Jane Austen Knits 2012-09

KNIT
31 INSPIRED PROJECTS
FALL
2012
yourself a What
pair of
NORTHANGER Jane
would
ABBEY MITTENS Knit?
You pierce
my soul. I am
half agony.
Tell me not that I am
too late, that such precious
. . . lace . . . is not gone
forever.
J A N E AU S T E N K N I T S . C O M
Contents
THE YARN IN JANE AUSTEN’S
HANDS
Stephenie Gaustad 8
SAT AT WORK: REGENCY

WOMEN AND THEIR
NEEDLES
Ann Buermann Wass 14
REGENCY AND EMPIRE:

BRITISH AND FRENCH
FASHIONS DURING THE
NAPOLEONIC ERA
Meghan Fernandes 18
FASHION PLATES FROM THE

REGENCY ERA
Susan Forgue 24
UNDER THE CORSET: THE

HIDDEN ACCOMPLISHMENTS
OF EARLY CROCHETERS
Sarah Read 28
FROM COSTUME TO
CLOTHING
Annie Modesitt 144
107
Country Manor Garden

32 A Sensible Shawl 54 Emma’s Overdress 80 Hussars Spencer
Celeste Young Instructions page 38 Heather Zoppetti Instructions page 60 T.L. Alexandria Volk Instructions page 86
33 Longbourn Mitts 55 Kellynch Tunic 81 Kentish Toque
Danielle Chalson Instructions page 40 Anne Podlesak Instructions page 62 T.L. Alexandria Volk Instructions page 90
34 Delaford Wrap 56 Regency Bolero 81 Betwixt and Between Gloves
Kirsti Johanson Instructions page 42 Karen E. Hooton Instructions page 66 Moira Engel Instructions page 92
35 Walking to Meryton Bonnet 56 Bonnet and Wristlets for Baby 82 Bierdermier Stole
Cathy Trimble Instructions page 44 Emma Annie Modesitt Instructions page 94
Susan Strawn Instructions page 68
36 Maiden Fair Blouse 83 Soutache Spencer
Laura Lynch Instructions page 46 57 Lydia’s Tunic Annie Modesitt Instructions page 97
Annika Barranti Instructions page 70
36 Mistress of Donwell Abbey Socks 84 Elinor’s Day Coat
Katie Franceschi Instructions page 49 58 Henry Tilney’s Vest Carol Wessinger Instructions page 101
Donna Kay Instructions page 72
36 Prettyish Wilderness Socks 85 Northanger Abbey Mittens
Rachel Coopey Instructions page 51 59 Mr. Knightley’s Tea Cozy Celeste Young Instructions page 104
Anne Berk with Valerie Allen, Elaine
37 Sweetheart Bag
Blatt, and Stephanie Fleming Instructions
Donna Kay Instructions page 52
page 75
59 Tilney Socks
Rachel Coopey Instructions page 76
32 37
58 83 82 80
On the Cover: Lady Russell Shawl by Joy Gerhardt, page 111.
Town
106 Fanny’s Chemisette
Deborah Adams Instructions page 112
D E PA R T M E N T S
107 Mansfield Park Wraps: The Misses
Price and the Misses Bertram
Catherine Salter Bayar Instructions page 114 2 Editor’s Page
108 Austensible Capelet 4 Dry Goods
Valerie Thibodaux Instructions page 120
132 Advertiser’s Index
109 Netherfield Evening Bag
Anna Cole Instructions page 122 133 Glossary/Abbreviations
110 Pleated Neck Scarf 141 Yarn Sources
Alana Dakos Instructions page 124 142 Project Index
111 Lady Russell Shawl
Joy Gerhardt Instructions page 126
Jane Austen
KNITS Special Issue Fall 2012
FROM THE EDITOR
“Do not make yourself uneasy, my Tough I imagine that Jane Austen had Mrs. Bennet exclaiming
dear cousin, about your apparel. Lady about the lace on Mrs. Hurst’s gown to illustrate the former’s shal-
Catherine is far from requiring that ele- low nature (as well as the wealth of the latter, for that matter), I
gance of dress in us which becomes her- would really love the opportunity to examine that lace in detail. I
self and her daughter. I would advise you try to visualize what it must have looked like—perhaps it was intri-
merely to put on whatever of your clothes cate handmade bobbin lace from handspun linen. Even Jane Austen,
JOE COCA
is superior to the rest—there is no occa- busy with her writing, took time to contemplate lace as more than a
sion for anything more. Lady Catherine literary device. She drew a simple line drawing in a letter to her sis-
will not think the worse of you for being ter, Cassandra, illustrating a bit of lace that appears on her cloak.
simply dressed. She likes to have the distinction of rank preserved.”
—Mr. Collins in Pride and Prejudice, Chapter XXIX. With this, our third special issue of Jane Austen Knits (and with
issues four and five in the works), we’ve been able to delve into these
As a lover of textiles, I’m really intrigued at how Jane Austen questions concerning textiles from the Regency era. In fact, as we
uses some of the details of dress to paint a portrait of her charac- asked questions such as “What kind of knitting yarn would Jane
ters. She does it with such a subtle hand—at least for her modern Austen have encountered?” or “How did Regency-era ladies learn
readership. Most likely her descriptions of clothing gave clearer about fashion trends?” more questions arose than were answered,
hints and insights into lifestyles and situations of her characters to leading to ideas for articles in future issues. It is as if we’ve been
her contemporary readers. Tey would have known the steps tending a garden—small, but abundant in color and heavenly scents.
involved in having a new dress made up for a ball, that owning a Each time we move a bulb, we discover more bulbs emerging.
white muslin dress meant employing servants to keep it pristinely
white, or that miles of lace on a gown equated to wealth and con- Happy knitting,
nections during times when supplies were limited by war.
“ ‘Oh my dear,’ continued Mrs. Bennet, ‘I am quite delighted
with him. He is so excessively handsome! And his sisters are charm- Amy Clarke Moore, editor
ing women. I never in my life saw anything more elegant than their aclarkemoore@interweave.com
dresses. I dare say the lace upon Mrs. Hurst’s gown . . .’ ”
—Mrs. Bennet in Pride and Prejudice, Chapter III.
P icturesque
I N SPI R E D BY
JA N E AU ST E N, While northern Colorado may not be the first landscape to consider when looking for
picturesque locations to shoot garments for a Jane Austen–inspired knitting magazine, we
W E A RA BL E TODAY were able to capture the essence with the help of two locations. For our interior shots, we
were on location at the McCreery House (www.mccreeryhouse.com)—a charming bed
In our attempt to capture the and breakfast in downtown Loveland. And for the dramatic landscapes, we returned to
essence of Jane Austen for this issue, we the private residence of Tom Lundberg and Dick Christensen in Fort Collins.
aspired to reference her influence with-
out getting too bogged down in details,
such as period-specific props or cos-
tumes. Our hope was to create a knit-
ting magazine with garments inspired
by Jane Austen’s narratives that could
be worn with ease and comfort in our
current time. When we put out our call
for entries, we were overwhelmed
(again) by the response. Designers,
writers, and Regency-era historians,
please check our website, janeausten
knits.com, for our calls for entries for
future issues. Readers and knitters,
keep an eye out for the Summer 2013
issue, due out in May.
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Special Issue Fall 2012
CREATIVE DIRECTOR Linda Ligon

EDITORIAL DIRECTOR Anita Osterhaug
EDITOR Amy Clarke Moore
MANAGING EDITOR Liz Good
TECHNICAL EDITORS Sheryl Craig,
Tracey Davidson, Karen Frisa, Kristen TenDyke
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EDITORIAL ASSISTANT Kathy Mallo
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Special Issue Fall 2012 • Jane Austen Knits 3

PRODUCTS
Te Jane Austen Romance Print

Messenger Bag may be the ideal
container for carrying your current
knitting project, tablet, and
books. Te Jane Austen
silhouette is created from a
scanned page from Pride and
Prejudice in which Miss
Elizabeth Bennet replies to
Mr. Darcy’s unexpected
proposal. $35. www
Tese lovely Boxy Knitting Bags made from .bagchemistry.etsy.com.
fabric printed with text from Pride and Prejudice,
with superimposed illustrations of Regency
fashions from JessaLu, are the perfect way to keep
your latest Jane Austen Knits project close at
hand. Each bag (small—to hold a stocking project
or large—for a spencer) is custom-made with a
color-coordinated zipper pull made from
Swarovski crystals. $27.50–$55. www
.stitchedbyjessalu.com.
DRY
GOODS
Knitting
with Jane
Hand-dyed knitting yarn named for Jane
Austen characters fills the SpinningFates
etsy shop. Anne Elliot is the inspiration for
a line of 50/50 superwash Merino/silk
fingering-weight yarn (437 yd/100 g),
shown here in the Selkie colorway. $28.
www.spinningfates.etsy.com.
Handsome Fibers custom dyes yarn

and features two yarn styles named for
Jane Austen characters. Among a
myriad of dyed-to-order hues, you’ll
find a pure Merino superwash 4-ply
worsted-weight (218 yd/100 g) yarn Te Brookish shop is filled with
line called Anne Elliot, shown here in Jane Austen–inspired items.
the Tropics colorway, as well as a 75/25 However, we were particularly
superwash Merino/nylon blend 4-ply smitten with this sturdy canvas
fingering-weight (436 yd/100 g) called tote bag bearing the line from
George Knightley, shown here in Mr. Darcy’s impassioned
Huckleberry. $22–$24. www declaration of love for Elizabeth
.handsomefibers.com. Bennet in Pride and Prejudice.
$17. www.brookish.etsy.com.

