Nor so patient as hers after we arrived;[267] for instead of going to the school, I had to leave her in the car while I went to the house of the director, Dr. Armand Rubbens, unfortunately ill with rheumatism8, who is not only the founder9 of the school but the inspiration of all the unusual accomplishments10 of the lace-workers of this town, where his father is Burgomaster. After her long wait, Stéphanie’s only comment as she looked a little fearfully at the gathering11 dusk, was: “It is not yet too late to see the school.”
Inside, Dr. Rubbens, who since taking his university degree has not been strong enough to follow his profession, and has devoted12 himself to the 800 lace-workers of his district, explained the organization of the Zele “Trade union Lace School,” founded three years ago and the only one of its kind in Belgium. I felt, as he talked, that he was reproducing in miniature a Henry Ford13 plant, and when I told him [268]this, he smiled. “I begin to think I should see one of Mr. Ford’s factories, for in reading an account of his system in the Paris Matin last week, I was astonished at the number of his ideas I had incorporated.”
The fifty advanced workers in the atelier (there are 140 apprentices) share the profit of the lace sales in proportion to their wages, and own part of the stock of the union. The best workers of this group make twenty-five centimes an hour, or two and a half francs (fifty cents) a day of eight hours, the highest pay I know of, so far, gained by a lace-maker. The girls may go four hours each week to a school of domestic science, without losing pay; there are illness and pension funds, and other provisions for the health and protection of the members of the school. Dr. Rubbens has seemed to accept every opportunity as a privilege.
AT WORK ON DETAILS OF A NEEDLE-POINT SCARF TO BE PRESENTED TO QUEEN ELIZABETH
NEEDLE LACE CLASS-ROOM IN THE TRADE union LACE SCHOOL AT ZELE
[269]
I looked over the files and photographs and records, for even tho Zele is a remote town of but 6,000 inhabitants, this wide-awake director has made it provide for him a better set of records and announcement and advertising14 cards (some of them in English) than I have seen anywhere else in Belgium. While I was inspecting the books, he opened a chest and spread on the table a finished model from his school—a Needle Point scarf or veil, sown with marguerites and varied15 by a bewildering succession of open-work stitches, each seemingly more exquisite16 than the preceding and some of them invented for this particular veil. The needle-workers who had made it had given about 9,000 hours to its flowers and gauze, and it would bring 3,000 francs to the Trade union treasury17.
IN THE ZELE LACE SCHOOL; JOINING DETAILS OF THE NEEDLE-POINT SCARF PRESENTED TO QUEEN ELIZABETH
I felt that I must fetch Stéphanie to see this, but Dr. Rubbens advised hurrying now to the school, where there was something still more beautiful to be seen[270]—the scarf just completed that will be presented to Queen Elizabeth, and so far the chef-d’?uvre of the Zele lace-makers. I told Stéphanie about it on our way through the village.
Once arrived, we went directly to the most advanced class, where Stéphanie might find most to interest her. The young women were at work on Needle Point collars and medallions, a series of tableaux19 from the legend of the Fox and the Grapes, and she was all eyes and ears as she went eagerly from chair to chair, trying to see what these girls had been taught that she had missed learning, and to add to her lore20, if she could. I believe it is only in such a modern school as this that an outsider would have been allowed to examine, as Stéphanie did, the stitches and patterns, for the tradition of the locked door and the carefully guarded secret still prevails in the lace word.
[271]
I was impatient to see the school’s masterpiece, the royal scarf, and it was now brought from the safe and held before us by three young women, as the directress led us from point to point in the airy mesh21 spun22 between its rose garlands and medallions. On either side of the center medallion, the arms of Belgium, were two others, in which human figures symbolized23 cities the war has made immortal24. For Nieuport a fisher-maiden stood on the shore with her basket, and about her the net took up a cockleshell motif25; Poperinghe had the graceful26 hop-vine as its device; for Furnes there was a dairy-maid with her churn in the midst of blossoming butter flowers; while Ypres was represented by a beautiful Flamande sitting before a lace cushion heaped with bobbins—countless stitches, occupying 12,000 hours, and the entire weight 125 grammes! And yet, at the end, Stéphanie tilted27 her dear old head [272]and said: “Nevertheless, Madame, for the Queen, I should have made the mesh yet finer.”
