Limerick lace is a specific class of lace originating in Limerick, Ireland, which was later produced throughout the country. It evolved from the invention of a machine which made net in 1808. Until John Heathcoat invented a net-making machine in Devon in 1815, handmade net was a very expensive fabric. This meant cheap net became available to Irish lacemakers, particularly after 1823 when Heathcoat's patent expired. [1]
Limerick lace is a hybrid lace of embroidered needle lace or crocheted lace on a machine made net base. It is a 'mixed lace' rather than a ‘true lace’, which would be entirely hand made. Limerick lace comes in two forms: tambour lace, which is made by stretching a net over a frame like a tambourine and drawing threads through it with a hook, and needlerun lace, which is made by using a needle to embroider on a net background. [2]
The lace was noted for its variety of delicate fillings, as many as 47 different ones being found in one collar. [3]
The Limerick lace industry was founded in 1829 by Charles Walker, a native of Oxfordshire. [2]
The history of Limerick lace can be divided into two broad periods: the age of factory production 1829-c.1870 and the age of home and workshop production c.1870-1914.
In 1829, Walker brought over 24 girls to teach lace-making in Limerick, drawn to the area by the availability of cheap, skilled female labour, and his business thrived. Charles Walker chose Limerick after touring various sites for the business. Limerick previously had a thriving Limerick glove industry, but at this time had a large population of unemployed women with a tradition of factory work. [1] Limerick lace was produced mainly in factories for the first forty years of its existence. Between the 1830s and 1860s, several lace factories operated in Limerick. The city’s second lace factory was established in 1835 by William Lloyd, initially at Clare Street and later in Abbey Court off Nicholas Street. In 1841, there were 400 women and girls working for him. In 1836, Leycester Greaves (1809-47), a Cork man opened a factory in Limerick. These lace factories employed almost 2,000 women and girls. [2]
In the 1840s, Limerick lace making was introduced to a number of convents and convent-run institutions, both in Limerick and elsewhere. In 1850, lace making was introduced to the Good Shepherd Convent on Clare Street Limerick, but it was also made in other religious houses based in the city, including the Presentation Convent in Sexton Street and the Mercy Convent at Mount Saint Vincent, on O’Connell Avenue. Limerick lace was disseminated widely throughout Ireland by Catholic religious sisters, anxious to provide employment at the time of the Famine. They introduced it to several other convents, including religious houses in Youghal, Kinsale, Dunmore East, Cahirciveen, and Kenmare. At the Good Shepherd Convent, the last lace making centre in Limerick, production ceased in 1990.
In the 1860s and 1870s, the Limerick lace industry declined rapidly, due to the market being flooded by entirely machine made lace from chiefly from Nottingham. One reason for this period of decline was the realisation that design was necessary for beautiful lace. Following the Cork Industrial Exhibition of 1883, the President of Queen's College, Cork, wrote, "... only well-designed and finely executed lace [that] can hold its ground against machine lace." [1]
It was revived in the 1880s due to the work of Florence Vere O'Brien (1858-1936) who established a Lace School in Limerick, which opened with eight pupils in May 1889. This ran until 1922. [1] Another important promoter of Limerick lace during this period was Ishbel Hamilton-Gordon, Countess of Aberdeen (1847-1939) who established the Irish Industries Association in 1886 to encourage the 'Buy Irish' movement. This was integral to reviving Limerick lace as a traditional craft.
In 1904, Mrs Maude Kearney (1873-1963), a daughter of James Hodkinson, founder of the famous firm of specialists in church decoration in Henry Street, Limerick, established a lace making business which she called the Thomond Lace Industry. Based in Thomondgate, Thomond Lace employed between fifty and eighty workers at the height of its success. After the Second World War, Limerick lace declined rapidly.
Those who are known to have worn Limerick lace were Queen Victoria, Edith Roosevelt and Countess Markievicz. When John F. Kennedy visited Limerick in 1963 he was presented with a lace christening robe. This christening robe was created in the Good Shepherd Convent, Clare Street, Limerick. Generations of churchmen also wore Limerick lace and used lace to decorate their churches.
Limerick Museum holds the largest collection of Limerick lace in the country. A collection is also held in the Sisters of Mercy in Charleville, Co. Cork.