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PRODUCTS
You can proudly proclaim your

status as a Janeite with this 8" ×
10" art print by Alice Flynn that
has been screen-printed onto
muslin fabric and stretched on a
wood frame. $35. www
.aliceflynn.etsy.com.
Jane Austen’s Henry Tilney professes

that “the person be it gentleman or
lady who has not pleasure in a good
novel must be intolerably stupid.” And
you can, too, with this pen-drawn (not
printed) poster (10¼" × 13 7⁄8"). £15
DRY
(~ $24). www.chattynora.etsy.com. GOODS
Jane
All Around
Perhaps you’d like to take a break from knitting and

create some decorative cross-stitch embroidery. Te
Sampler Girl has a plethora of Jane Austen–inspired
patterns. You can fill your home with samplers, pillows,
bags, and stockings that delightfully combine favorite
Jane Austen quotes with Regency-inspired floral motifs
and patterns. $6–$25. www.thesamplergirl.com.
Masha Laurence has turned her artistic talent to

imagining what the heroes and heroines of Jane
Austen’s novels would have looked like and has made
prints for us from her original watercolors. $20–$35.
www.mashalaurence.etsy.com.

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THE
Jane Austen’s
YA R N I N
HANDS by Stephenie Gaustad

ISTOCKPHOTO.COM/KAREN MASSIER
H
ave you dreamed about taking your knitting needles to a shady bench in Jane Austen’s time? What sort
of yarn would you find then? You close your eyes and think, “Tere were probably wool yarns. Maybe
some cottons, too. But it is unlikely that there were stores devoted entirely to yarn, so how would a knit-
ter manage to supply herself with yarn?” With a twenty-first-century perspective, we have a tendency to look back
to her time with preconceived notions. Taking a step back can tell us something about the time in which we live.
Jane Austen lived in an era very similar to our own. Hers was a time of social change, of political unrest, and
of considerable technological innovation driving the economy with new products and expanding markets. In Jane
Austen’s lifetime, technological advancement focused on textile production.

ISTOCKPHOTO.COM/DUNCAN WALKER (DUNCAN1890)
An 1860 engraving of a spinning jenny machine.
Fabric near and far they were confounded by the cotton fiber. Tey were
In 1750, lightweight, brilliantly colored printed adept at spinning flax, hemp, wool, and silk. (Silk pro-
cotton fabrics were the delight of Europe. Demand for duction was an established industry in England because
them exceeded supply. Up until the 1750s, India and to of the Silk Road centuries before.) Cotton was utter-
some extent the Middle East, supplied this burgeoning ly different and very foreign. Spinners could produce
market with handspun, handwoven cottons that were a medium-fine yarn but were challenged when it came
beautiful, colorful, and expensive. European textile to spinning gossamer thread for fashionably sheer fab-
merchants, ever anxious to offer cotton fabric at a rics. Typically, the handweaver would use linen yarn on
competitive price, began looking for cotton cloth closer the loom because local handspun cotton yarns would
to home. not hold up to the rigors of weaving. Handspun cotton
Tis brings us to the manner in which cloth was yarn was instead put into the shuttle to pass back and
made and sold at this time. During the mid- to late forth across the linen warp. Tis wove up into a cotton-
eighteenth century, textiles were made in the old linen union cloth known as fustian.
way, using a “putting-out system.” Individual weavers Fustians were stiffer than 100 percent cotton fabrics
produced the yardage at their homes with the loom because of the linen warp. Tis affected the drape and
dominating the main room or attic. Te weaver hand of the cloth. Te linen yarn was also darker than
maintained a network of handspinners, supplying them cotton and did not take dye as well as imported 100
with the raw silk, wool, or cotton that was returned to percent cotton fabrics.
the weaver as yarn. Te weaver was paid for the cloth
and then the weaver paid the spinner for the yarn. Textiles and the Industrial Revolution
Woolens, worsteds, linen, and silk fabrics were sold Jane Austen was born near the dawn of the
in the small villages from the local weavers’ cottages. In Industrial Revolution. What we would recognize in
larger towns, the weavers represented their own goods the twentieth century as a factory system was just
or sold them to masters who transported them to es- beginning to take form in a few cities. Te new factories
tablished cloth markets known as “halls.” Tese market- housed all stages of manufacturing in one location.
places were specialized as cotton, linen, or wool halls. Inventions came one after another. Te spinning
jenny permitted the handspinner to spin eight yarns at
Spinning cotton one time. Te carding machine transformed lumpy raw
Establishing a local cotton cloth industry was a fiber into an open, fluffy, easily spun form in a similar
problem. I don’t mean to slight the otherwise thorough- manner to the handcarder, only in greater amount and
ly competent English handspinners, but the truth was significantly faster. Te fly shuttle took the shuttle from

ISTOCKPHOTO.COM/DUNCAN WALKER (DUNCAN1890)
The spinning-room in Shadwell Rope Works.
the weaver’s hand, and the Arkwright water-powered spun in the mill, it is unlikely that it would leave the
frame spun yarn entirely by machine. Tese inventions mill in any form other than fabric.
were developed, improved, and ultimately adopted. In Factories produced wool, silk, and cotton cloth.
time, these machines were more productive than the Ultimately, linen was machine spun, but it was after
handweaver and handspinner, but it didn’t happen 1840 when the practice became widespread. For wool
overnight. and linen, it is most likely that knitting yarns would have
Conversion from handspinning and handweaving been handspun on a handspindle or a spinning wheel.
to machine production took nearly one hundred years
to spread throughout England, Scotland, and Ireland. The spindle
Tere were rural pockets, however, where people con- Yarn was spun in Great Britain on spindles
tinued to handspin yarns for their own use and for lo- originating in prehistoric times. Te spindle is a simple
cal specialties. tool—comprised of a
stick (or shaft) and a
Knitting yarn weight (or whorl). As the
It is a sure thing that there were no yarn stores as spindle twirled like a top,
we know them today in Jane Austen’s time. During the it put twist into the wool
late eighteenth century, yarn for handknitting was most or whatever fiber was
likely handspun (though in cities where cotton and
A wood cut of a woman spinning
wool mills proliferated, there would have been the op- on a spindle in the fifteenth
portunity for the occasional spindle of yarn to “fall off
WWW.ARCHIVE.ORG
century, from The Tales of the

Spinning-Wheel: Musket and
the truck”). New machine-spun yarn would have been Distaff, by Elizabeth Cynthia
tallied (or put into accounts) and in the pipeline for Barney Buel and illustrated
conversion to fabric. In other words, if the yarn were by Emily Noyes Vanderpoel,
Litchfield, Connecticut, 1903.

used. When the fiber was stretched as it was twisted
(a process called drafting), it made yarn. After the
spinner produced a length of yarn, she wound it onto
the spindle and made another length. With her spindle,
the spinner was free to walk and attend children or
animals, her small work always in her pocket, always
at hand. Spindle-spun yarn was dense and often firmly
spun with a lot of twist.
The wheel
So went the spinning of yarns, right up until the
Middle Ages when influence from cotton- and silk-
growing countries brought the yarns and the tools to
make the yarns to England. Te tool was a new kind of
WWW.ARCHIVE.ORG
A wood cut of a woman spinning on a wheel in the fourteenth

century, from The Tales of the Spinning-Wheel: Musket and
Distaff, by Elizabeth Cynthia Barney Buel and illustrated by
Emily Noyes Vanderpoel, Litchfield, Connecticut, 1903.
spindle, one that was laid on its side and held against a
pair of short posts. A cord passed around the spindle
and a large drive wheel, connecting them. When the
wheel turned, so did the spindle, though much faster.
Tis driven spindle could spin very fine, firmly twisted
cotton and silk yarns. It could also spin good English
wool and became known as the wool or muckle wheel.
Tere were a couple of wheel types in use in the
time of Jane Austen. One, the familiar driven spindle
wheel, produced a fuzzy, elastic woolen yarn from
carded wool rolled into soft sausage-like shapes
(rolags).Te other was a more complex and subtle
spinning device that both spun the yarn and wound it
onto a bobbin. Yarns spun on this wheel were worsted,
lean, and lustrous. Te yarns were called “garnesey” or
“jarsey” (jersey) yarns.

ISTOCKPHOTO.COM/ICYKINS
I have taken your hint, slight as it was, & have written to Mrs Knight, & most sincerely do hope
it will not be in vain. I cannot endure the idea of her giving away her own wheel, & have told her
no more than the truth, in saying that I could never use it with comfort; —I had a great mind to
add that if she persisted in giving it, I would spin nothing with it but a Rope to hang myself—but I
was afraid of making it appear a less serious matter of feeling than it really is.
—JANE AUSTEN TO CASSANDRA AUSTEN, FRIDAY 31 MAY 1811.
Supply and demand and brewing were integrated into seasonal patterns of a
Until the mid-nineteenth century when machines simple rural life.
took over spinning, the output of the handspinner
could not meet the needs of the weaver. It took five Jane Austen’s yarn
to seven spinners to supply a single weaver. (Weavers To purchase her knitting yarn, Jane Austen could
consume a prodigious volume of yarn.) On the other have made inquiries to find a local spinner or perhaps
hand, it is said that a single handspinner could supply purchased a handspun skein while in London or at a
five knitters. Tat sounds better for both the spinner shop like Fords depicted in Emma. Wool or flax for
and the knitter, but consider the number of stockings, Jane Austen’s knitting yarn would have most likely
shawls, hats, scarves, and mittens that were needed in come from local sources: sheep grazing on nearby
the community. How many knitting needles were con- fields or flax from a dooryard patch. Te wool would
stantly at work in even a small village that might have have been washed and carded by hand, the flax
one or two looms? Te handspinner never produced handprocessed through the myriad steps to release the
enough yarn. fiber from the plant stem and organize it into spinning
Unless the spinner was infirm or aged, there were form. All of this washing, carding, and flax-processing
other chores that called for attention. She did not represents hours of handwork. It does not include time
spend ten to twelve hours a day focused on spinning and attention attributed to the shepherd and gardener.
and then go home to a hot cooked meal like later fac- Compared to our current global yarn market, early-
tory workers. Spinning, child care, cooking, gardening, nineteenth-century yarn choices would have seemed

