embroidery was developed into embroidery on open grounds by two dif ferent methods: Sometimes the portions of the embroidered cloth in the pattern are cut out and the open space filled in with needlework; sometimes threads are first drawn out of the linen, and the remaining threads interlaced with needlework, as is done in the modern drawnwork, in which the Mexican and Turkish women so much excel. Soon, instead of laboriously pulling out threads, a fabric was invented with the threads already omitted, ready for the needlework. This fabric, of an open, reticulated ground, was called a quintain, after a little vil lage in Brittany, famous for its linens. These

quintains became more and more open in texture until they were mere nets, called lacis, The needlework upon lacis was at first made in a simple darning pattern, the threads being run in and out among the meshes.

POINT LACE. During the sixteenth century it was often a difficult matter for ladies to secure patterns for the various forms of embroidery, Often these were drawn on parchment or copied on samplers which were passed from hand to hand. Probably the first printed pattern-book was published by Pierre Quinty, of Cologne, in 1527, and was entitled New and Subtle Book Concerning the Art and Science of Embroidery, Fringes, Tapestry-Making, as Well as Other Crafts Done with the Needle. After this many other pattern-books were published from time to time, and by studying these one is able to trace the transition from white thread embroidery to needle-point lace. Soon we find work called punto in aere, in which the embroidery is edged with Vandyked points which are wholly of needlework, without any foundation of cloth. Another step brings us to work not simply edged, but wholly made in this way; in other words, to the production of actual lace. The development of a true lace was earliest carried to perfection in Venice. At first it was similar in pattern to the cut and drawn work, but toward the end of the sixteenth century these geometrical designs were replaced by elaborate floral and scroll ornaments which culminated in the delicate productions of the eighteenth century. Venetian lace gradually became less bold and effective in design and more delicate in execution, as lace became less worn by men and more by women. This is seen by comparing the earlier laces with the celebrated rose point; the latter is composed of delicate scrolls held together by tiny bars and freely spotted with small blossoms. From Venice the art of lace-making spread into France, and early in the reign of Louis XIV. his minister Colbert established a lace-making company enjoying exclusive privileges, with a general shop at Paris, the principal centres of lace-making being villages where the art was already practiced, notably Alençon. (See Despierres, Histoire du point d'Alençon, Paris, 1886.) At first the laces produced, which were called under the general name of point de France, were mere imitations of Venetian patterns; but gradually distinctly national edges were evolved. The manufacture of needle-point lace also spread to Flanders, where a lace of most delicate quality was made, on account of the superior fineness of Belgian flax.

In general point lace is made by first stitching a thread along the outlines of a pattern on paper, parchment, or cloth, and then covering and connecting the pattern-thread with stitches. Of course in actual practice this method is subject to endless modifications and variations, and certain technical terms are used in describing the various processes and products, the principal of which are the following: The unfigured background of lace is called the réseau. The pattern is the motif. Point de velin is lace worked on a parchment pattern. Brides are the simple lines with which the pattern portions are sometimes connected. Modes are elaborate variations of the reseau. Picots are little loops worked on a pattern to add to its effectiveness. Cordonnets are stout threads, sometimes of horsehair, em

ployed to outline a pattern. During later times the term guipure (see guipure later on) was applied to all laces where the design was connected with simple bars or ties, while laces with regular meshed backgrounds (reseaux) were called dentelles.

The

The process of making point d'Alençon lace can perhaps best be understood by reference to the accompanying plate illustrating the various steps in the work. The different classes of work are assigned to different workers successively, and the fabric passes through many hands before it is finally complete. Fig. 1 shows the design, which is drawn on white paper. It is then pricked with a needle on a piece of green parchment on which the grounding is indicated (Fig. 2). A colored design in which the portions to be worked out by the different workers are indicated is next employed and is shown in Fig. 3. first worker traces out the design on the parchment (la trace) as shown in Fig. 4. The next supplies the coarser groundwork (bride), indicated on the color scheme by yellow and shown in Fig. 5. Next the finer grounding (réseau), which corresponds in the color plan to the green, is worked in and then the design itself is worked in solid buttonhole stitch (rempli). This is indicated by the white on the color plan. Next the fine stars of the openwork (modes) are added, corresponding to the red on the diagram, and the final process consists in working a heavy outline around the design, as is indicated by the black. Fig. 9 shows the finished lace after it has gone through these successive stages.

PILLOW LACE. The invention of pillow lace has been claimed for Barbara Uttmann, who lived at Saint Annaberg, Saxony, about the middle of the sixteenth century. Whether she invented or merely introduced the art cannot now be proved; but certain it is that it soon became established in Saxony, and spread thence to the Netherlands and France. Pillow lace, sometimes called cushion or bobbin lace, is so called from the pillow or cushion being used to work the pattern upon, and the various threads of which the figures are made up each being wound upon a bobbin, usually of an ornamental character, to distinguish one from the other. The pattern on parchment or paper being attached to the pillow or cushion, pins are stuck in at regular intervals in the lines of the pattern, and the threads of the bobbins are twisted or plaited round them so as to form the network arrangement which is characteristic of this class of lace, the patterns or figured portions being worked out by a crossing of threads, which, although actually plaiting, gives the effect of weaving. As many as 1200 bobbins are required for the more elaborate patterns. Many pillowlace patterns are made in strips, and are cleverly united by a stitch called point de raccroc, which consists in finishing off the two outer parallel edges of a strip with a series of half instead of whole meshes, which are subsequently united in a way that defies detection.

The name passement was given to the earliest bobbin laces. Being cheaper and simpler than the point lace, they at once became popular with those who could not afford the latter. Gradually, however, wider and more elaborate pillow laces were made.

