"With eager beat his Mechlin cravat moves-- He loves, I whisper to myself, he loves!" [Illustration: Fig. 62. MECHLIN.--(Formerly belonging to H. M. Queen Charlotte.)] It was the favourite lace of Queen Charlotte (Fig. 62) and of the Princess Amelia. Napoleon I. was also a great admirer of this fabric, and when he first saw the light Gothic tracery of the cathedral spire of Antwerp, he exclaimed, "C'est comme de la dentelle de Malines." [Illustration: PLATE XL. MECHLIN.--Three specimens of last half of eighteenth century. Victoria and Albert Museum. Width, 5 in. Photos by A. Dryden from Mrs. Ellis' Collection. Width, 4 ½ in. Width, 4 in.] _To face page 123._ {129}ANTWERP. "At Antwerp, bought some ruffles of our agreeable landlady, and set out at 2 o'clock for Brussels."--_Tour_, by G. L., 1767. Before finishing our account of the laces of Brabant, we must touch upon the produce of Antwerp, which, though little differing from that of the adjoining towns, seems at one time to have been known in the commercial world.[365] In the year 1560 we have no mention of lace among the fabrics of Antwerp, at that period already flourishing, unless it be classed under the head of "mercery, fine and rare."[366] The cap, however, of an Antwerp lady[367] of that period is decorated with the fine lace of geometric pattern. (Fig. 63.) As early as 1698 the _Flying Postman_ advertises as follows: "Yesterday, was dropped between the Mitre Tavern and the corner of Princes-street, five yards and better of Antwerp lace, pinner breadth. One guinea reward." According to Savary, much lace without ground, "dentelle sans fond," a guipure of large flowers united by "brides," was fabricated in all the towns of Brabant for especial exportation to the Spanish Indies, where the "Gothic" taste continued in favour up to a very late period. These envoys {130}were expedited first to Cadiz, and there disposed of. In 1696, we find in a seizure made by Monsieur de la Bellière, on the high seas, "2181 pieces de dentelles grossières à l'Espagnole assorties."[368] (Plate XLI.) Since the cessation of this Spanish market, Antwerp lace would have disappeared from the scene had it not been for the attachment evinced by the old people for one pattern, which has been worn on their caps from generation to generation, generally known by the name of "pot lace" (potten kant). It is made in the Béguinages of three qualities, mostly "fond double." The pattern has always a vase (Fig. 64), varied according to fancy.[369] Antwerp now makes Brussels lace. [Illustration: Fig. 63. A LADY OF ANTWERP.--(Ob. 1598. After Crispin de Passe.)]