meager indeed. Tis yarn most likely would have been From our vantage point, Jane’s knitting yarn could
white or a natural undyed color. If she wanted special certainly appear humble. She lived during the sunset
color in her yarn, Jane Austen would have needed hour for the handspinner. However, if perchance you
to contract with a dyer to do the job. Te skeins she would know yarn as Jane would, you might sidle up to
would be offered could have been of irregular length a modern handspinner and ask to sample a yarn as Jane
and could contain multiple knots. If the spinner had would have known it.
ready access to wool or flax or if Jane obtained the wool
from her father’s herd of Leicestershire sheep, then she Dyepots litter the front yard; looms, books, and spinning wheels
would have had better choices. fill the house. Her daughter asks if maybe Mom “has an issue
Nevertheless, Jane would have paid good money with too much fiber.” No. It is just life as Stephenie Gaustad.
for her handspun yarn because it represented use
of resources. Te material from which the yarn was Resources
made had intrinsic value. Time involved in its growing, Braudel, Fernand. Te Perspective of the World, Civilization
processing, and production had worth. Tat meant and Capitalism, 15th–18th Century, New York: Harper
that the textile knitted from the spinner’s yarn would and Row, 1984.
come to have its own value. Note that in her time, Horner, John. Te Linen Trade of Europe during the Spinning
domestic textiles and clothing were considered prized Wheel Period. Belfast, Ireland: McCaw, Stevenson & Orr
Ltd., 1920.
possessions, to be listed and cataloged. What remains
from that time are special-occasion clothing of well- Kerridge, Eric. Textile Manufactures in Early Modern England.
Manchester, United Kingdom: Manchester University
to-do personages. Cloth and textiles were so dear that
Press, 1985.
when the original item was repaired beyond use, it was
remade into smaller and smaller items, until the scraps
disintegrated to nothing.
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Sat at Work:
Ann Buermann Wass
REGENCY WOMEN
AND THEIR NEEDLES
later, “. . . none of the knitting is perfect; constant attention
I
n 1799, Anne, the Countess Dowager of Roden,
wrote in her diary, “Te weather was showery, but I could not be paid to it.” Was she actually knitting while
got a walk. When I came home, sat at work with Kit- traveling by coach? It was likely easier to knit than to sew
ty till between three and four.” British women of the Re- while taking such a bumpy ride, but one can understand
gency era, even countesses, spent much of their time “at why the results might have been “less than perfect.”
work,” that is, doing needlework. In their diaries, wom-
en recorded what some describe as the “dailiness” of life, Shirts and shifts
including this work. Women may also have written such Women’s work included making clothing for them-
domestic details in letters to family and friends to make selves and their families. Much of it was plain sewing or
the communication more personal. Both diaries and let- the construction of utilitarian garments. Women made
ters suggest that women’s hands were seldom idle as they quantities of the garments worn next to skin: shirts for
knitted gloves and garters, sewed garments for themselves their husbands, sons, and brothers and shifts for them-
and their families, embellished items with embroidery, selves and their daughters. Shirts and shifts were generally
and mended all these things as they showed signs of wear. made of white linen or cotton, and all but the most impov-
Tis work, stowed in workbags, was portable and could erished owned several of them. Constructed of geometri-
be carried around the house or even taken out visiting, al- cally shaped pieces, primarily rectangles and triangles, they
lowing women to keep busy while they chatted. were relatively easy to cut and sew, as they did not require
Jane Austen carried on a lively correspondence with close fitting. Women cut several garments at once to make
her sister, Cassandra, and other family members, and she the most economical use of a long length of fabric. As a re-
wrote of needlework. Jane’s mother seems to have been sult, there were usually several to be sewn at any one time.
particularly fond of knitting, as Jane described Mrs. Aus- Jane Austen wrote Cassandra in 1800 about outfitting
ten’s rugs, garters, and gloves. In an 1814 letter to Jane’s their brother, Charles, a lieutenant in the British navy who
niece and her granddaughter, Anna, Mrs. Austen wrote was about to go to sea: “I have heard from Charles, & am
that, because of “weakness in my Eyes,” she was not able to send his shirts by half dozens as they are finished;—one
to wear her spectacles and therefore could not sew for sett will go next week.”
Anna’s upcoming wedding. Her work was limited to “ . . . Dorothy Wordsworth, sister of the poet William Word-
knitting white yarn and plaiting white willow.” sworth, kept house for him in Grasmere in the English
Lake District and recorded domestic chores in her journal.
Knitting while traveling One Saturday in 1800, she wrote, “. . . after tea worked at
Sarah Lynes Grubb, who became a well-known Quak- my shifts in the orchard,” and the following Tuesday, “. . . sat
er minister, demonstrated the portability of work in a let- on the wall making my shifts till I could see no longer.” In
ter in 1798: “I send by J.B. a little box, in which is a small 1802, she “. . . worked at Montagu’s shirts.” (Basil Montagu
portion of my knitting, while travelling. . . .” She added Jr. was William Wordsworth’s ward.)

The Bennet women are at
their work while Mr. Bennet
reads and comments on
the hat Lizzy is trimming
in the illustration, “I hope
Mr. Bingley will like it,” by
Hugh Thomson from the
1894 edition of Pride and
Prejudice (Dover [2005]
unabridged republication
of the edition published by
George Allen, London, 1894).
Waistcoats and dresses small accessories. Tose past the first blush of youth wore
Women did not generally make all the family clothing— caps indoors and often made these themselves. In 1798,
professional tailors often made men’s coats, while dressmak- Jane Austen reported to Cassandra, “I have made myself
ers constructed women’s gowns. But depending on their two or three caps to wear of evenings since I came home.”
skills and circumstances, women did make some of the She added that they “. . . save me a world of torment as to
more complicated garments in the family’s wardrobe. hair-dressing. . . .”. Governess Agnes Porter noted in her
A home seamstress might make a man’s waistcoat, diary during a visit to her sister in 1804, “Very busy at
or vest. In 1801, Dorothy Wordsworth wrote, “Mary home—with my dear sister’s help making up caps and oth-
[Hutchinson, who married William the next year] was er necessaries.” Harriet Wynne in 1803 “began to work my-
making William’s woollen waistcoat.” Dorothy evidently self a Chemisette.” A chemisette was similar to what we
worked on it, too, as the next day she wrote, “We were mak- today call a dickey, worn to fill in a low neckline, and often
ing his waistcoat,” and later, “Mary was at work at Wm’s had a fancy high ruffled collar.
warm waistcoat.” Dorothy had no children of her own, but Perhaps Miss Wynne accented her chemisette with em-
in 1802, she made “frocks,” or dresses, for Derwent, the tod- broidery. Such decorative stitching was another form of
dler son of the Wordsworths’ poet friend Samuel Taylor work. In 1816, Mary Bagot, wife of the British minister
Coleridge. to the United States, wrote in her diary, “Began the third
Te writer Mary Wollstonecraft Godwin (the author breadth of a gown I had begun working for dearest Moma.”
of Frankenstein who later married her lover, the poet Per- Te skirts of dresses were generally made from full widths,
cy Bysshe Shelley) and her stepsister Claire Clairmont seem or breadths, of fabric, and the embroidery was often done
to have been more interested in recording their reading and before the garment was assembled.
other intellectual pursuits than household chores in their
diaries. But even they occasionally mentioned needlework. Mending
In March 1815, Mary “cut out my new gown,” and, later that Clothes were expensive, and women devoted time
week, “In the evening work; finish my gown, and then read and effort to keeping them in good repair. In 1800, Dor-
Gibbon.” When Mary’s half sister Fanny Imlay committed othy Wordsworth noted that she “mended old clothes.”
suicide in 1816, Mary recorded, “Buy mourning, and work Ellen Weeton Stock asserted in her diary that she had “en-
in the evening.” She probably bought black fabric and began tirely given up all kinds of needlework which has no real
to make a mourning dress. In 1821, Claire wrote, “Rain all utility to recommend it. . . . When I sew, it is to make nec-
day. I make a Cap. Write to the Countess M. Boutourlin.” essary clothing, and to keep it in repair. . . . I keep my ap-
parel in the exactest repair.” While machine-made stockings
Caps and accessories were common by this time, women like Mrs. Stock mend-
Like Claire Clairmont, other women sewed their own ed them as they became worn. She wrote in 1825, “I sat at
Special Issue 2012 • Jane Austen Knits 15

