Let’s see. This is one of the most important pieces. Before they used to make the Tulle on which the Brughes pieces were embroidered to. But, for a little more than a century it has been worked in a mechanic tulle.
It is an important lace, Brussels lace or needle lace because the lacemakers make small pieces that are mounted on the tulle. They embroider stitches of 1 centimeter in length from the motif to the tulle, and it’s difficult to see where they are sewn. These centimeters correspond to 12 hours of work. This is why it’s an important and very expensive lace.
All you need to do to make the bottom part of the spider is to follow the same steps as for the top part.
Pull down all the bobbins of the “milano” or spider and proceed with the “path”
TCTC with the pair on the left, leave bobbins on the left side to complete the “torchón”
Then, take leg #4 and do a twist on the pair of the right (corner of fan). Because each spider leg has 3 Twists, do a cloth stitch with the pair on the right (from the fan or “Plumilla”) and combine the legs with the stitches on the right.
Do TCTC with the bobbins on the fan:
3T 2T
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We need to start to work on the fan again.
The lacemaker says: “Now, we take out some pins little by little and this is an image of the work”.
Each lacemaking country-sometimes each district-evolved its own style of bobbin lace pillow and bobbins. In most cases, the same kind of pillow is used in the same areas today.
The most common pillow used here in Puerto Rico is the revolving bolster. In Belgic, the old Belgian pillow was the bulky rectangular or square desk shape, supported by a wooden stand. Jan Vermeer, in his well known painting “The Lacemaker“, shows this pillow, which was also used in the Low Countries and in Switzerland.
A small drawer at the back held extra bobbins and the lace was tucked into it as it came from the back of the pillow. Another pillow used in Belgium was a simpler, flat, hay-stuffed pillow; this is the one in general use in Belgium today.
European bobbin lace pillows
The Italians, Russians, and Germans generally use a large bolster pillow for all laces. The bolster rests on a stand, either a tall on sitting on the floor or a small cradle for use on a table. These are sometimes called “muff” pillows and may have a hollow center.
The Spanish bobbin lace pillow takes the shape of an elongated bolster, about 26 inches long and 7 or 8 inches in diameter. It is used in an upright position, the lace being worked down the length of it instead of around it. The pillow may be supported by a stand or held between the knees of the worker, the other end leaning against a chair back or a wall.
Today, the newcomer who is beginning bobbin lace and is looking for a teacher to help her will find that it is almost imposible to find one who knows how to make the lace and is willing to teach this ancient art.
Some people call bobbin lace a “lost art” because apparently hardly noone is interested in learning to make the lace and many young people are not interested.
Finding bobbin lace teachers
Bobbin lacemakers are scarse, but in some places in the world, you can find a number of lacemakers living in a single community. In Puerto Rico for example, Moca is a town which is known as “the capital of Mundillo”, or “the Capital of Bobbin Lace”.
This is so due to the fact that this is the only town where most of the lacemakers are found. There is a Museum called The bobbin lace Museum (El Museo del Mundillo) located in Moca in the Northwest part of Puerto Rico.
There they offer bobbin lace classes on Saturdays to whoever is interested and many young girls take the courses to learn. Some historians say that Bobbin Lace was brought to Puerto Rico by the Spaniards in the epoch of colonization and these Spanish lacemakers taught our great great grandmothers and this is the way it was passed on to new generations. Nowadays there are many lacemakers throughout the island who make lace.