The Missouri Historical Society holds a gift of Limerick Lace given to Charles Lindbergh.
Limerick lace is formed on a mesh using one or both of two techniques:
Sometimes applique was used, including net appliqued onto net, which made a gossamer fabric. The types of lace made in the first factory at this time were fichus, blond lace trimming and grey lace (spotted), traced by tambour workers and filled by runners. Later in the 1840s the types of lace in production were floss work, satin stitch, Valencienne, two-stitch and moss work, however the introduction of machine-made lace was impacting the quality of the running work. [1]
Limerick lace is still produced on a very small commercial basis by individual lace makers such as Eileen Browne. A number of classes are held both within Limerick and throughout the country in an attempt to revive the practice.
In 2014, Limerick City Council published a comprehensive history on Limerick lace called Amazing Lace, written by Dr Matthew Potter, Curator of Limerick Museum.
In 2019, Limerick lace was added to the Irish National Inventory of Intangible Cultural Heritage.
In 2019, Veronica Rowe, the granddaughter of Florence Vere O'Brien, handed over her lace collection on longterm loan to the Limerick Museum.
In 2023, Grania McElligott donated the Maude Kearney lace collection to the Limerick Museum, adding to the existing Limerick lace collection.
Since 2017, a series of exhibitions and conferences, both virtual and actual dedicated to Limerick lace have been held by Limerick Museum. In the same year, a group of lacemakers and lace enthusiasts came together under the name "Friends of Lace Limerick" to work with Limerick Museum on the preservation and cataloguing of lace artefacts in the museum collection and on the revival of Limerick lace traditions. Friends of Lace Limerick organised the Amazing Lace Symposium in collaboration with Limerick Museum in 2018, 2019 and again in 2024.
For August 2025, Limerick Museum is planning a lace exhibition that will include the highlights of all its collections.
Crochet is a process of creating textiles by using a crochet hook to interlock loops of yarn, thread, or strands of other materials. The name is derived from the French term crochet, which means 'hook'. Hooks can be made from different materials, sizes, and types. The key difference between crochet and knitting, beyond the implements used for their production, is that each stitch in crochet is completed before you begin the next one, while knitting keeps many stitches open at a time. Some variant forms of crochet, such as Tunisian crochet and Broomstick lace, do keep multiple crochet stitches open at a time.
Limerick is a city in western Ireland, in County Limerick. It is in the province of Munster and is in the Mid-West which comprises part of the Southern Region. With a population of 102,287 at the 2022 census, Limerick is the third-most populous urban area in Ireland, and the fourth-most populous city on the island of Ireland. It was founded by Scandinavian settlers in 812, during the Viking Age.
Lace is a delicate fabric made of yarn or thread in an open weblike pattern, made by machine or by hand. Generally, lace is split into two main categories, needlelace and bobbin lace, although there are other types of lace, such as knitted or crocheted lace. Other laces such as these are considered as a category of their specific craft. Knitted lace, therefore, is an example of knitting. This article considers both needle lace and bobbin lace.
Bobbin lace is a lace textile made by braiding and twisting lengths of thread, which are wound on bobbins to manage them. As the work progresses, the weaving is held in place with pins set in a lace pillow, the placement of the pins usually determined by a pattern or pricking pinned on the pillow.
Needle lace is a type of lace created using a needle and thread to create hundreds of small stitches to form the lace itself.
John Heathcoat was an English inventor from Duffield, Derbyshire. During his apprenticeship he made an improvement to the warp-loom, so as to produce mitts of a lace-like appearance. He set up his own business in Nottingham but was forced to move away to Hathern in Leicestershire, and after this new factory was attacked by former Luddites in 1816 he moved the business to Tiverton in Devon where it became most successful and established the Tiverton lace-making industry.
Filet lace is the general word used for all the different techniques of embroidery on knotted net. It is a hand made needlework created by weaving or embroidery using a long blunt needle and a thread on a ground of knotted net lace or filet work made of square or diagonal meshes of the same sizes or of different sizes. Lacis uses the same technique but is made on a ground of leno or small canvas, and the style known as Buratto is similarly on woven and not knotted foundations.
Tønder lace is a point-ground type of handmade bobbin lace identified with the Tønder region of Denmark since about 1850, although lace of many types has been made there since as early as 1650. The term is also used more broadly, to refer to any bobbin lace made in Denmark.
