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TOWARDS A STANDARD NOMENCLATURE FOR DESCRIBING LACE BOBBINS.
INTRODUCTION. Any newcomer to the world of lace bobbins will almost certainly use the existing literature as their main (perhaps exclusive) source of information about these wonderful tools of the lacemaker. Unfortunately because of the lack of a classified scheme of names for lace bobbins there is a very real possibility of confusion occurring over the names of certain lace bobbins. This article endeavours to bring together the historic and modern descriptions of types of lace bobbins, compare each of them and propose a standard name and description for each of these types. There are a plethora of books on lace making but with a few notable exceptions details of the bobbins used are very few and far between, barely a paragraph or two seems to suffice in most of the books. A similar situation pertains to many of the books on lace history and lace identification. A limited review of the bibliography reveals eight books and one series of articles that deals in any depth with the subject of lace bobbins and their nomenclature. These are
Wright, Thomas The Romance of the Lace Pillow. H.H.Armsrtong. Olney 1919. Reprinted Ruth Bean Carlton 1982.
Whiting Gertrude. Old-Time Tools and Toys of Needlework. Dover Publications inc. New York. reprint 1971. Originally published by Columbia University Press. New York 1928 under the title Tools and Toys of Stitchery.
Freeman, Charles. Pillow Lace in the east midlands. Borough of Luton Museum an Art Gallery. 1958 Reprinted 1980.
Huetson, T. L. Lace and Lace Bobbins. A history and Collectors Guide. David and Charles. Newton Abbot. 1973.
Hopewell, Jeffrey. Pillow Lace and Bobbins. Shire Publications. Princes Risborough. 1975. Reprinted 1994.
Bellerby, Denys. Lace Making Bobbins. Lace. A Series of 9 Articles. Published around 1978. (The exact reference is unknown to me as I only have photocopies.)
Springett, Christine and David. Success to the Lace Pillow. Privately Published. C & D Springett. Rugby. 1996
Bullock, Alice-May. Lace and Lace Making. B. T. Baysford Ltd. London. 1981.
Springett, David. Turning Lace Bobbins. Privately Published . C & D Springett. Rugby. 1995
STRUCTURE OF THE COMPARISON. Many publications have mistakes in them or are perhaps written in a manner that opens the interpretation to be mistaken. Generally the rule in historical research is that a publication that is nearest the time period under review should be the most accurate. For that reason I propose to use Wrights book as the primary reference and compare the other publications to that. In his preface to the 1919 edition Wright says that he wrote this volume because “the work must be done at once or never.” The reason for this statement was that the “old workers, who have supplied the greater part of the information conveyed in these pages, will have passed away.” He then goes on to mention particularly the chapters on “the Bobbins and Lace Tells” as particular examples of their contribution. The implication is that he has spoken to many of the lace workers alive at that time. This must add historical weight to his observations and record. Whilst this comparison will take Wright as its base line and use it as the foundation for the review of the various descriptions of the nomenclature (i.e. system of naming bobbins). Each of his types will be defined and compared with the descriptions of the other authors. Where different types or names are used by other authors they will be introduced chronologically, by date of publication. i.e. All of Wrights names followed by those remaining in Whiting, followed by those remaining in Freeman etc. etc. This article will deal only with those bobbins known generically as East Midlands Bobbins and associated bobbins. It will not encompass Honiton (or to be more accurate, East Devon Bobbins) or indeed the terminology used for Inscription bobbins or any other non East Midland bobbins.. COMPARATIVE NOMENCLATURE.
DUMPS OR BOBTAILED BOBBINS. (Wright Page 125) (Wright) The earliest bobbins… ordinarily of box-wood, quite small and without spangles; and they were used only to make the finest kind of Bucks Point, the threads of which would have broken by heavier or spangled Bobbins. (p125) (Whiting) Short. (two inches long), slim throated, bob-tailed bobbins or dumps. (p 222) (Freeman) (Who incidentally uses the names “mostly noted by Wright.” p. 33) Wood only, small, usually single necked, plain without spangles. (P33) (Huetson) (Uses only the word “DUMPS ”) Did not have spangles… they are smaller both in length and thickness than other bobbins. They were used to make very fine lace, when a larger bobbin with a spangle would have been too heavy for the fine thread used, and it will be found that many dumps have been drilled and a spangle attached at some later date. (p102) (Bellerby) Small and delicate with a single head, used to make fine lace, often interesting varieties of woods no spangles. (p21) (Bullock) Uses the terms “Dumps or BOBTAILS. …wooden bobbins without spangle. They were smaller in length and thickness than an ordinary bobbin. they were used for fine lace where heavier bobbins would have broken the thread. Some of these bobbins were later spangled. (pp. 81 & 83 Comment: It would appear from the above that the terms “dump” and “bob-tail”, “bobtail” can be used interchangeably. I would propose the following description:
BOBTAIL OR DUMP.
A small, short (2 inches)
light, wooden bobbin, usually single headed, unspangled. Its shape is
somewhat like a slim pear drop, with a narrow throat. At the base there is
often a small knob reminiscent of a rabbits “bobtail.” Some can now be
found that have been subsequently spangled.