This Trade union is in a sense a professional school, since it teaches design, but there is the weak spot in an otherwise remarkable28 achievement. The designs executed by Dr. Rubbens and the school are often the kind that have led foreign lace-buyers to order through Paris, which could furnish the drawings, rather than direct from Belgium. They lack the lightness and grace that lace designs should unfailingly possess, just the qualities which the Friends of Lace have done so much to encourage and cultivate. If Dr. Rubbens can see his way to follow their suggestions, or to employing a French teacher, there seems no limit to what he may accomplish.
He is now attempting to establish a true needle-lace Normal School, which will offer courses in commerce, English, history,[273] and all the branches necessary to a complete lace education. This will supplement the instruction of the Bruges bobbin-lace Normal, already well under way. He holds that the teaching of the fine needle points is more tedious and difficult than the teaching of the bobbin points, and that it takes more years to become expert in needle laces than in others.
On the way home, Stéphanie asked what she might do for me. “You may pray for me, if you wish, Stéphanie.” She was silent a moment. “But, Madame, should I not make a pilgrimage to Lourdes for you? On one of my trips in the wagon, I saw the sea, and for three years after that the sea was every day just before my eyes. And to-day will remain until I die just in front of my eyes. Madame, should I not go to Lourdes for you?”
The End
The End
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1 spoke | |
n.(车轮的)辐条;轮辐;破坏某人的计划;阻挠某人的行动 v.讲,谈(speak的过去式);说;演说;从某种观点来说 | |
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2 bustling | |
adj.喧闹的 | |
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3 woolen | |
adj.羊毛(制)的;毛纺的 | |
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4 cape | |
n.海角,岬;披肩,短披风 | |
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5 wagon | |
n.四轮马车,手推车,面包车;无盖运货列车 | |
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6 automobile | |
n.汽车,机动车 | |
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7 huddling | |
n. 杂乱一团, 混乱, 拥挤 v. 推挤, 乱堆, 草率了事 | |
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8 rheumatism | |
n.风湿病 | |
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9 Founder | |
n.创始者,缔造者 | |
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10 accomplishments | |
n.造诣;完成( accomplishment的名词复数 );技能;成绩;成就 | |
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11 gathering | |
n.集会,聚会,聚集 | |
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12 devoted | |
adj.忠诚的,忠实的,热心的,献身于...的 | |
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13 Ford | |
n.浅滩,水浅可涉处;v.涉水,涉过 | |
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14 advertising | |
n.广告业;广告活动 a.广告的;广告业务的 | |
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15 varied | |
adj.多样的,多变化的 | |
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16 exquisite | |
adj.精美的;敏锐的;剧烈的,感觉强烈的 | |
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17 treasury | |
n.宝库;国库,金库;文库 | |
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18 fable | |
n.寓言;童话;神话 | |
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19 tableaux | |
n.舞台造型,(由活人扮演的)静态画面、场面;人构成的画面或场景( tableau的名词复数 );舞台造型;戏剧性的场面;绚丽的场景 | |
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20 lore | |
n.传说;学问,经验,知识 | |
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21 mesh | |
n.网孔,网丝,陷阱;vt.以网捕捉,啮合,匹配;vi.适合; [计算机]网络 | |
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22 spun | |
v.纺,杜撰,急转身 | |
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23 symbolized | |
v.象征,作为…的象征( symbolize的过去式和过去分词 ) | |
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24 immortal | |
adj.不朽的;永生的,不死的;神的 | |
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25 motif | |
n.(图案的)基本花纹,(衣服的)花边;主题 | |
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26 graceful | |
adj.优美的,优雅的;得体的 | |
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27 tilted | |
v. 倾斜的 | |
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28 remarkable | |
adj.显著的,异常的,非凡的,值得注意的 | |
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