It was a bitter day, but I determined1 to reach Opbrakel despite shell-pitted roads and rain. I succeeded even in making a short stop on the way at Cruyshautem[202] Convent, famous, too, for its Needle Point, where the sisters would have detained me longer to describe again and again the entry of the American soldiers at 9 o’clock in the morning on All Saints Day—the wonderful American soldiers who had arrived to free them from their oppressors of four years, and who had remained to buy every scrap2 of lace in the convent, carrying away the address with the promise to send for more.
In my journeying I discovered a pretty way of learning whose army occupied a particular village—I looked for the first small boy to see which soldier’s cap he proudly wore. Thus at Opbrakel, tho it was late afternoon when I arrived, there were children still playing in the street, and the boys jauntily3 wearing the horizontal blue announced to me that the French were there. These small boys, and later the soldiers themselves, examined[203] my mud-splashed car with much curiosity, as it drew up in front of the convent door.
My visit was quite unannounced, but the sisters held out their hands in welcome, and drew me in out of the rain, speaking, as they did so, words I had almost forgotten, “Hot milk; you must drink a cup of hot milk at once, Madame, and your chauffeur4 also; this is a cruel day for journeying.” They led me to a little room, where I found another unaccustomed comfort, a tiny fire burning brightly. As I sat before it, sipping5 the sweet milk, the first I had had since leaving America, I remembered the gratitude6 of travelers in the middle ages toward the convents and abbeys whose doors they found open. The war had brought a return of many of the difficulties and perils7 that beset8 them, with the comfortable hostelries of pre-war days pillaged9 and ruined, the little restaurants [204]or cafés that could do business filled to overflowing10 with soldiers (I have spent hours in the wind and rain at night vainly trying to find a bed, or a place for my car), with roads wrecked11, neither post nor telegraph, nor train, and natural accompaniment of all this disorganization, the necessity of being ever on guard against thieves—in the midst of conditions like these we can appreciate the meaning of the cheering hospitality the convent offers.
While we sat before the fire the Mother Superior had one of the sisters show me a treasure of the school, a framed exhibit, illustrating12 in miniature all the processes employed in the making of the needle laces, which they had prepared for the last International Exposition at Brussels. Then she recounted for me a little of the history of her lace-making convent, which celebrates its centenary this year, this free year of 1919. I could [205]imagine what it would have meant to try to be joyful13 over such an anniversary with the enemy heel still on one’s back.
One hundred years ago the commune of Opbrakel was in such a wretched state of poverty and misery14 that among its 2,000 inhabitants, 800 were beggars; and as often happened elsewhere during the period of suffering following the Napoleonic wars, the curé of the commune sought to relieve it by founding a convent which should teach the art of lace-making, to furnish a means of earning bread. He called the Franciscaine Sisters who soon had 100 pupils in their lace-classes, and among them a number of boys. From those days to these, lace-making in this convent has never ceased; there are now not more than 125 pupils in the excellent school, but in the homes of the entire region are those who have learned their art there. The sisters taught first, Chantilly (Opbrakel is very [206]near Grammont, the Belgian home of Chantilly), but about fifty years ago changed from bobbin to needle lace, and since about twelve years ago, they have specialized15 on the particular needle lace, Venetian Point, in which they are unexcelled. Few of the enraptured16 tourists in Venise realize that the laces they are buying there were very probably made in Flanders!
Important lace schools and work-rooms have from time to time concentrated all their skill on the production of a masterpiece that might represent them to the world and awaken17 wide interest and approval. We have a long list of such chefs-d’?uvres from the lace-rooms of Belgium, of lovely scarfs and cloths and robes offered to sovereigns or distinguished18 patrons. And happily during the war the Committee could encourage this practise by giving orders or special “commands” to be executed as gifts for [207]benefactors. Several of these presentation pieces will have enduring value historically as well as artistically19.
More than one command fell to the share of Opbrakel, and among others that for a scarf offered to the Queen of Holland in appreciation20 of her country’s generosity21 to Belgians within Dutch borders. The dentellières, each proud to be selected for the royal task, worked many months on the countless22 exquisite23 needle points in this delicate veil. On the scarf ends they united the arms of Holland and Belgium, engarlanding them with hyacinths and tulips, the Dutch national flowers, and about these in turn they wove lilies of the valley, symbolizing24 the return of happiness. Below the medallion rest the Belgian provinces, enchained, and above them they represented the children of Holland showering flowers of abundance upon the martyred children of their sister kingdom.
[208]
“THE TOURNEY” BANQUET CLOTH
Design reproducing a medi?val painting in Tournai, executed in Venise lace by 10 workers in one month, mounting and embroidery25 by five workers in one month. Price in Brussels, 1,000 francs
It would have been pleasant to talk of other master-works, but we had already sat too long before the fire and we hurried now to reach the large, airy class-room across the court before dark. When starting on my lace journey, I had been warned that, once I had visited the bobbin-lace work-room with all the picturesqueness26 of the cushion with its mounds27 of bobbins and clustered pins, and of the flying fingers and the continuous cadences28 of the clinking wood, I would find needle-lace classes uninteresting. In the beginning this was true; there was nothing particularly dramatic or stirring in a great room filled with girls and young women holding little black paper patterns in their hands and plying29 a needle above them. But the more I watched these little patterns and the fingers directing the needle and thread, the more marvelous the accomplishment30 appeared—cotton and linen31 [209]so fine that it seemed impossible that any finger should control them—cobwebby, diaphanous32 meshes33, richly petalled34 tiny flowers, and delicately veined leaves growing beneath just a common needle and a single thread. In the end I looked eagerly for the needle rooms.
