To go back to Orla's original posting:
It looks like it's about 20 pairs of bobbins and is made of Kreinik
cord
- which has become my favorite thing to use for metallics. The biggest
pain for it is that there are sewings all over the place. Every
vertical line in the footside requres sewings as does the triple loop
at the top.
I was *so* disturbed by Orla's claim of the multitude of sewings, that
I fired up my pillow today and started working on that pattern (Le
Pompe, Book one, p.17, B) :) "About 20 pairs" is correct; by my
reckoning, you need either 18 or 21 (I'm using the 21 version). I
didn't make a separate pricking; I'm using the woodcut "as is", same as
Orla. And I'm using Kreinik cord (though in copper; didn't have any
gold on hand) -- again, same as Orla. Which meant that, in order to fit
the thread (and keep the lace looking as robust as it had been in
15hundreds), I had to photocopy the woodcut in the Levey/Payne Le Pompe
at 65%.
My early experience -- between a quarter and a third of the first
repeat -- confirms my preconceived theory: there are no sewings at all
in that pattern.
Personally, I hate metallic thread-- it combines all the faults of
natural fiber and wire, without having any overwhelming compensation
for the faults :) The next sample will be both larger and made in
linen. I doubt a wire sample will follow -- this is not my favourite Le
Pompe pattern :)
So far, all the effort has been directed at scratching my personal
curiosity itch -- can I make this without any sewings at all, the way I
*think* it must have been made in 1550?But, a BL Editor for the IOLI
Bulletin cannot afford too many moments of *idle* curiosity; I'd like
to publish the pattern (pricking, diagrams) in the Bulletin eventually.
And, maybe, some other 16th c repros as well.
So, my question is this:
How much interest is there, *among the IOLI members*, in reproductions
of old plaited laces (in thread or in wire or both)? I know
SCA-affiliated lacemakers might be interested, because, with their
cut-off date being 1600, their sources of patterns, especially BL ones,
are severely limited (2 published books as far as I know, and there are
many patterns in both which had not yet been re-done for modern
consumption). But, how big is the cross-over between "straight"
lacemakers and SCA ones? Are there any SCA lacemakers who also belong
to IOLI? Would they be interested in having more patterns which are "in
period" both visually *and* technically?
Let me know.
--
Tamara P Duvall http://t-n-lace.net/
Lexington, Virginia, USA (Formerly of Warsaw, Poland)
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