Lucie
The first thing is that city women would have had access to laces made in the
countries of their close trade partners.  So for English areas, English laces
of the period, probably not the best quality.  And for French areas, French
laces.

Point ground laces were widely made in both countries and would be
appropriate.  Also Mechlin laces made from designs similar to point ground
laces.  (Straight laces of that period it is often difficult to tell whether
it is Mechlin or point ground -- the designs were virtually identical.  It is
just those tiny telltale vertical stacks of stitches in the Mechlin which
identifies that kind.)
Another factor is that point ground and Mechlin laces of that time were
distinctive:  from the beginning of the Napoleonic era to the early 1820s the
fashion laces had very short repeats -- 1 inch or a little more -- and the
ground would be spotted with square tallies, or tiny empty circles of gimp.
The headside would have a straight and flat edge.  It was only in the 1820s
that scalloped edges came back into fashion.

Now these remarks describe the fashion laces.  If you have access to Santina
Levey's book, her photos will show you this.  (I'm getting all of this from
her book and from the laces at Chicago's Art Institute of Chicago.  Santina
Levey was invited in to identify the collection in the 1980s, and I was
studying the laces there just after she had been through.  So the staff read
me her descriptions of each piece.  I saw more pieces there than are in her
book.)

But it is likely that the very best fashion laces may not have been sent
across the water.  After all why send good stuff to a wild and far away place
when you have perfectly good buyers at home?  Probably lesser quality or even
unsellable lace was sent across the water.

There is also the Ipswich lace production: local and homegrown, point ground.
But I'm not sure what time period  the Ipswich lacemakers were active.  I know
there is someone in arachne who does know.

Lorelei Halley

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