“ARMS OF YPRES” CUSHION COVER IN VENISE, WITH DETAILS IN FLANDERS
And this was the most rewarding one I had yet visited. It happened that the majority of the pupils were busy on the details of a tablecloth35 recently designed by Madame Allard, in which the linen center is encircled by a family of little beasts as gay as any ever gathered together to cheer a dinner company. I laughed outright36, as a little girl, herself laughing, held up an exquisitely37 worked and most vividly38 real group of happy ducks floating on a pond. The next showed her enchanting39 rabbits, another her deer—all along the line they were chuckling40 over the success of their particular pets. They had captured the sunshine[210] and happy motion of a farm-yard world with just a needle and a single linen thread! Here, as at Erembodeghem, only linen thread is used, because tho it is more difficult to handle, it produces a finer and stronger lace than cotton. After several months (it took six months to execute the first cloth of this design) the details would be assembled and joined by special workers, following the large paper pattern the sisters were now spreading across a table, which had been sent down to Opbrakel from the room of design at Brussels. And the finished cloth, as delightful41 as an early naive42 tapestry43 with its smiling animals, would be sent to the Committee for sale.
Opbrakel stands unquestionably first in Belgium in the production of figures in Point de Venise. During the war, its workers have repeated several times for the Committee their beautiful [211]“Fables de La Fontaine” series of medallions, as well as those which represent so charmingly “Little Red Riding-Hood,” “Puss in Boots,” “The Sleeping Beauty,” and other much loved fairy-tale figures. These medallions have been sold separately as doilies, or have been combined with Flanders lace or linen in handsome cloths.
It was fast growing dark, and the 125 girls began folding their patterns, and carefully wrapping their delicately pictured little rabbits and ducks to keep them clean till the morrow; maids appeared with dust-pans and brooms, and we gathered up our skirts and stept out into the courtyard. As we crossed it in the dark and the rain it was difficult to refuse the further hospitality of these sisters, who would have kept me for the night.
点击收听单词发音
1 determined | |
adj.坚定的;有决心的 | |
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2 scrap | |
n.碎片;废料;v.废弃,报废 | |
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3 jauntily | |
adv.心满意足地;洋洋得意地;高兴地;活泼地 | |
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4 chauffeur | |
n.(受雇于私人或公司的)司机;v.为…开车 | |
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5 sipping | |
v.小口喝,呷,抿( sip的现在分词 ) | |
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6 gratitude | |
adj.感激,感谢 | |
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7 perils | |
极大危险( peril的名词复数 ); 危险的事(或环境) | |
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8 beset | |
v.镶嵌;困扰,包围 | |
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9 pillaged | |
v.抢劫,掠夺( pillage的过去式和过去分词 ) | |
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10 overflowing | |
n. 溢出物,溢流 adj. 充沛的,充满的 动词overflow的现在分词形式 | |
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11 wrecked | |
adj.失事的,遇难的 | |
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12 illustrating | |
给…加插图( illustrate的现在分词 ); 说明; 表明; (用示例、图画等)说明 | |
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13 joyful | |
adj.欢乐的,令人欢欣的 | |
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14 misery | |
n.痛苦,苦恼,苦难;悲惨的境遇,贫苦 | |
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15 specialized | |
adj.专门的,专业化的 | |
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16 enraptured | |
v.使狂喜( enrapture的过去式和过去分词 ) | |
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17 awaken | |
vi.醒,觉醒;vt.唤醒,使觉醒,唤起,激起 | |
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18 distinguished | |
adj.卓越的,杰出的,著名的 | |
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19 artistically | |
adv.艺术性地 | |
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20 appreciation | |
n.评价;欣赏;感谢;领会,理解;价格上涨 | |
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21 generosity | |
n.大度,慷慨,慷慨的行为 | |
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22 countless | |
adj.无数的,多得不计其数的 | |
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23 exquisite | |
adj.精美的;敏锐的;剧烈的,感觉强烈的 | |
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24 symbolizing | |
v.象征,作为…的象征( symbolize的现在分词 ) | |
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25 embroidery | |
n.绣花,刺绣;绣制品 | |
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26 picturesqueness | |
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27 mounds | |
土堆,土丘( mound的名词复数 ); 一大堆 | |
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28 cadences | |
n.(声音的)抑扬顿挫( cadence的名词复数 );节奏;韵律;调子 | |
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29 plying | |
v.使用(工具)( ply的现在分词 );经常供应(食物、饮料);固定往来;经营生意 | |
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30 accomplishment | |
n.完成,成就,(pl.)造诣,技能 | |
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31 linen | |
n.亚麻布,亚麻线,亚麻制品;adj.亚麻布制的,亚麻的 | |
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32 diaphanous | |
adj.(布)精致的,半透明的 | |
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33 meshes | |
网孔( mesh的名词复数 ); 网状物; 陷阱; 困境 | |
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34 petalled | |
adj.有花瓣的 | |
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35 tablecloth | |
n.桌布,台布 | |
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36 outright | |
adv.坦率地;彻底地;立即;adj.无疑的;彻底的 | |
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37 exquisitely | |
adv.精致地;强烈地;剧烈地;异常地 | |
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38 vividly | |
adv.清楚地,鲜明地,生动地 | |
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39 enchanting | |
a.讨人喜欢的 | |
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40 chuckling | |
轻声地笑( chuckle的现在分词 ) | |
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41 delightful | |
adj.令人高兴的,使人快乐的 | |
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42 naive | |
adj.幼稚的,轻信的;天真的 | |
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43 tapestry | |
n.挂毯,丰富多采的画面 | |
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