BITTED BOBBINS. (Wright Page 126) (Wright) Made of dark wood inlaid with wood of a lighter colour… (Whiting) In this case bone is inlaid with slices or lines or other oddly shaped bits of wood, or vice versa; or dark wood is varied with light insets or the reverse. These inlays are glued into place and loosen ver easily. (p 220. (Freeman) Wood, rarely bone, inlaid with wood of contrasting colour in various designs, or occasionally with bone. (p34) (Huetson) …dark coloured wooden bobbins are inlaid with a light-coloured wood and it is only occasionally that one sees a light coloured bobbin inlaid with dark wood. … small segments were cut from the shank and pieces of wood of contrasting colour stuck into the recesses formed. For the want of a better description, I would say that they look like small fingernails stuck into the side of the bobbin. (p111) (Hopewell) These are usually of dark wood inlaid with light, though occasionally light inlaid with dark are found. (p21) (Bellerby) Usually of dark wood with contrasting lighter wood inlay in varying patterns, more rarely it is of wood and bone. (p21) (Springett C & D) Inlaid with small pieces of wood or occasionally bone. (p6) (Bullock) … nearly always wooden with a different coloured wood inlay in various designs. (p83) (Springett D) … these wooden bobbins have “bits” of wood let into their surface in various interesting ways. Two styles of bitted bobbins are described, “The first style involves simple straight saw cuts. The second style has curved saw cuts.” (p61) Comment: All these writers agree as to the type of decoration and the name given to it. Though it is possible to break down the type of bitting into further categories and some by makers, but this is not the purpose of this article. . The reader should be aware of the difference between: “bitting” and “splicing”, as it is just possible that a beginner could confuse the two. Splicing is when the bobbin is cut right through and another piece (or pieces) of wood is sandwiched between the two parts which is then re-glued together. Bitting is the letting in of slivers of another kind or colour of wood (usually) into an opening that is sawn into an intact bobbin. I would propose the following description for this type of decoration:
BITTED BOBBINS. A bobbin, usually
of wood but occasionally bone, that has decorative inlays of contrasting
colour wood (“bits”) occasionally bone, in various designs, e.g. lines
curves, “ticks”, fingernails, etc. BEDFORDSHIRE TIGERS. (Wright p126) (Wright) Bobbins … “with circles of pewter let in;” (p126) (Whiting) …displaying ring after ring of parallel inset metal bands. ( p 216) (Freeman) Plain shaft inlaid with lead or pewter bands. (P34) (Huetson) Narrow pewter bands inlaid around the shanks. (p108) (Hopewell) “Tiger” bands … of pewter. (P18) (Bellerby) TIGER, LEOPARD, BUTTERFLY. all have pewter inlay decorations. the tiger stripes, the leopard spots, and the butterfly a design with two wings between hands. (p21) (Springett C & D) Inlaid with pewter bands around the shank. (p7) (Bullock) Inlaid with rings of pewter. (p83) (Springett D) Tiger has stripes. The decoration is cut into the bobbin body and then the molten pewter is poured in. (P49)
Comment: No problem here. I would propose the following description:
TIGER BOBBINS. A wooden or bone
bobbin, that not unduly fancy turned, that has rings or narrow bands of
pewter or lead encircling the shaft of the bobbin. There may be many or few
bands and may also have other types of decoration. i.e. wire banding,
coloured dots etc.
BEDFORDSHIRE LEOPARDS
(Wright p126) (Wright ) ..with spots of pewter let in. (Whiting) There are also both old bone and wooden Midland bobbins pitted or studded with silver or pewter (Freeman) with pewter spots (p34) (Huetson) The shank studded with small pewter spots. (p107) (Hopewell) Pewter spots that go right through the bobbin. (p18) (Springett C & D) Inlaid with pewter spots (p7) (Bullock) … those with spots. (p83) (Springett D ) Has spots …pewter. (p49) Comment. No confusion. I would propose the following description:
LEOPARD BOBBINS. A bone or
wooden bobbin that is not unduly fancy turned, that is studded with “spots”
of pewter. The spots mostly go right through the bobbin, but can
occasionally be inlaid into the side of the bobbin. Spots can be both flush
with the shank or protruding. There may also be some other forms of
decoration. see above. BUTTERFLY BOBBINS. (Wright p126) (Wright ) so called from the shape of the metal mountings. (p126) (Whiting) It is the pewter inlay that is fashioned in the form of insect wings. (p 215) (Freeman) with splayed or winged pewter bands. (p340 (Huetson) With a lot of imagination one can say that the inlay does somewhat resemble a butterfly but I think that a more accurate description would be to say that it looks like an anchor lying on its side. (p108) (Hopewell) Which looks like and arrow head. (p18) (Springett
C & D) Inlaid with pewter in the form of a butterfly, arrowhead or crows
foot. Sometimes called a BEDFORDSHIRE-FLY. (Bullock) …splayed patterns in the form of insects wings were known as butterflies. (p83) (Springett D ) …. the butterfly has wings. (p49) Comment: either names, butterflies or Bedfordshire-fly can be used for these bobbins. Probably Bedfordshire-fly describes the bobbin type more accurately as it indicates both its origin and the decoration, whereas the term butterfly concentrates more on the form of decoration. I propose the following description:
BEDFORDSHIRE-FLY Sometimes
known as a butterfly. A wood or bone bobbin, not unduly fancy
turned that has a pewter decoration on its shank that reminds the user of
butterfly wings. This decoration can more easily imagined as an arrow
pointer, or a crows foot or even a broad arrow. The “wings usually exit the
ring symmetrically (as a pair of wings) but a single “wing” can often exit
one side of the ring or the other. There may also be other kinds of
decoration on the bobbin. See above.
OLD MAID BOBBINS (Wright P126) (Wright ) … plain and particularly slender. (p126) (Whiting) … the plain slim old maid. These must have been slight and straight and un-ornamented to begin with. (p 220) (Freeman) In photo caption only (p32) (Huetson) Plain wood bobbins which are thinner and more slender in design. (Hopewell) plain slim type (p180. (Bellerby)Thin undecorated and uncurvaceous, a very good bobbin for work with fine thread. (Springett C & D) Very slim and plain bobbin. (p7) (Bullock) Plain turned…extra thin. (83) Comment: No problems. I propose the following description:
OLD MAID BOBBIN. A plain turned,
slender wooden bobbin. It can have a plain turned shape,. but no turned
decoration.