home, repairing stockings, &c. To this . . . my mother ever like to see us engaged in anything which abstracts us too
required me to pay the strictest attention; and I have nev- much from them. . . . It can be brought into the sick room
er since disobeyed her. I am not afraid to take off my shoe without diminishing our attention to an invalid, while it
at any time, for I have no holes, or soil, to hide.” In 1805, seems to release the sufferer from an obligation of con-
Harriet Wynne told her diary that she also had stockings versing with us. It is a sort of composer, a calmant partic-
to mend, “Of all miserable dull days this was the worst—I ularly useful, I believe, to the delicate and irritable spirits
mended 12 pair of Stockings holes as large as my head. . . .” of women.”
Miss Wordsworth recorded mending stockings four times, Jane Austen, Dorothy Wordsworth, Agnes Porter,
including one “very cold and cheerless morning” in 1802. Harriet Wynne, and their contemporaries likely viewed
their needlework in a similar vein.
Camaraderie while working
Work need not be a solitary pursuit. Te Honourable Jane Austin Society of North America member, Ann Buermann
Frances Pery Calvert, wife of a member of Parliament, Wass has a PhD in clothing and textile history from the University
wrote in 1804, “When we were all sitting at our work, of Maryland. She is the history/museum specialist at the Riversdale
talking of a hundred things, Miss Conyers came in with House Museum, built circa 1801–1807, and she makes her own
her work to pay us an evening visit.” Agnes Porter re- Regency-era clothing. She and her husband, Jim, live in Riverdale,
corded a “work-party” with her employer Lady Mary Tal- Maryland, in the history-rich Washington, D.C., metropolitan area.
bot and the visiting Jane King in 1802. Jane Austen wrote
from her brother Edward’s home in 1796, “We are busy References
making Edward’s shirts, and I am proud to say that I am All excerpts in this article are from diaries and letters that have
the neatest worker of the party.” One of the party, often a been published. Te grammar, spelling, punctuation, and capital-
man, might read aloud to entertain the women while they ization are maintained as published.
worked. William Wordsworth read his poems “Peter Bell” Blake, Alice Elizabeth Knox, ed. An Irish Beauty of the Regency.
and “Te Pedlar” to Dorothy as she mended stockings. London: John Lane, 1911.
In 1816, Mary Godwin worked while her lover read Don “British and Irish Women’s Letters and Diaries: 1500–1950.”
Quixote. One of Agnes Porter’s students, Lady Elizabeth Online database. Alexander Street Press.
http://alexanderstreet.com, 2008.
Talbot, wrote to her sister in 1799, “Miss Porter reads to
us part of every morning while we paint and work.” No Freemantle, Anne, ed. Te Wynne Diaries. Vol. 3. London: Ox-
ford University, 1940.
doubt Miss Porter read for their edification as well as en-
joyment. Hall, Edward, ed. Miss Weeton: Journal of a Governess 1811–
1825. London: Oxford University, 1939.
Lessons in needlework Hosford, David. “Exile in Yankeeland: Te Journal of Mary
Bagot, 1816–1819.” Records of the Columbia Historical Society
Lessons in needlework were an essential part of a girl’s
51 (1984), 30–50.
education. In 1802, Agnes Porter summarized the les-
Jones, Frederick L., ed. Mary Shelley’s Journal. Norman: Univer-
sons of “her darlings”—the daughters of Tomas and
sity of Oklahoma, 1947.
Lady Mary Talbot. “Our little studies go on—a little read-
Le Faye, Deirdre, ed. Jane Austen’s Letters. 3rd ed. Oxford: Ox-
ing, writing, work, the maps—flower magazine, etc., and
ford University, 1995.
conversation. . . .” Marjory Fleming, who was six years old,
Martin, Joanna, ed. A Governess in the Age of Jane Austen: Te
wrote to her mother in 1809 about one of her projects,
Journals and Letters of Agnes Porter. London: Hambledon,
“I’ve done a pair of garters for Isabella but one of them is 1998.
to Short. I will work it larger and work some for Nancy
Roden, Anne, Dowager Countess of. Te Diary of Anne, Count-
too.” At the time, she was staying with her cousin Isabella, ess Dowager of Roden. Dublin: R.T. White, 1870.
who was overseeing the child’s education.
Sidgwick, Frank, ed. Te Complete Marjory Fleming. New York:
Melesina Trench summed up the role of needlework in Oxford University, 1935.
women’s lives in a letter to a friend in 1811: “Your friend
Stocking, Marion Kingston, ed. Te Journals of Claire Clairmont.
argues not against the use of the needle, but the abuse of Cambridge, Massachusetts: Harvard University, 1998.
it . . . in general, I own myself a friend to what we females
Trench, Richard Chenevix, ed. Te Remains of the Late Mrs.
call work. It fills up the interstices of time, if I may use the Richard Trench. London: Parker, Son, and Bourn, 1862.
expression. It accords with most of the indoor employ-
Wordsworth, Dorothy. Te Grasmere Journal. New York: Henry
ments of men, who, if they care for us at all, do not much Holt, 1987.

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Regency and Empire:
BR I T I S H A N D F R E N C H FA S H IO N S
DURING THE NAPOLEONIC ERA
Meghan Fernandes
Y
ou may have noticed that
in Jane Austen’s novels, the
men are often dashing off
or coming back from some military
expedition or another. Tese sojourns
were often used as plot devices to
drive the more domestic story lines,
but the fact was that at that time,
Britain was in an on-and-off series
of wars with France, beginning with
the French Revolution and followed
by the Napoleonic Wars. Tis may
all sound as though it has nothing
whatever to do with fashion, but then,
as now, France was a world leader in
fashion and textiles. Britain’s disputes
with France meant that ladies such as
those depicted in Jane Austen’s novels
were distanced from French fashion
influences as well as French fabrics,
and vice versa. During the Regency
period, British and French fashions
were influenced by politics more than
perhaps any other era before.
ISTOCKPHOTO.COM/ZU_09
Fashion and war

In Jane Austen’s lifetime, France
went through one of the most tumul-
tuous periods in its history. Beginning
with the French Revolution in 1789,
Napoléon Bonaparte and his wife Joséphine de Beauharnais.

unrest continued through the French Revolution- it than outright imitation. Te luxury textile industry
ary Wars from 1792 through 1802 and the Napoleon- faltered, and those employed in the fashion industry
ic Wars from 1803 through 1815. When Jane Austen in France before the Revolution emigrated to London
was a child, there was a distinct contrast in British and where they could continue to practice their trade.
French fashions; the French aristocracy adored elabo- Te fashion for classically inspired, simply shaped,
rate, over-the-top garments and accessories in the style thin dresses in France gradually made its way into
of Marie Antoinette’s court, while the English preferred mainstream English fashion, though it met with some
a more subdued, outdoorsy appearance and were often resistance. Jane Austen herself described her hostess at
depicted in portraits as such, in the countryside with a dinner party in this period as being “nakedly dressed”
their dogs, for example. When the tides changed for in a muslin gown. Te oxymoron gives away how much
the aristocracy in France, ostentatious fashion was unless fabric was being used than in the previous decade.
popular to the point where it was literally dangerous to
be seen in elaborate, decorative clothing. Te French, Empires apart
with their newfound devotion to Enlightenment val- Once Napoleon Bonaparte came to power in France,
ues, developed an appreciation of the more functional first as a military leader and then as emperor, the two
English style of dress. In fact, before the Revolution, in countries were very much cut off from one another.
the 1760s, the French philosopher Jean-Jacques Rous- Englishwomen were unable to visit Paris, where they
seau noticed the relationship between the English style had previously garnered much of their knowledge of
of dress and its political style, which were both notably French fashions and fabrics. However, the English
practical, in contrast with the styles of dress and politics aristocracy had always held French fashion in high
in France, which were prone to excesses. Te style that regard, and the fact that their country was at war
eventually people in both countries wore often includ- with France didn’t change this. Tey continued to
ed a frock coat with breeches and riding boots for men, have access to French fashion plates, which were often
and redingotes (similar to Englishmen’s riding coats) reproduced in British fashion magazine. However, the
and woolen skirts for women. wars did have a huge effect on the textiles available in
the two countries. In 1806, Napoleon announced that
Enlightenment he would go to war with any European country that
Tis informality of dress continued as Enlightenment traded with England. Tis meant that silk was scarce
values took hold in Britain and France as well as across in the United Kingdom at this time, creating a shortage
Europe and America. For women especially, fashion of sewing thread. Te Clark brothers of Paisley in
took a classical turn, and simple dresses with clean lines, Scotland soon made up for this with the opening
called chemise gowns, became popular, signaling the of factories producing cotton thread, and cotton
beginning of the rise of the waistline. Tese high- or eventually replaced silk as the sewing thread of choice.
Empire-waisted dresses were the types of gown that we
most often encounter Jane Austen’s characters wearing. Industrial revolution
Fabrics available as a result of imperialism on the part of Te Clark brothers’ factory was just one example of
both Britain and France added to the popularity of these the high level of industrialization in Britain, which was
dresses. Tese included printed cottons, silk gauze, and far ahead of France, particularly in the field of textiles.
muslin often imported from India and the Middle East. Textile machinery in France in 1820 was found to have
lagged behind British machinery by three decades.
Sheer delight It didn’t help that cotton became as prohibitively
However, after the French Revolution and the expensive in France as silk had been in the United
execution of Louis XVI and Marie Antoinette in 1793, Kingdom, especially since the simple chemise dresses
when Jane Austen would have been about seventeen, that were so fashionable were designed for just that
British and French fashions slowly began to part ways type of fabric. But France soon began to compensate
again. Because of the unfashionableness of obvious for the lack of British cotton, and French industrialists
displays of wealth in France at this time, a shabbiness learned to specialize in muslin, percale, and calico.
inspired by the more informal British mode of dress Nevertheless, Napoleon’s wife Josephine was said to
was popular, although it was more an exaggeration of have worn English muslin; her daughter Hortense