Alençon lace or point d'Alençon is a needle lace that originated in Alençon, France. It is sometimes called the "Queen of lace." Lace making began in Alençon during the 16th century and the local industry was rapidly expanded during the reign of Louis XIV by Jean-Baptiste Colbert, who established a Royal Workshop in the town to produce lace in the Venetian style in 1665. The purpose of establishing this workshop was to reduce the French court's dependence on expensive foreign imports. Marthe La Perrière had modified the Venetian technique and Alençon emerged as a unique style around 1675 after Colbert's monopoly ended. The lace employs a mesh ground and incorporates pattern motifs with a raised outline of closely packed buttonhole stitches, an outer edge decorated with picots, and open areas with decorative fillings.
Youghal lace is a needle lace inspired by Italian needle lace and developed in Youghal, County Cork, Ireland.
Tambour lace refers to a family of lace made by stretching a fine net over a frame and creating a chain stitch, known as tambour, using a fine, pointed hook to reach through the net and draw the working thread through.
Needlerun net is a family of laces created by using a needle to embroider on a net ground.
Carrickmacross lace is a form of lace that may be described as decorated net. A three-layer 'sandwich' is made consisting of the pattern, covered with, first, machine-made net and then fine muslin, through which the pattern can be seen. A thick outlining thread is stitched down along the lines of the pattern, sewing net and fabric together. Loops of thread known as 'twirls' are also couched along the outer edge. The excess fabric is then cut away. Some of the net is then usually decorated further with needle-run stitches or small button-holed rings known as 'pops'. Occasionally bars of buttonhole stitches are worked over fabric and net before both are cut away.
A stocking frame was a mechanical knitting machine used in the textiles industry. It was invented by William Lee of Calverton near Nottingham in 1589. Its use, known traditionally as framework knitting, was the first major stage in the mechanisation of the textile industry, and played an important part in the early history of the Industrial Revolution. It was adapted to knit cotton and to do ribbing, and by 1800 had been adapted as a lace making machine.
Bobbinet tulle or genuine tulle is a specific type of tulle which has been made in the United Kingdom since the invention of the bobbinet machine. John Heathcoat coined the term "bobbin net", or bobbinet as it is spelled today, to distinguish this machine-made tulle from the handmade "pillow lace", produced using a lace pillow to create bobbin lace. Machines based on his original designs are still in operation today producing fabrics in Perry Street, Chard, Somerset, UK.
Brussels lace is a type of pillow lace that originated in and around Brussels. The term "Brussels lace" has been broadly used for any lace from Brussels; however, strictly interpreted, the term refers to bobbin lace, in which the pattern is made first, and the ground, or réseau added, also using bobbin lace. Brussels lace is not to be confused with Brussels point, which is a type of needle lace, though sometimes also called "Brussels lace".
Irish lace has always been an important part of the Irish needlework tradition. Both needlepoint and bobbin laces were made in Ireland before the middle of the eighteenth century, but never, apparently, on a commercial scale. It was promoted by Irish aristocrats such as Lady Arabella Denny, the famous philanthropist, who used social and political connections to support the new industry and promote the sale of Irish lace abroad. Lady Denny, working in connection with the Dublin Society, introduced lace-making into the Dublin workhouses, especially among the children there. It is thought that it was an early form of Crochet, imitating the appearance of Venetian Gros Point lace.
The Nottingham Industrial Museum is a volunteer-run museum situated in part of the 17th-century stables block of Wollaton Hall, located in a suburb of the city of Nottingham. The museum won the Nottinghamshire Heritage Site of the Year Award 2012, a local accolade issued by Experience Nottinghamshire. The Museum collection closed in 2009 after Nottingham City Council withdrew funding, but has since reopened at weekends and bank holidays, helped by a £91,000 government grant, and run by volunteers. The museum contains a display of local textiles machinery, transport, telecommunications, mining and engineering technology. There is a display of cycles, motorcycles, and motor cars. There are examples of significant lace-making machinery. It also houses an operational beam engine, from the Basford, Nottingham pumping station.
Lace machines took over the commercial manufacture of lace during the nineteenth century.
Embroidered lace is embroidered on a base using a needle. The base varies according to the type.
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