In a message dated 1/30/2007 11:15:48 A.M. Eastern Standard Time,  
[EMAIL PROTECTED] writes:

I  personally don't have (at this time) much interest in recreating
authentic  lace for SCA. 


I am probably not entitled to an opinion on this subject because I am  
actually a staffer of the IOLI Bulletin. However, I will offer one,  anyway.
 
When I was a lacemaker in an earlier phase of the obsession, I had no  
interest in braided laces. They didn't resemble what I thought lace should look 
 
like. I was more interested in the meshed laces which I thought were very  
complicated, and beautiful and something to shoot for. (They are.) But, I have  
to 
say that the longer I am in lace, the more fascinated I become with these  
older laces. They are by no means simple. They display many innovative  
techniques. The more you study them, the more impressed you are with the  
constant 
innovation and problem solving, in fact, in some cases  genius, that they 
represent. They didn't seem to have any rules except what  works. One issue 
that has 
caused people to be less interested in them is that  only the most simple ones 
tend to be reproduced for SCA, etc., and so people are  unaware of the extent 
of the complexity. 
 
When I made the piece of braided lace that I recreated from the  Metropolitan 
Museum lace for the IOLI Bulletin, I had several other candidates  that I was 
considering from the collection. I finally rejected them in favor of  the one 
I did, because the others when scrutinized appeared too complex. I  thought I 
would start with an easy one. It was challenging enough, let me tell  you. 
Right now, I am eying a scallop from the museum collection which is more  
complicated than a Rubix Cube. When will I have the courage to tackle it?
 
I think studying the old braided laces is like looking at the ancient cave  
paintings of Lascaux. They show amazing complexity and illuminate the skeleton  
that the rest of the laces are built on.
 
Devon

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