recalled Napoleon’s anger when he discovered his wife’s succeeded in the spinning and weaving of cotton fabrics
dresses were made with the enemy’s fabric. in France, they still had to rely on foreign supplies of
raw cotton, despite attempts to grow it domestically.
Textile dictator
Napoleon, for the sake of his country’s economy Josephine’s shawls
in which textiles had previously been a large industry, Empress Josephine was considered the embodiment
decided to take the control of fashion into his own of taste and fashion in France in this period. Large
hands. Because the fabrics that were popular in fashion rectangular shawls that had been popular in Britain as
at the time often came from British- a result of their importation from India also
controlled territories and because became popular in France after
trade routes from others (including Josephine
J brought them from
France’s own rebelling colonies) Egypt when France had gone on
were compromised, he had to conquest there. She was orig-
come up with alternatives. inally unsure of them, tell-
Once emperor, he insisted ing her son that although
that the women of his she was impressed by
court rely on “fabric of their lightness and
French manufacture” warmth, she was not
for their clothes. At impressed by their de-
various stages of sign. She must have
his leadership, he changed her mind
created new rules about them at some
for appropriate point, though, as
dress, thus requiring she owned between
that new clothes be three and four hun-
bought regularly, dred shawls, and they
which in turn became her trade-
supported France’s mark. In fact, she had
textile industry. He so many shawls that
was known to publicly she found other cre-
and vocally reprimand ative uses for them, in-
women whom he noticed cluding having them
wearing the same dress made into overdresses, one
twice. He also made his of which can be seen in a
“She is tolerable,” illustration by Hugh Thomson from
displeasure known at the the 1894 edition of Pride and Prejudice (Dover
portrait of her in 1808 by An-
relatively skimpy, thin dresses [2005] unabridged republication of the edition toine-Jean Gros. She even wears
popular at the time. Once this published by George Allen, London, another shawl wrapped over her
1894).
was noted, women of his court wore shoulder and around her waist with this
less revealing dresses that required more dress. An illustration of a similar shawl-based
fabric—again a boost for the textile industry. At one outfit appeared in a French fashion magazine that same
point in his reign, Napoleon considered banning all year, showing just how big an effect Josephine’s tastes
cotton, for both economic as well as patriotic reasons. had on fashion.
However, his wife Josephine, considered to be the
epitome and source of fashionableness even before Military dress
their marriage, was against it, warning him that the So while issues of trade, war, and economics led to
French people wouldn’t react well to this decision. So a subtle disparity in dress and fabrics in Britain and
instead, Napoleon encouraged the production and use France, these issues also created a commonality in them.
of French-made linen and concentrated his best efforts In both countries, fashion was influenced by military
to produce cotton in France. Although the French dress, both out of necessity and out of patriotism.

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Women began accessorizing their simple dresses with
military-inspired trimmings such as braid, frogging, and
epaulets. In England, accessories were named for events
or heroes of the wars, including Mamluk turbans,
Wellington boots, Cossack mantles, and Trafalgar
dresses (white dresses trimmed with silver and named
after the battle). Cossack trousers also became popular,
inspired by the Russian czar’s visit to London in
1814 as one of Britain’s allies. Women’s spencers and
redingotes were popular in drab blues and grays, as they
were often made in the same material as men’s military
coats and resembled them in cut and style. “Drop cap M,” illustration by Hugh Thomson from the 1894 edition
of Pride and Prejudice (Dover [2005] unabridged republication of
After the wars ended in 1815, just two years before the edition published by George Allen, London, 1894).
Jane Austen’s death, British women once again flocked
to Paris to experience the latest fashions. Despite outfits, and she refers to countless admirals, captains,
Britain’s own rise to sartorial prominence during this and lieutenants. It is unlikely that Napoleon would have
period, particularly with the likes of Beau Brummell considered that one day documentation of his efforts to
championing English tailoring (not to mention boost the textile trade in his own country would be
Britain’s victory in war), the British still felt a continued often mentioned alongside the life and writings of a
deference to Parisian tastes. Women in both countries country Englishwoman. It is fascinating to consider that
continued to wear high-waisted, simple dresses inspired the exploits of this most famous of dictators influenced
by Enlightenment ideals, Greek sculpture, and, by the historic costume represented in the novels and films
extension, democracy for a little while yet, though of Jane Austen that we still enjoy today.
waistlines began to drop again soon after.
Meghan Fernandes is an American living in London, where she
A nation of shopkeepers teaches, designs, and writes about knitting and textiles. She has
Te industrial revolution that had begun early in a master’s degree in writing, gender, and culture from King’s
Britain meant that around the end of the Napoleon- College, University of London.
ic Wars, the country that the emperor had once called
“a nation of shopkeepers” had not only revolutionized Resources
the way things were made but also the way things were Ashelford, Jane. Te Art of Dress: Clothes and Society, 1500–
sold. At the end of Jane Austen’s life, what we would 1914. London: National Trust, 1996.
now recognize as the department store appeared, sell- Barreto, Cristina, and Martin Lancaster. Napoleon and the
ing not only fabrics but also accessories and trims that, Empire of Fashion, 1795–1815. Milan, Italy; Skira, 2010.
thanks to the Enlightenment’s ideas about individuality DeLorme, Eleanor P., and Bernard Chevallier, eds. Josephine
and the “self,” became important parts of attire. We see and the Arts of the Empire. Los Angeles: J. Paul Getty Mu-
an example of this attention to the details of dress in seum, 2005.
Emma, which Jane Austen began to write in 1814 and Goggin, Maureen Daly, and Beth Fowkes Tobin, eds. Material
in which the choosing of and accessorizing with rib- Women, 1750–1950: Consuming Desires and Collecting
bons is discussed more than once. Practices. Farnham, England: Ashgate, 2009.
Murray, Venetia. High Society: A Social History of the Regency,
The spinster and the emperor 1788–1820. London: Penguin, 1999.
Jane Austen’s life quite conveniently coincides with Ribeiro, Aileen. Te Art of Dress: Fashion in England and
this eventful period in European political history, and France, 1750 to 1820. New Haven, Connecticut: Yale Uni-
versity Press, 1995.
her works and letters are often referred to as a source of
information about how people of her class were Tozer, Jane, Sarah Levitt, and Mark Cobley. Te Fabric of
Society: A Century of People and their Clothes, 1770–1870.
influenced by war, trade, and popular fashion. In her
Carno, Powys, Wales: L. Ashley, 1983.
letters and books, she mentions sewing shirts for her
brother’s military uniform, her characters describe their

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Fashion Plates FROM THE
REGENCY ERA
by Susan Forgue
Magazines
"T
he first part of Mrs. Gardiner’s business on
her arrival, was to distribute her presents and Gossip and letters in Jane Austen’s time were not
describe the newest fashions.” the only means of learning about fashion. During the
—Pride and Prejudice, Jane Austen late eighteenth century, the Industrial Revolution was
rapidly expanding in the north of England, and this led
Have you ever wondered how, without television, to many more finished goods entering the marketplace.
radio, or Internet, news of the latest styles from Paris Increasingly, people wanted to shop for or hire people
and London reached the heroines portrayed in Jane to produce the merchandise for them instead of mak-
Austen’s novels? Te most common way to learn about ing these products at home. In response to this new
the current fashions was by word of mouth from
friends or relatives who lived in London or had recently
visited it. It was quite usual for those visiting London,
for business or pleasure, to carry with them a long A FEW OF THE MORE
shopping list from their extended family and to bring
FAMOUS LADIES’
back home news of what was currently in the shops.
MAGAZINES AVAILABLE
Letters DURING THE REGENCY ERA
Another way of learning about fashion was through
Publication Years Published
letters. Many of Jane Austen’s own letters to her sis-
ter, Cassandra, report on what was au courant, as in The Lady’s Magazine 1770–1832
this much-abbreviated quote from Tuesday 18 through The Gallery of Fashion 1794–1803
Wednesday 19 December, 1798: “I have been enabled Fashions of London and Paris 1798–1806
to give a considerable improvement of dignity to my The Lady’s Monthly Museum 1798–1829
Cap . . . I still venture to retain the narrow silver round
La Miroir de la Mode 1803–1804
it, put twice round without any bow, & instead of the
black military feather shall put in the Coquelicot one, La Belle AssemblŽe 1806–1836
as being smarter;—besides Coquelicot is to be all the Le Beau Monde 1806–1810
fashion this winter.” (Coquelicot was one of the most The Repository of the Arts 1809–1829
fashionable shades of red in the period.)

WWW.REG-ENCY.COM
WWW.ARCHIVE.ORG
Figure 1 Figure 2
These prints are from the January 1812 edition of Ackermann’s Repository of the Arts, depicting a Polish walking pelisse. The original text
(shown on page 26) has also been included, and as the description of the coat doesn’t mention a color, one can’t really blame the artist who
tried to pump up the visual on one of the plates.
rise in consumerism, publishers adapted the magazines serialized fiction, advice columns, theater and concert
already targeting women to include a new feature: fash- reviews, embroidery patterns, and the beautifully
ion prints. colored plates of current fashions.
As a publication, the ladies’ magazine can be found
as far back as the late seventeenth century, but it was Fashion plates
not until over a hundred years later that the first As color lithography was not introduced until
publications with fashion plates appeared. Te first twenty years after Jane Austen’s death, each of these
of these, Te Gallery of Fashion, published by Niklaus plates was handpainted by professional artists earning
von Heideloff appeared in 1794. Many other ladies’ some additional income. However, all those different
magazines soon followed. hands sometimes meant that these plates weren’t
Tese magazines contained much more than always consistent in their appearance.
fashion news in their monthly issues. Indeed, most of
the elements that we now associate with magazines Advertisements
such as Marie Claire and Vogue were already in place Looking at the original text (fig. 3), it’s fascinating
by the beginning of the nineteenth century. Each to read the details, but when you consider the entire
ladies’ magazine had exclusive special features; some text in total, you’ll see that it’s one big advertisement.
of these would include a biography of a noted woman, It includes the list of materials used, the name of the
a summary of current events, poetry, sheet music, tailor and the address of his shop, the lack of any