MOTHER-IN-BABE. (Wright P126) (Wright ) in the hollow shank of which a tiny wooden bobbin rattles. (p126) later, under the sub heading of bone bobbins he has this to say. “The most ingenious is the Mother-in babe, now often called the Church Window bobbin. The shank is hollowed into compartments, similar to those in the wooden variety , but, thanks to the good humour of the material, with infinitely better result, and in each compartment is a miniature bobbin.” (p129) (Whiting) Miniature bobbins lying inside the windows of real bobbins.(p220) (Freeman) Shank hollowed and cut into openwork compartments in one or more sections, sometimes spirally, the spaces often containing miniature bobbins, coils of wire, lead shot, wooden balls or glass beads. Later CHURCH WINDOW. (p34) (Huetson) or BABY BOBBIN. These are almost always made of wood of two contrasting colours but as distinct from the “spliced,” the join in this case is a dowel joint. the apart of the shank into which this dowel fits is made hollow and in this hollow space , hidden from view, there is a miniature bobbin, the baby. A tight fit keeps the joint together, which however can be pulled apart to release the baby. If one shakes one of these nears ones’ ear the baby can be heard rattling about inside. (He prefers the term Church Window)(p118) (Hopewell) OR CHURCH WINDOW. which has two tiny bobbins in two tiers of four “windows” (p210 (Bellerby) The shank is pierced through leaving one or more compartments containing a miniature bobbin. (21) (Springett C & D) Miniature bobbin enclosed in a pierced shank. (p7) (Bullock) also CHURCH WINDOW. … the shank of the bobbin being hollowed out and vertical slits cut, the whole effect being that of a tall church window. … in each compartment there was usually a tiny bobbin, but lead shot, wooden beads, glass beads or little balls of wire were not uncommon. (p87) (Springett D ) MOTHER AND BABE. Not described but picture shows a Cathedral window with a miniature bobbin inside.
Comment: Here is the first major difference between the authors. Wright
and Huetson describe a hidden bobbin i.e. without the Cathedral Window
piercing. Springett D. calls it MOTHER-AND-BABE. I propose to
tackle these differences later in the article.
QUILLS. (Wright p126) (Wright ) Bobbins on which the whole of the gimp is wound. (Whiting) A bobbin that holds a whole skein of gimp cord, but is never used on a pillow.(p 221) (Freeman). (Bullock) …used to wind on a skein of thread. [In my edition it is written as OUILLS. One presumes that it is a misprint and should be QUILLS.] Comment: No problems here. I would propose that we adopt Freeman’s description.
QUILLS. A wooden bobbin, with a
long neck on which the whole skein of gimp is wound
TROLLY. OR BEDFORDSHIRE TRAILERS(Wright P126) (Wright ) Gimp is wound from the quill to the trolly, “which is always surrounded with loose pewter rings called GINGLES. (p126) (Whiting)Trolley ( Huntingdonshire) or Trailer (Befordshire) used for carrying the outline lace cord or gimp suggesting the very heavy cable or overhead cord of trolley car lines.( p 221) (Freeman) Stout, sometimes single necked, sometimes with spangles, fitted with loose pewter or wooden rings called “gingles’, mostly in wood but sometimes in bone with bone gingles. (p33) (Huetson) …have pewter rings round them but instead of being inlaid into the bobbin they are loose; these rings are called gingles and they fit loosely in a groove round the bobbin so that they can rattle about. There can be any number of rings from one to nine, on each bobbin but from my own observation I would say that five or seven are the usual maximum. (p109,110.) (Hopewell) …for gimp thread and have loose pewter rings, “jingles” so that they can easily be distinguished. (p24) (Bellerby) A fat bobbin with loose pewter rings or gingles. There are rare examples of wooden trollies with wooden rings, even with bone rings. (p21) (Bullock) also known as trailers, were slightly bulbous, very strong, and had several loose pewter rings called “gingles’. Bone trolly bobbins are rare especially those that have bone rings instead of pewter. Also rare is a wooden bobbin with wooden gingles. Comment: I would like to see a convention of using the origin of the bobbin if it is known or can be distinguished, i.e. using the terms Huntingdon trolley or Bedfordshire trailer in those cases. I propose the following description:
BEDFORDSHIRE TRAILERS. Sometimes
known as a trolly A fat, bulbous bobbin, nearly always wooden that is
distinguished by having pewter rings that fit loosely in grooves around the
shank. These pewter rings are called “gingles” but are sometimes spelled
“jingles” there may be up to nine gingles but five or seven are the usual
maximum,
TALLIES. (Wright p126) (Wright ) Bobbins used for the net ground of many Point Laces which appear to have four small plaits. “The bobbins used to make these were distinguished by having tin bands round them.” (Freeman) A broad pewter or tin band round the shank. Used for working the plaits or leadworks in Point Ground net. (p34) (Bellerby) TALLY. Plain wood with broad pewter band or stripe on the shaft. Used for working the plaids on Point Ground lace. (p21) (Bullock) Wooden with a broad pewter band (Sometimes 2.5 cm. 1-inch wide) let into the shank. They were given this name because they were used to carry the thread for working the tallies , or plaits, on point ground. Comment: The term Tally (singular) or Tallies (plural) are both acceptable. The earlier Tallies had a tin band but on later tallies the band was of pewter. I propose the following description:
TALLY. A wooden bobbin , not
unduly fancy turned, that has a broad (1 or 1.25 inch) pewter or tin band
around the shank. The band was often engraved by various methods with the
owners name. YAK
BOBBINS (Wright p127) (Wright ) These early Yak bobbins were seven inches long and their heads were some four inches in circumference; but as time went on smaller and more slender bobbins were made until five and a half inches became standard length. (p127) (Whiting) Yak stick, some seven inches long with a head 4 inches in circumference, and later on, five inches in circumference. (p 222) (Freeman) Large heavy bobbins used in making worsted lace. (p33) (Huetson) … larger bobbins (about five and a half to six and a half inches long), and thicker in proportion. these bobbins are generally plain but sometimes a little bit of decoration in the form of ornamental turning is to be found on them… the wool was supposed to come from the YAK but I very much doubt it. (p104) (Bellerby) Large heavy wooden bobbin used for making worsted lace. (p21) (Bullock) Large and heavy to take woolen thread for worsted lace. Has double head and no spangles. (p84) Comment: No problems here. I propose that we adopt Huetsons description.
