On Jan 30, 2007, at 11:43, Debora Lustgarten wrote:
My curiosity was also piqued by Orla's challenges with her piece and I redrew the woodcutting, designing the footside and bands dividing the arches from the band of X's with plain clothstitch bands, twisting the worker twice before the edge pair. I think that gives us the holes shown on the woodcutting.
There's more than one way to skin that particular cat... :) Would you be willing to do a "duelling banjos" kind of thing, and have our respective interpretations of the pattern published, side-by-side, in the IOLI Bulletin? Because Orla is absolutely *right*, and every lacemaker is likely to come up with different solutions to the same problem, even given the same pricking. Which I find *totally fascinating*, because it shows just how different people and their thought processes are...
In fact, I think I'll try and have a "unlock an old pattern" challenge in the Bulletin; always liked the "challenges" in Lace...
I'm going to work this pattern in 80/2 linen (after enlarging it to fit the thread)
If you're using the woodcut from Levey/Payne at the size it is printed... DO NOT change a thing. I'm using Pella 100/3 which, according to Brenda's "Threads for Lace" book (without which not <g>) is 29 wraps per cm, and it's *perfect*. Bouc 80/2 is the same size, Bockens 80/2 is *very slightly* coarser, at 28 wraps.
But back to Tamara's question, I think that there is a real interest in knowing more of Medieval, Elizabethan, Baroque and other laces.
I've said in one (of many<g>) of my earlier messages tonight, why I think concentrating on the very earliest laces makes best sense (anyone can make an *earlier* piece; you can't make what hasn't happened yet). Also, there's lots of stuff already "out there" on post-Elizabethan period, but not as much on the very beginnings. Also... I think I know enough to be able to reproduce the plaited laces, but not others. With other laces, I'd rather design my own stuff,"in the style of"...
Also, it would be interesting to see how much of these Medieval/Elizabethan techniques carried over to laces like Cluny-Le Puy, Bedforshire, Maltese, Spanish lace from Camariñas, etc.
Join OIDFA :) Or, better yet, join the Freehand Lace (FHL) group. It used to be a part of OIDFA but has gone independent a few years back. They work on the old stuff *and* seek connections to later laces. *They* are the scholars. Me... As much as Devon dislikes my saying so, I'm still, and always will be, "a rude mechanical"; I want to know "how", in a very limited area. I leave "why" to others :)
Cold (finally! <g>) in Virginia, -- Tamara P Duvall http://t-n-lace.net/ Lexington, Virginia, USA (Formerly of Warsaw, Poland) - To unsubscribe send email to [EMAIL PROTECTED] containing the line: unsubscribe lace [EMAIL PROTECTED] For help, write to [EMAIL PROTECTED]
