Mechlin lace, sometimes called _broderie de Malines_ is a pillow lace made all in one piece, its distinguishing feature being a broad, flat thread which forms the flower. It is very light and transparent, and answers very well as a summer lace. It is said that Napoleon I. admired this lace, and that, when he first saw the light Gothic tracery of the cathedral spire at Antwerp, he exclaimed: “_C’est comme de la dentelle de Malines._” Valenciennes is also a pillow lace, but the ground and gimp, or flower, are all made of the same thread. The _vrai Valenciennes_, as it was at first named, that made in the city itself, was made in the XVth century, of a three-thread twisted flax, and reached its climax about the middle of the XVIIIth century, when there were from 3,000 to 4,000 lace-makers in the city alone. Then fashion began to prefer the lighter and cheaper fabrics of Arras, Lille, and Brussels, till in 1790 the number of lace-workers had diminished to 250. Napoleon I. tried unsuccessfully to revive the manufacture, and in 1851 only two lace-makers remained, both over eighty years of age. This _vrai Valenciennes_ which, from its durability, was called _les eternelles Valenciennes_, could not, it was asserted, be made outside the walls of the city. It was claimed that, if a piece of lace were begun at Valenciennes and finished outside of the walls, that part not made in the city would be visibly less beautiful than the other, though continued by the same hand, with the same thread, upon the same pillow. This was attributed to some peculiarity of the atmosphere. That lace, therefore, which was made in the neighborhood of the city was called _bâtarde_ and _gausse_. The makers of this lace worked in underground cellars from four in the morning till eight at night. Young girls were the chief workers, great delicacy of touch being required, any other kind of work spoiling the hand for this. Many of the women, we are told, became blind before reaching the age of thirty. So great was the labor of making this lace that, while the Lille workers could produce from three to five ells per day, those of Valenciennes could not finish more than an inch and a half in that time. Some took a year to make twenty-four inches, and it took ten months, working fifteen hours a day, to finish a pair of men’s ruffles. It was considered a recommendation to have a piece of lace made all by one hand. This old Valenciennes was far superior to any now made under that name. The _réseau_ was fine and compact, the flowers resembling cambric in their texture. The fault of the lace was its color, never a pure white, but, being so long under the hand in a damp atmosphere, of a reddish cast. In 1840, an old lady, Mlle. Ursule, gathered the few old lace-makers left in the city, and made the last piece of _vrai Valenciennes_ of any importance which has been made in the city. It was a head-dress, and was presented by the city to the Duchesse de Nemours.