YAK. A larger bobbin (about
five and a half to six and a half inches long), and thicker in proportion.
these bobbins are generally plain but sometimes a little bit of decoration
in the form of ornamental turning is to be found on them GOLD
LACE BOBBINS (Wright P127) (Wright ) Plain wood and about four inches long. Like the yak bobbins they were ugly. (p123) (Freeman) GOLD THREAD. Large wooden bobbins, single neck section forming a reel to hold the metal thread used in making gold thread lace. (p33) (Bullock) METAL THREAD. Large with a single neck which formed a spool to hold gold or silver thread. (p84) Comment: Probably it is better to use the term “metal thread” as a generic term. I propose that we adopt Freeman’s description.
METAL THREAD BOBBINS. Sometimes
known as gold lace or gold thread bobbins. Large wooden
bobbins, single neck section forming a reel to hold the metal thread used in
making gold thread lace.
COW
AND CALF OR JACK-IN-THE-BOX. (Wright p127) (Wright ) A variety of gold lace bobbin the lower part of which pulls out or unscrews, and releases a miniature bobbin also of wood. (p127) (Whiting) COW IN CALF miniature bobbin lying inside the windows of the real bobbins. P 220) JACK IN THE BOX. For making metallic lace. The lower portion of the stick pulls out or can be unscrewed, disclosing inside a small wooden bobbin about which to wind the gold or silver thread. (p 222) (Freeman) COW IN CALF OR JACK IN THE BOX. made in sections with a hollow space inside concealing a miniature bobbin either loose or attached to the foot. Some with single necks. (p33) (Hopewell) COW IN CALF OR JACK IN THE BOX. Pulls apart to reveal a baby inside, … [attached to the bottom in the picture the description captions] (Bellerby) COW-IN-CALF. Made in two or three sections of different coloured woods the center is hollow with a miniature bobbin inside. (p21) (Springett C & D) COW AND CALF. the end section of the hollow shank pulls apart to reveal a miniature bobbin that is attached to the tail part. (p6) (Bullock) COW IN CALF ALSO KNOWN AS JACK IN THE BOX. made in two sections, one fitting tightly into the other. The inside of the shank was hollow and contained a miniature bobbin. Some times the small bobbin was joined on to the base of the top section. if made of brass, the two sections sometimes screwed together. (p87) (Springett D ) COW AND CALF. Outwardly looks quite plain but has a hidden secret. Pulled apart there is a tiny bobbin , the calf, attached to the bobbin tail end(p6) Comment: Again there are differences here as to a) whether the bobbin is attached or loose and b) which of the two types describes what. See also Cathedral window above. There is clearly a great deal of confusion over the terms that we use for these and church window bobbins (above) I have written a separate article that discusses these difficulties in detail. This article is already long and I am proposing to just insert my proposed descriptions for these groups of bobbins without including the discussion that has led to these proposals.
Historically, we must accept that the term church window became a generic
term for bobbins that were pierced, contained small bobbins or other
objects, or were empty; but historical accuracy does not require us to live
with confusion and that, it certainly does.
CHURCH WINDOW. A bobbin that has
window-shaped cuts that you can see straight through
MOTHER IN BABE. A bobbin that
has window-shaped cuts which contain a small bobbin or insert of that shape.
OTHER INSERTS. A bobbin that has
window-shaped cuts which contains inserts other than a small bobbin or
insert of that shape.
JACK IN THE BOX; A hollow bobbin
that contains a small loose bobbin that can only be seen by dis-assembling
the bobbin. i.e. unscrewing it or pulling it apart
COW IN CALF; A hollow bobbin that
has a small bobbin inside that is revealed only when dis-assembled by
pulling it apart or unscrewing it. The small bobbin is attached and not
loose and may be attached to either the top or the bottom of the two parts. Without
wishing to add to the confusion, I am personally attracted to the term
“Lantern” as an alternative to “Other Inserts.” If this were to be adopted
the contents of the lantern would need to be specified.
HUGUENOT (Wright p129) (Wright ) The bobbins of the Aylesbury and Thame districts are squat in form, plain to a wonder, and they have no spangles; yet they are called strangely enough “Huguenots” (p129) (Whiting) … reminds one a trifle of little pagodas; but this type has only one puzzle ball and no spangle. (p 218) (Hopewell) HUGUENOTS OR THUMPERS.. South Bucks bobbins … They are usually single necked without spangles though they may have had them added later. (p24) (Bellerby) THUMPERS. Large rather bulbous bobbin usually with a spangle. (p21) (Bullock) THUMPERS. bulbous bobbins without spangles., mainly found in the High Wycombe area of Buckinghamshire. (p83) Comment: I think that we can say that these bobbins did not have spangles originally. Ideally I would like to us to adopt the term Huguenot following Wrights oral history findings, however I think that modern usage demands that we accept either of the two terms. I propose the following description:
HUGUENOT. A South Bucks bobbin.