instructions or advice on
how to make the garment—
all of these are cues to urge
the reader to rush out to
this tailor or to take this
print and the description
to her local seamstress.
Te publishers of La Belle
Assemblée went a step
further and published an
additional supplement of
advertisements for cosmetics,
corsets, and other accessories.
But there were other
subtle methods used to
intensify the desire for
the acquisition of fashion.
When there were significant
events at court, the ladies’
magazines faithfully printed
detailed descriptions of all
the outfits worn by Queen
Charlotte, her daughters the
Royal Princesses, and the
aristocracy in attendance.
Also, despite the Napoleonic
Wars (1793–1815), which
prevented everyone from
traveling to France, news
of the fashions in Paris
also appeared in these
magazines. (We presume this
information was smuggled
in along with French luxury
goods such as silk and wine.)
It’s all an elegant invitation
to spend one’s pin money on
the very latest in fashion and
accoutrements.
Disseminating
information
WWW.ARCHIVE.ORG
Jane Austen never

mentions one of these
magazines in her letters or in
her novels, so we don’t know
if she ever purchased one Figure 3. To read more of The Repository of arts, literature, commerce, manufactures, fashions and
herself or, in the final way politics, visit www.archive.org/details/repositoryofarts712acke.
ladies learned about fashion,

shop listings
she read someone else’s copy. Te ladies’ magazines KNITTING CONNECTION

deliberately set themselves up to appeal to the website listings
to advertise here call Stephanie Griess at (877) 613-4630
aristocracy and gentry, not only in the content of their
articles but also in the purchase price. For example, an
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the weekly wage of the average housemaid of the time. www.OVNF.com
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As with other publications such as newspapers and Serving your fiber and processing needs for over 25 years.
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Jane Austen could poke fun at the ladies who lived SHOPS/MAIL ORDER
for fashion, for example, in Northanger Abbey: “Dress Abundant Yarn Online
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Under the
Corset:
THE HIDDEN
ACCOMPLISHME NTS
O F E A R LY
CROCHETERS
by Sarah Read
A
n accomplished lady in Jane Austen’s time almost certainly knew how to crochet and wore crocheted
items, as it was likely viewed as an element of well-rounded needlework skills. However, it was not neces-
sarily listed among one’s accomplishments the way that fine bobbin work or embroidery would have been.
I like to think, however, that crochet’s pretty practicality would have had an allure for Jane and her intelligent hero-
ines, and so I imagine them in the stories—engaged in conversations with hooks in hand.
Written patterns and inexpensive method of embellishing one’s garments

Crochet patterns did not begin to appear in print or home. Te Lady Catherine de Bourghs of the world
until 1824—seven years after Jane Austen’s death. Tis would have been draped with bobbin and needle lace,
suggests that crochet was growing in popularity during which was difficult to make and expensive to buy. I like
her lifetime, enough to begin attracting the attention of to think the Elinor Dashwoods would have been drawn
publishers, but was still part of an oral tradition, passed to the practicality of crochet.
down in needlework lessons at the knees of mothers,
grandmothers, and governesses. Early crochet patterns Change in industry
certainly do not look as though they are beginning pat- To crochet, all one needs is a few short lessons, some
terns for a new craft but reflect a level of difficulty and string, and a hook. Hooks were easily made from mate-
intricacy indicative of a craft that had been honed for rials found around the house: a sewing needle with the
generations before its print debut. From small circles of eye broken out, a piece of bent metal, or a plain stick
lace and delicate edges on handkerchiefs to elaborate- with a notch cut out. Cotton and silk threads were be-
ly designed bedspreads and tablecloths, crochet defined coming regularly mass-produced and less expensive,
itself as a versatile and elegant form of needlework. It thanks to the Industrial Revolution and the emerg-
was, in those times, a form of economy lace—a quick ing merchant classes introducing cotton, silk, and wool

mills to cities around the world. Textile manufactur- Lacy practicality
ing was no longer a cottage industry but one of the big- Te construction of these garments also took advan-
gest forces of industrialization, and cotton was being tage of the versatility of crochet, in that the fabric was
imported from the United States in quantities that sat- easily removed from the lace yoke and sewn to a new
urated the market. Tese factors contributed to the ac- piece should the fabric wear out or become stained.
cessibility and increasing popularity of crochet among New thread could also be joined to the crochet work,
all classes of society. On a very basic level, it gave wom- and the piece could be expanded to accommodate a
en the means to make beautiful things. More impor- growing girl, rather than having to make an entire new
tantly, it was empowering. piece of lace. Straps could be lengthened or shortened,
and the whole piece could be sewn to a new dress or
Crochet = empowerment shift in a new cut or style for an updated wardrobe.
At no point was the power of crochet felt more While enthusiasm for crochet fashion has waxed
keenly than during the reign of Queen Victoria, when and waned several times in the last century, I don’t be-
the potato famine devastated Ireland. Irish women, us- lieve things that are both pretty and practical ever go
ing fine cotton thread and hooks made from broken quite out of style. Camisoles have remained a staple lay-
sewing needles, crocheted motifs and sold them to other of women’s wardrobes, though the lacy trims on
er crocheters, who joined the motifs together into elab- them have become considered as disposable as the
orate lace pieces that were then sold to fashionable things themselves. Now that they are machine manu-
ladies around Europe. Queen Victoria herself wore factured, we’ve lost our investment in them. But crafters
these pieces and learned to crochet, raising the craft’s of all varieties have never forgotten the value of things
popularity in the fashion world. Tough this was after made by hand, and publications like Jane Austen Knits
Jane’s time, crochet’s ability to bring a bit of elegance to help to give historical craft enthusiasts a place to share
poor households and give women the means to support their modern versions of historically inspired fashions.
their families resonates with some of the more attrac- I, for one, feel inspired to completely redo my wardrobe,
tive qualities in many of Jane’s characters. from the inside out.
For many women who were not a part of these
struggles, crochet was an excellent means of making
pretty things. And, of course, it is not a long journey
from “I can make pretty things” to “I can make pretty
underthings,” and many crocheters did, as the frequen-
cy of camisette and chemisette patterns might indicate.
Booklets for adventurous needleworkers might even in-
clude patterns for matching sets of bedspreads, night-
caps, and nightgowns, for the ultimate in coordinated
postnuptials.
Into the modern era

Crocheted camisettes remained popular through
the nineteenth and twentieth centuries, appearing
with greatest frequency between 1895 and 1920. Pat-
terns for these could range from simple filet mesh, like
my design on page 30, to intricate continuous motifs
with gossamer edgings. Often the pieces consisted of
an over-bust band with straps that was sewn onto the
bodice of a nightgown or shirt made to wear under a
corset. Tey blended the modesty of covering one’s dé-
colletage with flirtatious openwork, the perfect transi-
tional piece for a young woman of marrying age.

Filet Camisette
Sarah Read
FINISHED SIZE 25¼ (27, 28¾, 30½, 32, 33¾)" overbust, HOOK SIZE 1 mm steel hook.
laced tightly. To fit 30¼ (32, 33¾, 35½, 37, 38¾)" with 5" gap NOTIONS Small yarn needle, 1 yd ¼" ribbon, white
at back. Garment is easily adapted to custom fit (see Notes). sewing thread and needle; 2 buttons (optional).
YARN Lizbeth thread size 20 (100% Egyptian cotton; 210 GAUGE 19 filet blocks (57 dc) and 24 filet mesh squares = 4".
yd [192 m]/7⁄8 oz [25 g]), snow white; 2 (2, 3, 3, 4, 5) balls.
Distributed by Handy Hands. NOTES
• Lace is made with double crochet filet mesh in a multiple
of three stitches + 1. Beg each row with ch 3.
• Pattern is easily custom-sized by adding or subtracting
repeats of the red box on chart.
Stitch Guide
Space: Ch 2, sk next 2 sts or ch, dc in next st.
Block: Dc in each of next 3 sts or 2 dc in next ch-2 sp, dc in

next st.
Picot: Ch 2, sl st in sc at base of ch.
Sc2tog: [Insert hook in next sc and pull up loop] 2 times, yo

and draw through 3 loops on hook.
BODICE
Ch 363 (387, 411, 435, 459, 483). Dc in 4th ch from hook
(3 skipped ch count as 1 dc), dc in each ch across—361 (385,
409, 433, 457, 481) dc. Beg and end where indicated for your
size, work Rows 1–25 of Filet chart, working each red rep
box 2 (3, 3, 4, 4, 5) times on each row.
Next row: (WS) Ch 3 (counts as dc), dc in each dc and ch
across—361 (385, 409, 433, 457, 481) dc. Fasten off.
STR AP S
Hold bodice to chest and mark best placement for straps.
With RS facing, join thread with sl st at strap location.
Row 1: (RS) Ch 3 (counts as dc), dc in next 12 dc, turn—
13 dc.
Rows 2 and 3: Ch 3, dc in next 3 dc, ch 5, sk 5 dc, dc in last
4 dc, turn.
Row 4: Ch 3, dc in each dc and ch across.
Rep Rows 2–4 until strap measures about 11 (12, 13, 14, 15,
16)" or desired length, ending with a RS row. Fasten off.
Rep for second strap, but do not fasten off.
ED GING
Rotate work 90 degrees to work in row-ends of last strap
The Filet Camisette was handswen to a muslin dress adapted from
Simplicity sewing pattern #2917. completed. Working 2 sc around each dc post, [work 3

27 (30½, 33¾)" 25¼ (28¾, 32)"
begin sizes begin sizes
25
23
21
19
17
15
13
11
9
7
5
3
1
sc, picot (see Stitch Guide)] down side of strap. At corner
juncture with lace piece, work sc2tog (see Stitch Guide), cont
in [3 sc, picot] around outside edge of entire piece, working
3 sc in each outside corner and sc2tog at each inside corner, sl
st in first sc to join. Fasten off.
FINISHING
Weave in ends. Steam block through wet cloth. Weave ¼"
ribbon through back, using filet mesh as eyelets. Try on
bodice and cinch ribbon to fit. Mark placement for sewing
straps to back or sew buttons to straps for fastening. Weave
ribbon through lace mesh on straps. Use matching sewing
thread and needle to sew bodice to garment.
Sarah Read is the project editor for Interweave Crochet. In her

spare time, she works at a local yarn shop and stalks flea mar-
pattern repeat
kets for bits of antique needlework to research and re-create.
Her son thinks that everything she makes is for him, including
lacy Georgian underwear.
27 (29.5, 32, 34.5, 37.5, 40) cm
11 (12, 13, 14, 15, 16)"
space (ch 2, dc)

4½"
11.5 cm
block (3 dc)
25¼ (27, 28¾, 30½, 32, 33¾)"
64 (68.5, 73, 77.5, 82.5, 85.5) cm
Key
25¼ (28¾, 32)" 27 (30½, 33¾)"
end sizes end sizes
Filet Chart

Country
A SENSIBLE
SHAWL
Designed by CELESTE
YOUNG. PAGE 38. YARN:
Brown Sheep Lamb’s
Pride Worsted.

