Hi Susan -
I've not jumped into this discussion prior to this, but will now. If
you're really interested in learning more about Bucks lace, a really
valuable little book is "Decorative Fillings for Bucks Point Lace",
compiled by Geraldine Stott. Once you see this book, you'll realize
that the Cope was probably designed and executed using as much "flair"
as the lacemaker could muster! After all, it was for a very important
person, and would be seen a lot - assuming it was worthy. (And, it
certainly seems it was worthy...).
So, if you go through this book (which does not cover every filling ever
invented, but has enough to give you a sense of the possibilities!),
you'll realize that some of these fillings are designed to be bias (or
diagonal) designs, some are similar to the "snowflakes" seen in Binche,
Mechlin, and other continental laces, and some are simple variations on
familiar grounds (in this book, there are seven variations of the
Mayflower ground!). It might be interesting to know how this lace was
oriented when it was worn, because our eye can play tricks on us, and
even make what is worked as a bias look perfectly "squared" if worn in a
certain way.
As far as your observation about David's version of Miss Channer's Mat,
I'll just make this comment: Miss Channer's Mat was designed and worked
by the lovely Miss Channer, for her own use (as I understand). A
pattern has been made from it which many Bucks lacemakers aspire to
work. One reason it is so sought after as a pattern (but hard to come
by as it is out of print) is that it is challenging to the average
modern lacemaker, but is not made up of many, many fillings which give
it the complexity of the Cope. It is accessible, because it "only"
requires a good knowledge of the elements of Floral of Bucks (not a mean
feat - that), and the ability to handle an awful lot of bobbins!! (And
this is what often separates the adults from the kids!!) The Cope is
an infinitely more complex piece. And it was designed that way to draw
attention to the person wearing it. And the person who wore it probably
would not have accepted it or worn it if it had not been so.
So Malcolm displayed an incredible amount of skill in duplicating this
Cope. I dare say it has not been completed by many people. On the
other hand, Miss Channer's Mat has been started by many, many people.
My guess is that a significant number of those people did not complete
it because it was time-consuming, it required the manipulation of so
many bobbins, and finally... they just moved on to other things (life
does have a way of doing that to some projects, especially if the
lacemaker has a job or a family or both...). Still, it has been done by
a lot of people. This is not meant, in any way, to detract from what
David is doing. I always applaud a lacemaker who takes something that
we've seen before and does something different with it! This is how
our art evolves!! So, it's worth our time to watch as he employs
techniques not used by the lovely Miss Channing, to create something
equally lovely, a tad smaller, and black. And as he says, "call it what
you will, it will still be lovely".
And guess what? I suspect that the designer of the Cope was doing just
that... adopting fillings s/he had seen in laces from other places,
"morphing" familiar fillings, inventing new ones... The result is, of
course, outstanding.
Clay
Clay Blackwell
Lynchburg, VA, USA
Susan Reishus wrote:
I edited your query Ann, as I thought I had put it in the subject line this would simplify. It was Malcolm's Cope. I noticed nothing of the sort in David's incredible pieces. I guess my eye just goes to what I saw in Malcolm's right away, and wondered if it is my varied needlework background filtering, or a part of Malcolm's piece (and appropriate to that style/technique), or inappropriate if it was modified.
No offense intended, just asking stupid questions. <S>
Best,
Susan Reishus
***
My query (and hope it isn't too rude) is, why isn't the grain of the mesh
worked within each of the "medallions," symetrical to it's opposing
medallion and yet within the medallion itself, and/or the grain parallel or
perpendicular to the outer and inner edge?
***
Is this referring to...Malcolm's cope?
Ann
Yorkshire UK
***
More familiar with the term Madeira, but there is much info on doing it if you google "French
Heirloom" sewing techniques and the like. As I remembered "pin stitch" it often
could be a fine finish to say a hand-rolled hem that could look like a drawn thread but just
stitched so looks drawn (or can be). Only one piece of fabric would be used, I suppose one could
call it a faux Madeira perhaps.
Best,
Susan Reishus
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