Sometimes known as thumpers. A large, rather bulbous, single necked
bobbin. Clearly larger than the average South Bucks bobbin. Plain turned
but sometimes has wooden domino spots inserted. Un spangled. WIRE BEADED BOBBINS (Wright p129) (Wright ) Bobbins that are “twined about with wire on which had been threaded tiny green and red beads.) (p129) (Freeman) Decorated with small coloured beads threaded on wires coiled round the shank and arranged to form a pattern , or set into spiral or other grooves in the shank. (p34) (Hopewell) Made of wood or bone with tiny beads , in his photos they are orange, red white and blue. (p18) (Bellerby) BEAD DECORATED. Tiny glass beads threaded on brass wire set in grooves around, or, more rarely up and down the shank of a bobbin. (p22) (Springett C & D )BEADED BOBBINS. Very fine beads threaded on wire which is wound round the shank , the beads being positioned in grooves to form a wide variety of patterns. (p6) (Bullock) ) WIRE AND BEADED BOBBINS. Tiny beads threaded on brass wire and wound round the shank in spirals or patterns in grooves in the same way as the plain wire. Occasionally the whole shank was covered in this way… (p87) (Springett D )BEADED A favourite of many bobbin makers for many patterns could be created by altering the colour and position of the beads. Comment:
I propose that we adopt Bullocks description:
WIRE BEADED. Sometimes known as
beaded, or bead decorated bobbins. Tiny beads threaded on
brass wire and wound round the shank in spirals or other patterns in
grooves cut into the shaft of the bobbin, in the same way as the plain
wire. Occasionally the whole shank was covered in this way
BIRDCAGE BOBBINS (Wright p129) (Wright ) Compartments containing coloured beads surrounded with fine wire netting. (p129) (Whiting) have cut-in sections, where tiny mites of delicate beads have been set in, one bead-strung vertical wire bar parallel to the next and so on, right around the waist of the exquisite bobbins. Some bird cage bobbins apparently have compartments full of beads held in place by a delicate wire net. (p 214,215) (Freeman) Shank hollowed and cut into openwork compartments each containing a miniature bobbin or beads kept in position by wire coiled around the shank to form the bars of the cage. (p35) (Hopewell) Fine brass wire was bound around the shank to cover the openings , each strand of wire slightly spaced from the next so that the beads could be seen through the cage but not fall out. (p117) (Bellerby) Similar to mother-n-babe but with balls or beads inside instead of a miniature bobbin. (p21) (Bullock) Were cut similarly to church windows but bound round with brass wire to resemble the bars of a cage. (p87) Comment:
I propose that we adopt Freeman’s description.
BIRD-CAGE BOBBINS. Shank
hollowed and cut into openwork compartments each containing a miniature
bobbin or beads kept in position by wire coiled around the shank to form the
"bars" of the cage Note: We have now exhausted the list which Wright gives us and we turn to Freeman for the next list of names.
PLAIN SHANK (Freeman) Plain turned shanks. Exceptionally thin ones were called old maids. p33) (Huetson) PLAIN WOODEN BOBBINS. In some cases a sharp pointed tool was drawn across the shank while it was revolving in the lathe which put a series of small cuts round it (p102) (Bullock) Mentioned only in respect to Old Maid bobbins. (p83) Comment: I suggest that plain is plain and that the description which Huetson adds is referring to a screw thread bobbin. I think that it would be difficult to differentiate between plain shank and an old maid purely on their relative thinness. On some occasions this might well be possible and therefore the thicker or normal diameter plain shank bobbin would be termed the “plain shank”. I propose the following description:
PLAIN SHANK. A plain turned
bobbin of “normal” diameter. i.e. is not as slim as an Old Maid bobbin
TURNED SHANK (Freeman) In a great variety of baluster, ball and reel, bobbin and other turnings. These occur also in metal. (p33) (Huetson) The beautiful turning which rival the baluster stem of an eighteenth \century English wine glass. (p107) (Hopewell) Uses it as a generic term only. (17) (Springett C & D) ORNAMENTALLY TURNED. Shank embellished with ridges, rounds and hollows. (p7) (Bullock) ORNIMENTAL TURNED BOBBINS Includes such varieties as baluster, ball and reel etc. Comment: I have difficulty in accepting the term “Ornamentally or ornamental turned” as this infers to a wood turner that a special type of lathe or attachment to a lathe has been used to create the turned design. I would prefer the tern “fancy turned” or “spindle turned” ( preferably the former though the latter is a more accurate technical term) with a further description of the type of decoration used by the maker. I also
have some doubts as to the use of the term “baluster”. There are very few
bobbins that can technically have this term applied to them. I have argued
in greater detail the issue of the term “baluster” in another article. I
again state that “fancy turned” is my preference. I
propose the following description:
FANCY TURNED. Some times
referred to as ornamentally, ornamental, baluster
turned. A bobbin with decorative turning as opposed to plain turned
INCISED DECORATION. (Freeman) Coloured dots, dashes or other incised ornamentation. (p34) (Bellerby) Grooved cuts (p21) Comment: I think we should adopt Freeman’s description.
INCISED DECORATION. A bobbin
decorated with coloured dots, dashes or other incised ornamentation.
BANDED. (Freeman) Decorated with coloured bands. (p34) Comment: No problem.