LONGBOURN MITTS
Designed by DANIELLE CHALSON. PAGE 40.
YARN: Manos del Uruguay Silk Blend,
distributed by Fairmount Fibers.

DELAFORD WRAP
Designed by KIRSTI JOHANSON.
PAGE 42. YARN: Madelinetosh,
Tosh DK.

WALKING TO
MERYTON
BONNET
Designed by CATHY
TRIMBLE. PAGE 44.
YARN: Schaefer Yarn
Miss Priss.

MAIDEN FAIR BLOUSE
Designed by LAURA LYNCH. PAGE 46.
YARN: Rowan Cashsoft DK, distributed by
Westminster Fibers.
THE MISTRESS OF
DONWELL ABBEY SOCKS
Designed by KATIE FRANCESCHI. PAGE 49.
YARN: Yarn Love Elizabeth Bennet.
PRETTYISH
WILDERNESS SOCKS
Designed by RACHEL COOPEY. PAGE 51.
YARN: Shibui Knits Sock.

SWEETHEART BAG
Designed by DONNA KAY. PAGE 52.
YARN: Jamieson’s Shetland Spindrift,
distributed by Simply Shetland.

Country
A SENSIBLE SHAWL
Celeste Young
T his shawl grew out of a desire for a

warm, comfortable shawl that was
wide enough to cross the body and tie
in back, leaving the hands free to knit,
work in the garden, and around the
house. The Van Dyke border is adapted
from The Knitter’s Companion series
written by Mrs. Mee and Ms. Austin
throughout the 1800s. I updated it to
be knitted on and shaped with the
shawl—a pretty and practical edging.
Using a warm single-ply yarn, the shawl
is rustic and lovely—the perfect
balance of beauty and function.
FINISHED SIZE 50" wide excluding

I-cords and tabs (96" wide from I-cord
CO to I-cord BO); 27" deep from top
edge to bottom point.
YARN Brown Sheep Lamb’s Pride
Worsted (85% wool, 15% mohair;
190 yd [174 m]/113 g): #M178 warm
caramel, 5 skeins.
NEEDLES Size 8 (5 mm): 32"
circular (cir) and double-pointed (dpn)
for I-cord.
NOTIONS Markers (m); tapestry
needle. Van Dyke Border Key
GAUGE 17 sts and 32 rows = 4" in knit on RS; purl on WS
garter st. 19
purl on RS; knit on WS
17
bring yarn from back to front over needle to yo
NOTE 15
Te width and depth of this shawl is sl1 wyf-k2tog-psso
13
easily adjusted by knitting more or no stitch
11
fewer repeats of the Van Dyke Border
pattern. As written, this shawl has 9 14" 9" 50" 9" 14"
nine-and-a-half Van Dyke Border 7
pattern repeats along each edge, with 5
one repeat worked in the center. If 3
27"
using yarn of unknown yardage or
1

different gauge, work increases until Dec row: (RS) Work Van Dyke Border SEC OND TAB
yarn is forty-percent gone, then work chart to m, sl m, k1, ssk, knit to end— Row 1: (WS) Sl 1 st pwise wyf, p1, knit
center repeat, then work decreases for 1 shawl st dec’d. to last 2 sts, p2.
other side. Next row: (WS) Sl 1 st pwise wyf, p1, Row 2: Sl 1 st pwise wyb, knit to end.
knit to 2 sts before m, p2, sl m, work Rep Rows 1 and 2 until tab measures
FIRST I- C ORD in Van Dyke Border chart to end. Rep 8" from end of BO of border sts, ending
Using dpn, CO 4 sts. Work 4-st I-cord the last 2 rows until 20 reps of the after a WS row.
(see Glossary) for 14". Van Dyke Border chart are complete, Shape Tab:
ending after Row 20 of chart—24 sts Dec row: (RS) Sl 1 st pwise wyb, ssk,
FIRST TAB total; 10 border sts, 14 shawl sts. knit to last 3 sts, k2tog, k1—2 sts
Cont working back and forth on one BO border sts: (RS) BO 8 sts kwise, dec’d.
needle as follows: sl rem st on right-hand needle to left- Next row: Sl 1 st pwise wyf, p1, knit to
Row 1: (RS) K1, k1f&b, k2—5 sts. hand needle and k2tog, ssk, knit to last 2 sts, p2.
Row 2 and all WS rows: Sl 1 st pwise end—14 sts. Rep the last 2 rows 3 more times, then
wyf, p1, knit to last 2 sts, p2.
Row 3: Sl 1 st pwise wyb, k1, k1f&b,
k2—6 sts.
k1f&b, k2—8 sts.
k2, k1f&b, k2—10 sts.
k4, k1f&b, k2—12 sts.
k6, k1f&b, k2—14 sts.
Row 13: Sl 1 st pwise wyb, knit to end.
Row 14: Sl 1 st pwise wyf, p1, knit to
last 2 sts, p2.
Rep Rows 13 and 14 until tab mea-
sures 9" from end of I-cord, ending
after a WS row.
SHAWL
Note: Change to cir when sts no longer fit
comfortably on dpn. Do not join; work back
and forth in rows. With WS still facing,
pm, then use the backward-loop method
(see Glossary) to CO 10 sts—24 sts.
Inc row: (RS) Work Van Dyke Border
chart to m, sl m, k1, k1f&b, knit to
end—1 shawl st inc’d.
Next row: (WS) Sl 1 st pwise wyf, p1,
knit to 2 sts before m, p2, sl m, work
in Van Dyke Border chart to end. Rep
the last 2 rows until 9 reps of the Van
Dyke Border chart are complete, then
work 10 more rows, ending after Row
10 of chart—114 sts total; 5 border sts,
109 shawl sts. Next row: (RS) Work
Van Dyke Border chart to m, sl m, knit
to end. Next row: (WS) Sl 1 st pwise
wyf, p1, knit to 2 sts before m, p2, sl
m, work Van Dyke Border chart to
end. Rep the last 2 rows 9 more times,
ending after Row 10 of chart.

necessary to obtain the correct gauge.
NOTIONS Markers (m); waste yarn;
tapestry needle.
GAUGE 23 sts and 34 rnds = 4" in
lace patt.
Stitch Guide
Country
2x4 Rib: (multiple of 6 sts)

Rnd 1: *K2, p4; rep from * to end.
Rep Rnd 1 for patt.
LEF T MIT T
CO 30 (36, 42) sts. Pm and join in
the rnd, being careful not to twist sts.
Work 2×4 rib for 7 rnds. Dec rnd: [K2,
p4] two (two, three) times, k2, p1,
p2tog, p1, [k2, p4] two (three, three)
times—29 (35, 41) sts rem. Establish
work dec row once more—4 sts rem. patt: Beg with Rnd 1 of each of Lace
Do not turn work. chart and Ladder Panel chart, work
Lace chart over 12 (12, 18) sts, work
SEC OND I- C ORD Ladder Panel chart over 11 sts, work in
Slide sts back to dpn (with RS facing, Lace chart to end of rnd.
working yarn should be attached to the Work even as established until cuff
last st worked, hanging off the left side measures 7½ (8, 8¼)" from CO, ending
of work). Work I-cord for 14". Dec row: with Rnd 4 of patts.
[k2tog] twice—2 sts rem. Final row: Inc rnd: Work Rnd 1 of Lace chart over
K2tog—1 st rem. Break yarn and draw 12 (12, 18) sts, k2, p1, yo, k1, p1, work
through rem st. in Lace chart to end of rnd—30 (36,
42) sts. Next 3 rnds: Work Rnds 2–4 of
LONGBOURN MITTS Lace chart.
FINISHING
Danielle Chalson Establish thumb gusset: K1, pm, work
Weave in ends and block to finished
measurements. Tumb Gusset chart, pm, k1, work in
Celeste Young teaches knitting, crochet-