In 1768 the manufacture of machine net or tulle was started at Nottingham, England, and

from that time it became common to sew patterns or figures of pillow lace upon a machine-made or tulle background. This machine-made net (known as 'bobbin net') marked the beginning of the manufacture of machine-made lace, which has worked a complete revolution in the lace trade, so that the prices formerly obtained for handmade lace can no longer be commanded. The lace machine, or frame, is so complicated that it would be hopeless to convey ary really intelligible appreciation of it without a voluminous description of all its parts. One or two points of chief importance may, however, remove any difficulty in understanding its general principles. First, then, as in the loom (see Looм), there is a series of warp threads, placed, however, perpendicularly instead of horizontally, and not so close as in ordinary weaving. Behind these threads, and corresponding to the interspaces, is a row of ingeniously constructed flat bobbins or reels resting in an arrangement called a combbar or bolt-bar. These are so placed that, with the first movement of the machine, each bobbin, which carries its thread with it, passes through two of the parallel and perpendicular threads of the warp, and is lodged in another and similar bolt-bar in front of the warp. But this front bolt-bar, besides an advancing and receding motion, has another movement, called shogging from right to left. When it receives a bobbin by its forward motion it draws back, bringing the bobbin and thread through two of the upright threads; it then shogs or moves to one side, and goes forward again, taking the thread through the next two warp threads, and lodging the bobbin on the back bolt-bar again, one distance beyond its last space; this it recovers by the next movement, and it again passes through the first space, to be again received by the front bolt-bar. By these movements the bobbin thread is twisted quite round one upright thread of the warp; another movement then shifts the bobbin, so that it will pass through the next pair of upright threads, and so carry on its work, the warp threads moving at the same time, unwinding from the lower beam and being rolled on the upper one. There are twice as many bobbins as there are threads in the warp, each bolt-bar having a set which it exchanges with the other, and all being regulated with great nicety. The variations upon these operations, which apply only to bobbin net, all depend upon the variations which can be given to the movements of the flat, disklike bobbins.

The application of Jacquard's apparatus for pattern-weaving to lace, in 1837, made possible the production of tulle broché or flowered nets, and since that time the process of reproducing the patterns of hand-made lace by machinery, as well as of making new designs, has been extensively developed. Nevertheless, there is no danger that the production of machine-made lace will efface the demand for the hand-made product, any more than that of process engraving will supersede the work of the artist.

The following list contains the names and a brief description of some of the most important kinds of point and pillow laces: Alençon, a needle-point lace first made in the seventeenth century at Alençon, France, sometimes called the queen of laces. It is characterized by a reseau of hexagonal mesh and the cordonnet, stiffened with horsehair. Argentan is similar to the

point d'Alençon, but the design is of a larger, bolder pattern, and the brides are twisted. Baycux, modern bobbin lace, made at Bayeux, Normandy, in imitation of rose point and other old patterns. It is often made in large pieces for shawls, fichus, etc. Blonde, originally made of unbleached silk, from which it derived its name, but now made only of white or black silk, and in large flowery patterns. It is a favorite with the Spaniards, the mantilla or national headdress being made of this lace. Bisette, a coarse and simple lace made by French peasants, and of little value. Bride, ground composed wholly of bars or brides without any réseau or network. Brussels (see BRUSSELS LACE). Chantilly, a silk lace, either black or white, the older patterns of which are vases and baskets of flowers similar to the Chantilly pottery. The material used in weaving these faces is a silk called grenadine d'Alais, which is so spun that it is lustreless and looks like black flax. Cluny, a purely fanciful name adopted from the Musée de Cluny, where examples of ancient lace are preserved. This is a pillow lace made chiefly by the peasant women of Le Puy, France. Duchesse, a variety of pillow lace originally made in Belgium, containing raised work somewhat similar to that in Honiton lace. English or point d'Angleterre, a pillow lace much admired during the eighteenth century. It was probably a Brussels lace smuggled into England by merchants, and given an English name to evade the sumptuary edicts which in 1662 were issued by Parliament to check the enormous sums spent on foreign lace and to encourage the home product. Lace of equal fineness, however, could not be produced in England, on account of the inferior quality of English flax. The term guipure was originally applied to a lace in which a cordonnet was composed of a stout cord whipped around with finer threads, and in this sense is applied to the trimming gimps of the present day. Gradually, however, the name is extended to all laces in which the patterns are connected by brides or ties instead of being on a network or réseau, and still later for all laces in which the grounds were very large, with irregular openings. Honiton, a pillow lace made at Honiton, in Devonshire, England. The patterns, consisting of sprays or flowers, are made separately and then bound together with brides or secured to a net background. Mechlin, a light, filmy pillow lace, a distinguishing feature of which is the fine, bright thread which outlines all the ornamental shapes in it. The réseau is a hexagonal mesh. Nottingham, a general name for machine-made lace, from Nottingham, England, where it was first made. Spanish, a modern black silk lace with a flowered pattern, mostly of Flemish make. Torchon, a bobbin lace made of soft and loosely twisted but stout linen thread; an imitation of it is largely made by machine. Valenciennes, a bobbin lace with a square or diamond reseau, and the same kind of thread throughout the pattern and ground. It is admirably suited for washable fabrics, and as such has always been a favorite.

Consult: Lefébre, Embroidery and Lace, translated from the French by Alan S. Cole (London, 1888); Cole, Ancient Needle-Point and Pillow Lace (London, 1875); id., Cantor Lectures on the Art of Lace-Making (London, 1881); id., Descriptive Catalogue of the Collection of Lace