COLOURED. (Freeman) Dyed green re purple or other colours. (p34) (Huetson) The chief colours being red or green though occasionally blue or mauve were used. (p104) (Bellerby) All over colouring, usually red, green or purple, sometimes with part cut away later on the lathe to reveal plain bone beneath. (p21) (Springett C & D) At least part, or the whole of the bobbin being immersed in dye. (p6) (Bullock) COLOURED OR MOTTLED. Were decorated either with grooved coloured bands or with patches of colour. (p83) (Springett D ) Uses Dylon permanent fabric dye for bone dying. Comment. I do not think the term mottled should be used in conjunction with coloured, as it refers to the staining on bobbins (mostly Honitons) with nitric acid.I
propose the following description:
COLOURED. The term “coloured” may
be applied when the whole of the shank or the whole of the bobbin is
coloured. If it is coloured in part then other descriptions should apply
i.e. coloured bands. MOTTLED (Freeman) Mottled staining by dye or aqua fortis. (p34) (Huetson) STAINING With aqua fortis. (p103) Comment:
I prefer to keep the term Mottled associated only with staining with nitric
acid ( aqua fortis) I propose the following:
MOTTLED: Staining with aqua
fortis ( Nitric Acid)
SPLICED. (Freeman) Two colour woods, or wood and bone , sometimes metal, spliced and riveted. Some were repairs for broken bobbins.(p34) (Huetson) Two pieces of contrasting woods joined together with a diagonal splice. More unusual is a splice or join , in which the top part of the bobbin, about a quarter of its length, is fixed to the lower portion with a join similar to that used for fixing the handle and blade of a CRICKET BAT. (p112) (Hopewell) His example is “spliced and riveted with pewter. It is wood and bone. p20) (Bellerby) Two different woods, even wood and bone, spliced together. Often made from two broken bobbins. (p21) (Bullock) Were made by two different coloured woods being spliced together, usually diagonally. Sometimes wood and bone were spliced and rarely, metal riveted. Splicing was also a method of repairing a bobbin. (p83) Comment: I propose that we adopt Bullocks description with a small augmentation. SPLICED: Made by two different coloured woods being spliced together, usually diagonally. Sometimes wood and bone were spliced and occasionally metal riveted. Splicing was also a method of repairing a bobbin. It can also be used to sandwich a number or a single different coloured wood etc to form an attractive design. SECTIONED. (Freeman) Made in sections in contrasting woods or wood and bone. (p34) (Bellerby) Made from layers of varying coloured woods, mostly rather heavy and often without spangles. (p21) (Bullock) were composed, as their name implies, of sections of light and dark coloured woods. (p83) Comment: I propose the following descritpion:
SECTIONED. Made in sections of
contrasting woods. These sections are usually horizontal as opposed to a
diagonal splice.
TINSEL. (Freeman) Decorated with tinsel set in spiral or interlacing grooves. (p34) (Huetson) TINSEL INLAY. of FAIRINGS. the particular bobbin is “made of bone and has a spiral groove or grooves cut round it, into which has been stuck a narrow strip of tinsel, the tinsel used being almost always of a gold colour. Red, blue, green or silver tinsel is used, and in some cases several of these gaudy colours are included on one bobbin. (p114) (Hopewell) TINSEL INLAY OR FAIRING. ..with a strip of tinsel stuck in the spiral groove of the bone bobbin. (p18) (Bellerby) TINSEL SPIRALS. Silver, gold or coloured metallic paper such as used for wrapping chocolates was cut into thin strips and inserted into grooves cut in the shank. (Springett C & D) FAIRING. Inlaid with tinsel (cut from thin sheets of metal, often coloured) in narrow grooves or in wide bands around the shank. The term used to apply to any gaudy item that was bought from a fair, or a present brought home from a fair. Many bobbin makers sold their bobbins at such events. (p7) (Bullock) TINSEL BOBBINS OR FAIRINGS. With red, blue, green or gold tinsel set in spiral in grooves they were very gaudy. (p87) (Springett D )TINSEL AND WIRE. An open spiral of brass wire hold the tinsel in place protecting it from ware yet allowing it to be clearly seen. (p89) Comment.
I think that we should use the term “fairings” for these bobbins the other
terms describe the type of decoration rather than the type of bobbin. I
propose that we adopt Springetts (D & C) description.
FAIRING.
Also known as tinsel, tinsel and wire, tinsel inlay,
tinsel spiral. A bobbin inlaid with tinsel (cut from thin sheets of
metal, often coloured) in narrow grooves or in wide bands around the shank.
The term used to apply to any gaudy item that was bought from a fair, or a
present brought home from a fair. Many bobbin makers sold their bobbins at
such events. ADAPTED TYPES. (Freeman) Bobbin from other English or foreign lace making districts were sometimes provided with spangles and used by East Midland workers. (p35)
Comment. No problems. I propose that we use the above description:
ADAPTED TYPES. Bobbin from other
English or foreign lace making districts were sometimes provided with
spangles and used by East Midland workers.
NATIVE TYPES (Freeman) … bobbins being copied by natives of other countries where lace making was introduced by missionaries and others. had characteristics of art from that country. (p35)
Comment. No problems. I propose that we use the above description: NATIVE TYPES. bobbins being copied by natives of other countries where lace making was introduced by missionaries and others. had characteristics of art from that country. Note Having now
exhausted the lists of Freeman we move on to those mentioned by Huetson. DOMINO. (Huetson) Tiny indentations are made on the shank of the bobbin with the point of a fine drill and these are then filled with colour. red, dark blue and black being the colours generally used….they do in fact very much resemble a domino. (p107) (Hopewell) His picture is described as “Blue and red dots on wood”. (p17) (Bellerby) Is self explanatory with its little coloured dots, as is. (Springett C & D) A bone bobbin with spots arranged in the same way as the spots on a domino. (p7) (Bullock) (Bone) Had tiny drilled holes filled with colours such as red, dark blue or black. They also had coloured grooved bands, indentations and fancy marks. (p84) Comments: I propose that we adopt Huetsons description.
