>
>
> Hi there
>
> For my part, I just got home from a trip to western Pennsylvania (the great
> > Pennsic War, for those who know of it) where I taught a beginner 16th c.
> > bobbin lace course.
> >
>
> As someone who went to Pennsic once upon a time, I was perusing the class
> list this year, and I saw the bobbin lace classes listed.  I was hoping
> that
> someone who had taught or taken the classes would post here!  I'm curious -
> what references and sources did you use to learn about early lacemaking?
>  Do
> you have prickings/diagrams for early work?  I'd like to learn more about
> bobbin lace in this early period, and I wouldn't mind replicating a piece
> or
> two.
>
> Cheers,
> Gina
>
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My big three are Le Pompe, 1559 (Levey, Santina M. and Payne, Patricia C.; ,
ISBN 0-903585-16-2), Nuw Modelbook also called Fascinating Bobbin Lace
(Claire Burkhard, ISBN 3-258-03610-1) and Patterns of Fashion #4, which I
don't have annotated for my bibliography yet.  I also refer people to
http://www.cs.arizona.edu/patterns/weaving/lace.html, which has scans of the
Parasole patterns which were printed not too long after 1600 (the SCA cutoff
date, for those who may not know).  As for *how* it was made, I do much the
same as Tamara - squint at things a lot :D  Le Pompe and Nuw Modelbook both
have reasonable discussions in them as to how the authors perceive some of
the patterns to have been made.  Some of what I do is applied common sense -
which I can't really describe, it's just a sense of what looks right in
context of what I've already seen.  Like half stitch - haven't seen it, none
of the woodcuts show anythign that could really be interpreted as it, so I
don't use it.  I still need to see Rosemary's new book - no one at Pennsic
had a copy :(

As for picots, I confess Tamara nearly gave me a heart attack when I read
that "they don't exist" - that's patently untrue! They're right there in the
woodcuts!! Fortunately, the next sentence or two cleared things up. For me,
I would consider a picot to be any small decorative loop on the side of a
lace element.  That would include what Tamara described as false picots and
winkie pins, a term I confess I'm not overly familiar with.  I tend to make
more modern three twist wrap back around the pin style picots when I'm using
linen thread because it's what I'm practiced at, but it's only one of about
5 different methods I'm familiar with - and that's why I don't even get into
them in a 2 hour class.  No time!  But the twist-pin under one-twist is
pretty much ideal for the metallic threads - they stand out quite nicely on
their own.

Someday hopefully soon I'll get my website into some sort of shape so I can
post all my notes there.  If only so *I* can find them more easily.  It'll
include notes on how to "read" the woodcuts for people more used to modern
patterns - it's not at all difficult, but when you're used to getting
working directions with your pattern, it can be unsettling to work from
nothing but what is, essentially, a pricking.

Hope that answered your question.  Some century I'll pay my dues to IOLI and
find out that Tamara and I are just recreating each other's wheel  (:D) but
for now I'll just be happy with getting people interested in lace at all :)
Feel free to let me know if you have any other questions I can hopefully
answer.

Chris (All hail the gender-neutral name!) in Chicago

PS Just for the record, I'm female.  I get letters addressed to Mr Vail all
the time, however, so I just get a good chuckle and move on.  Even in junior
high, at graduation rehearsal, my vice-principal expanded the name off the
card as 'Christopher' until he saw me heading up to the stage with a big
smirk on my face. I'm enough of a tomboy that the short name fits me just
fine.



> --
> Always proactively untwist octagonal hippopotomus pants.
> Ozy & Millie http://www.ozyandmillie.net/2000/om20000809.html
>

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