DOMINO. Tiny
indentations are made on the shank of the bobbin ( mainly on bone bobbins)
with the point of a fine drill and these are then filled with colour. red,
dark blue and black being the colours generally used….they do in fact very
much resemble a domino PEWTER INLAY. (Huetson) Consists of a wide band of the metal let into the side of the shank and going right round it. This band varies in width but it is generally one to one and a quarter inches. (p108) m [Probably a tally?] Even more unusual is a bobbin inlaid with pewter in spiral form. (p109) Brass and copper also used to inlay bobbins. (p109) (Bullock) Uses the term in a generic sense to describe tigers, butterflies and leopards. Comment: I suggest that we use the term Pewter inlay as a generic term to describe pewter designs that do not fall into the established categories of pewter decorated bobbins. i.e. Bedfordshire fly. I propose the following description:
PEWTER
INLAY. A generic term to embrace all types of pewter inlay or to cover
designs of pewter inlay that do not have a specific name.
PIN SPOT INLAY. (Huetson) Initials of a persons name is formed by driving in the point of a pin into the bobbin. It is then cut off level with the shank. (p109) (Springett
D ) BRASS PIN INLAY. INLAID THORNS. Brass pins are driven
into the shank and cut of level with it. Similarly thorns were driven in to
form a pattern (p34) Comment: I suggest that we adopt Springetts description slightly modified.
PIN SPOT
INLAY. Sometimes known as brass pin inlay, thorn inlay. Pins
or thorns, are driven into the shank and cut of level with it. The design
either forms a name ( usually), initials, or a pattern.
COMPOUND INLAY (Huetson) Two or three different forms of pewter inlay on the same bobbin (p111) Comment: No comment. I propose the following description:
COMPOUND
INLAY. Two or three different recognised designs (i.e. have a name) on the
same bobbin
BOUND BOBBINS. (Whiting) Winding between these ( Deep circular indentations) there is usually a tightly drawn, sunken brass wire, forming a pretty spiral around the shank of the stick, and a quarter inch solid band at either end. (p 213, 214) (Huetson) A bobbin bound with fine brass wire. Occasionally the whole shank is covered but more often it is but a small section along its length that are so treated. The wire is recessed slightly into the bobbin so that it is level or just below the surface and with constant use the wire becomes highly polished and takes on a pleasant golden look .. Brass wire is almost always used and it is almost impossible to find one with copper wire . the thickness used for this decoration is about 32 gauge, much thinner than the wire used for spangle which would be about 22 to 24 gauge. Bone bobbins are also decorated this manner and look “much more pleasant and attractive than the wooden ones”. coloured decorations often accompany the wire binding. (p112,113) (Hopewell) WIRE BOUND BOBBINS. Bound round with fine brass wire. (p18) (Bellerby) BRASS BOUND. With fine brass wire wrapped around the shank both wood and bone, often very decorative. (p21,22) (Springett d & C) WIRED. Bound with brass or copper wire. (p7) (Bullock) WIRED. Used only in a caption to an illustration. Not described. (p82) (Springett D) SPIRAL WIRE. He uses this term in conjunction with other decoration. There is no written description, but how to do it described in detail. (p29 and 117)
Comment: I prefer the term wire bound bobbins and then specify the
decoration. I suggest we adopt Huetsons description.
WIRE BOUND
BOBBINS. Sometimes known as wired, spiral wire. brass
bound. bound. A bobbin bound with fine wire. Occasionally the
whole shank is covered with close windings, but more often it is but a small
section and / or an open spiral design along its length that are so
treated. The wire is recessed slightly into the bobbin so that it is level
or just below the surface. Brass wire is almost always used.
POCKET KNIFE. (Huetson) Made and shaped by hand as distinct from those turned on a lathe. (p115) (Hopewell) SHUT KNIFE. Hand carved with a “shut knife”. (p21) (Bellerby)
WHITTLED. Crudely carved by knife, mostly fairly large. Comment: I think that Whittled would be a more internationally acceptable term and suggest we use Huetsons description. WHITTLED. Some times known as shut knife, pocket knife. Made and shaped by hand as distinct from those turned on a lathe THREE-IN-ONE. (Huetson) The miniature inside the bobbin has an even smaller one inside it. (p117) (Springett D) GRANDMOTHER BOBBINS. The bobbin contains a baby which has a baby inside it. (p105) Comment: I like Springetts term Grandmother. It follows the “mother and babe” familial reference. I also like his description.
GRANDMOTHER BOBBINS. Sometimes
known as three-in-one. The bobbin contains a baby which has a baby
inside it. Note: We have now exhausted Huetsons nomenclature and pass now to Hopewell whose only different word is ODDITY. This is a term for bobbins that do not fit into those that he knows names for. (p18) (In fact the picture shows a shank formed with five beads, which whilst it is rare it does have a term in current use to describe it, i.e. “beaded shank” ( as opposed to wire beaded)) Comment: I am happy to use the term “oddity” but probably the catch all of miscellaneous would be just as good. Next we examine Bellerby.
BALUSTER. A generic name for turned shaped bobbins. (p21) Not
mentioned by other authors except as a form of turned decoration, not as a
type or class of bobbin. See the discussion above. SOUTH BUCKS. Heavy bobbins, usually with no spangles , single head, usually good wood nicely turned some times called BODGERS. They were made of leftover pieces of wood from chair making. (p21) Comment: I would like the advice of others as to the use of the term bodgers. I have only found reference to this term in Bellerby. CHIPCARVED. Not turned on a lathe but carved with a knife or chisel in geometric patterns. (p21) Comment: This is a technically accurate description of this type of decoration. I Propose the following description.
CHIPCARVED.
Decoration not turned on a lathe but carved with a knife or chisel in
geometric patterns.
Note: We now come to Springett D & C. SCREWTHREAD (Springett d & C) A very tight spiral groove running up the shank. (p7)
Comment: No problems
SPIRAL. (Springett D & C) Spiral decoration may follow a right or left hand direction. (p7) Comment: No problems BEAD
SHANK. (Springett D & C) A number of glass beads mounted on thick wire to form part of the shank. (p6) (Bullock) Uses it only as a description of an illustration. “Beads forming shank.”(p86) Comment: No problems Note: Bullock has no new names or description to add to this list so we will move to Springett D. BEES
KNEES. The shank is decorated with “a series of steps or “knees”. it is suggested that this traditional bobbins resemblance to the bee’s leg or “knee’ gave its name.” (p27) Comment: No problems
WIRED LOOSE RING. Loose rings run upon a center spindle which had been decorated with a spiral of wire and tinsel looking like a miniature barbers pole. (p37) Comment: No problems DOUBLE FAIRING. A right handed and left handed spiral groove each filled with coloured tinsel and crossing one another regularly, creating a plaid form of pattern. (p42) Comment: No problems
INLAID BOBBINS, SOLID CENTERS AND CONSTRUCTED CENTRES. Good close-grained wood is used for the top and tail and a more attractive material displayed between them. These can be solid such as burrwood and plastics or constructed e.g. Tunbridge mosaic. (p53) Comment: No problemsCANDY WIRED. A parallel pair of wires snake around the bobbin body. There is something most satisfying about those two tramlines of wire , a naturally easy form (p81)Comment: No problems
CATERPILLAR. A most descriptive name for a bobbin whose decoration creeps lumpily up the body. Each small decoration may be decorated with a drilled dot or left plain as one chooses. [ This decoration is illustrated rather than described. It is a bead followed by a narrow ridge all the way up the shank.] (p81) Comment: No problems TWO START DOUBLE FAIRING. This bobbin is illustrated and not described. [A bobbin with a left and right hand spiral fairing intersecting regularly along the shank.] (p91) Comment: No problems ARROWS. A coloured decoration of opposing arrows (p87) The illustration shows five rows of lines with arrows going round the shank. Each row of arrows is going in an opposite direction. Comment: No problems CHEVRON BEADED. This is illustrated and not described. A left and right hand spiral is cut into the shank and a beaded wire is wound round the shank with beads dropped off in each groove to form a chevron design. (p94) Comment: No problems CONCLUSION: Whilst a number of very real difficulties in bobbin nomenclature have been identified these are but few compared with the large number of bobbin types that exist. The proposals that I have made for the names and descriptions that we should adopt are open for discussion amongst the lace bobbin makers, collectors, historians and antique dealers as well as other interested persons. Incidentally not all known types of bobbins are covered here, only those mentioned in the literature under scrutiny. For example, I am not surprised that the term Leptig was not found in my literature search as it was a term invented by the Springetts! (Which I am happy to accept) For the most part I have tried to put weight on the historical names and descriptions or names and descriptions that reflect what could be called the “ name of the bobbin” rather than just the “type of decoration”. (i.e. Bedforshire-fly says more to a bobbin collector / historian than a butterfly.) This may appear to be pedantic when it could be argued that to say “butterfly” is to automatically imply “Bedfordshire”. But to use the full term to me appears more correct. For those bobbin types that do not pose a possible confusion in terms, it is merely a matter of personal taste or custom, or in some cases technical accuracy as in the case of the term “chip carved”, it is an accepted and clearly descriptive technical term and thus should be used. With regard to the term “ornamental”, from a technical point of view it is incorrect to use it for a turned tool such as a lace bobbin, but common usage within bobbin circles might find it an acceptable and descriptive term that they understand regardless of the technical accuracy of the word. The English language is very flexible! For my part I am happy to put up these proposals to lace makers and bobbin collectors for discussion. I am not the kind of person that is hurt through healthy constructive disagreement, and I am more than open to change my mind for a well argued reason. Please feel free to disagree and even to criticise. My address is. Brian Lemin 11/28 Deaves Road. Cooranbong. NSW. 2265 Australia. e-mail mailto:brian_l@tpg.com.au
REFERENCES. Wright, Thomas The Romance of the Lace Pillow. H.H.Armsrtong. Olney 1919. Reprinted Ruth Bean Carlton 1982. Whiting Gertrude. Old-Time Tools and Toys of Needlework. Dover Publications inc. New York. reprint 1971. Originally published by Columbia University Press. New York 1928 under the title Tools and Toys of Stitchery. Freeman, Charles. Pillow Lace in the East Midlands. Borough of Luton Museum an Art Gallery. 1958 Reprinted 1980. Huetson, T. L. Lace and Lace Bobbins. A history and Collectors Guide. David and Charles. Newton Abbot. 1973. Hopewell, Jeffrey. Pillow Lace and Bobbins. Shire Publications. Princes Risborough. 1975. Reprinted 1994. Bellerby, Denys. Lace Making Bobbins. Lace . A Series of 9 Articles. Published around 1978. (The exact reference is unknown to me as I only have photocopies.) Springett, Christine and David. Success to the Lace Pillow. Privately Published. C & D Springett. Rugby. 1981. Bullock, Alice-May. Lace and Lace Making. B. T. Baysford Ltd. London. 1981. Springett, David. Turning Lace Bobbins. Privately Published . C & D Springett. Rugby. 1995 Nottinham. P Keeping the Record Straight. Lace Issue 77 Jan 1995. Pg 31
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