T hese long lace mitts were inspired
by the ivy that graces the outer
walls of Longbourn, the Bennet family
Lace chart to end of rnd. Cont to work
Rnds 2–20 (20, 24) of Tumb Gusset
ing, and spinning at Trumpet Hill . . .
home in Pride and Prejudice. The mitts
Fine Yarns & Accents in Albany, New
are worked in the round and feature a
York. She often knits while watching Lost
panel through which I-cords are laced
in Austen, which is almost as good as
to echo the vertical lace design. The
reading Jane Austen. She is thrilled to
I-cords can be omitted or thin satin
be pursuing level three of the Knitting
ribbon can be substituted for the
Guild of America (TKGA) Master Knitting
I-cords. The mitts are designed to be
Program. Find her online at www.celeste
worn with 1–1½" of negative ease.
youngdesigns.com and on www.ravelry
.com as celknits.
FINISHED SIZES Small (Medium,
Large): 5¼ (6¼, 7¼)" circumference
and 11¼ (12¼, 13¼)" long. Mitts
shown in Small size.
YARN Manos del Uruguay Silk Blend
(70% Merino, 30% silk; 150 yd [137 m]
/1¾ oz [50 g]): #3055 olive, 2 skeins.
Distributed by Fairmount Fibers.
NEEDLES Size 5 (3.75 mm): double-
pointed (dpn). Adjust needle size if

chart between markers—43 (49, 57) Establish patt: Beg with Rnd 1 of each inspiration. Follow her urban adventures
sts. Next rnd: K1, place 13 (13, 15) of Lace chart and Ladder Panel chart, and learn more about her designs at
thumb gusset sts on waste yarn, join work Lace chart over 18 sts, work www.makewisedesigns.com.
hand sts in rnd, k1, work in Lace chart Ladder Panel chart over 11 sts, work in
to end of rnd—30 (36, 42) sts. Lace chart to end of rnd.
Hand: Work even until hand measures Work even as established until cuff
1 (1½, 1½)" from top of thumb gusset, measures 8" from CO, ending with Rnd Key
ending with Rnd 4 of Lace chart. Work 4.
Lace knit
in 2×4 rib for 4 rnds. BO loosely in 2×4 Inc rnd: Work Rnd 1 of Lace chart over
rib. Break yarn. 18 sts, k2, p1, yo, k1, p1, k2, work in purl
3
Thumb: Replace 13 (13, 15) held thumb Lace chart to end of rnd—36 sts. Next yo
1
gusset sts onto 3 dpn, pick up and knit 3 rnds: Work Rnds 2– 4 of Lace chart. ssk
1 (1, 2) sts over gap, and join in the rnd. Thumb gusset, hand, and thumb: Work k2tog
14 (14, 17) sts. Work as foll: as for Left Mitt. Ladder
sl1-p2tog-psso
Rnd 1: P6 (6, 7), yo, ssk, p6 (6, 8).
Rnd 2: P6 (6, 7), k2, p6 (6, 8). FINISHING 3 ML M1LP
Rnd 3: P6 (6, 7), k2tog, yo, p6 (6, 8). Block pieces to measurements. 1 MR M1RP
Rnd 4: P6 (6, 7), k2, p6 (6, 8). I-cord: (Make 4) Work I-cord over 2 sts pattern rep
Sizes Small and Medium only: using 2 dpn until I-cord is about 22½ Thumb Gusset
Rnd 5: K2tog, p4, k2, p4, ssk—12 sts. (24, 24¾)" or three times the length of
Rnds 6–8: K1, p4, k2, p4, k1. the ladder panel. Fasten off. 23
MR ML
Size Large only: Weave in all loose ends. Lace each 21
Rnd 5: M1 (see Glossary), k1, p4, (k2, I-cord through one side of each ladder
MR ML 19
p4) twice—18 sts. panel, with enough length extending
Rnds 6–8: *K2, p4: rep from * to end to tie each pair of I-cords into bows at 17
MR ML
of rnd. each end. 15
All sizes: BO loosely in 2×4 rib. MR ML 13
Danielle Chalson traces the beginning of 11
RIGHT MIT T her love for Jane Austen back to a fateful MR ML
9
For Small and Large sizes, work as for trip to the local cinema with her sister
Left Mitt. in 1996 to see Emma with Gwyneth
MR ML 7
For Medium size: Paltrow; it’s still one of her all-time 5
MR ML
Work as for Left Mitt until 2×4 rib is favorite movies to watch and quote. 3
complete. Dec rnd: [K2, p4] 3 times, k2, Danielle lives and works in New York MR 1
p1, p2tog, p1, [k2, p4] twice—35 sts. City, a source of endless and timeless

Country
DELAFORD WR AP
Kirsti Johanson
I wondered about Elinor Ferrars (née

Dashwood) and how she’d mature in
her marriage with Edward. I chose a
lace pattern composed of a diamond
and leaf combination as I daydreamed
about Elinor’s life in the parsonage; the
diamond shape reminds me of the
window panes I have seen in buildings
from that time period. A cable spine
divides the back panel and runs around
all edges of the wrap, enveloping the
wearer in warmth and elegance with an
essence of home. Elinor would likely
knit and sew to keep her family clothed
and warm.
FINISHED SIZE 65¼" long (from

corner to side panel bind-off ) and 24¼"
wide while blocking (see Notes).
YARN Madelinetosh, Tosh DK
(100% Superwash Merino; 225 yd
[206 m]/3½ oz [100 g]): #983 oxblood,
5 skeins.
NEEDLES Size US 8 (5 mm): 32"
circular (cir) and double-pointed (dpn).
Adjust needle size if necessary to obtain
the correct gauge.
NOTIONS Markers (m); stitch holder
or waste yarn; tapestry needle; size H/8
(5 mm) crochet hook for cast-on.
GAUGE 17 sts and 21 rows = 4" in
Side Lace Panel relaxed; 13 sts and 17
sts = 4" in Side Lace Panel stretched for
blocking (see Notes).
NOTES
• When blocking, stretch work to
measurements on schematic. After
blocking wrap may relax to a smaller
measurement (about 52" long and

18½" wide). When checking gauge, Stitch Guide 24¼"
stretch to obtain the “stretched for Right Twist (RT): Knit 2nd st on left
blocking gauge.” needle in front of first st, then knit
• Wrap begins at the center of the first st; slip both sts off needle.
Center Lace Panel and increases into
a square. Two edges of the square are I-cord RT Bind-Off:
worked individually to form the length Row 1: RT, k2tog, sl 3 sts from right
65¼"
of the wrap, the other two edges are needle to left needle—1 st dec’d.
bound off creating the V-shape. Row 2: K2, k2tog, sl 3 sts from right
Lace Border Key

knit on RS;
5
purl on WS
needle to left needle—1 st dec’d.
3
yo Rep Rows 1 and 2 for patt.
1
ssk
Side Lace Panel k2tog CENTER PANEL

sl1-k2tog-psso
Using the Emily Ocker method (see
13 Glossary), CO 12 sts. Divide sts evenly
sl2tog-k1-p2sso
onto 4 dpns (3 sts on each dpn). Work
11
RT (see Stitch Rnds 1–22 of Center Lace Panel chart,
9 Guide)
then work Rnds 23–36 three times,
7 k1f&b working the rep sts as many times
5 no stitch as necessary between markers and
3 pattern rep changing to cir needle when necessary.
On the last rep of Rnd 36, end 1 st
1
before end of rnd—292 sts (73 sts
Side Panel Set-up between markers). Shift all m 1 st to the
right so they are in the center of each
3 RT. Keep the first 73 sts on the needle
1 and sl the rem 219 sts onto st holders or
waste yarn. Sts on needle include 1 st
Center Lace Panel (half of a RT) at each end of needle and
69 lace sts in the center. Cont working
35 back and forth on these 73 sts only.
33
31 FIRST SIDE PANEL
Work Rows 1–4 of Side Panel Set-up
29
chart—79 sts.
27
Work Rows 1–14 of Side Lace Panel
25 chart 11 times, then rep Rows 1–10
23 once more.
21 Work Rows 1–6 of Lace Border
chart—95 sts. BO all sts.
19
17
SEC OND SIDE PANEL
15 Return the next 73 held center panel
13 sts to needle and join yarn preparing to
11 work a RS row.
Work same as first side panel.
9
7
FINISHING
5 Return the rem 146 held center panel
3 sts to needle and join yarn preparing to
1 work a RS row. Work Rows 1 and 2 of

I-cord RT BO (see Stitch Guide) until
only 3 sts rem. Sl2tog-k1-p2sso and
fasten off. Weave in all ends.
Wet-block wrap, pinning out scallops
along side edges of side panels at Row
5 and at points along BO edge of each
side panel.
Country
Kirsti Johanson is a Jane Austen–loving

knitter and spinner. She teaches musical
theater and serves as the Artistic
Director for MadCAP, a school of the arts
in Madison, Wisconsin. Kirsti’s self-
published knitting booklets inspired by
the travels of Jane Austen’s characters,
Chawton Cottage Collection, are on www
.ravelry.com (kjerstie) and her website,
www.travellingstitchsisters.com.
While this quote from Northanger suggested, however, you may use your
Abbey holds a certain truth, I find that preferred cast-on method for knitting
if a woman does want to get a man’s in the round.
attention, she should wear a lovely hat.
In Jane Austen’s time, a lady would Stitch Guide
WALKING TO not leave the house without a bonnet Garter Ridge Pattern: (any number of
MERYTON BONNET gracing and protecting her head. In sts)
by Cathy Trimble winter, a hat shields the head from the Rnd 1: Sl 1 st pwise wyb, knit to end.
cold, and in the summer, a hat protects Rnd 2: Knit.
a lady’s skin from the sun. Rnd 3: Purl.
"I t would be mortifying to the
feelings of many ladies, could they
be made to understand how little the
FINISHED SIZE 19½ ( 21½, 23½)"
Rep Rnds 1–3 for patt.
heart of man is affected by what is

crown circumference. CROWN
YARN Schaefer Yarn Miss Priss Using MC and Emily Ocker method
costly or new in their attire; how little it
is biased by the texture of their muslin,
(100% Merino; 280 yd [256 m]/4 oz (see Glossary), CO 9 sts. Divide sts
and how unsusceptible of peculiar
[113 g]): Pomegranate (MC), 1 skein; evenly onto 3 dpns (3 sts on each dpn).
tenderness towards the spotted, the
thistle (CC) 1 skein. Pm and join in the rnd being careful
NEEDLES SIZE 8 (5 mm): 4 not to twist sts.
sprigged, the mull, or the jackonet.
Woman is fine for her own satisfaction
double-pointed (dpn). Adjust size if Set-up rnd: *K1f&b, pm; rep from * to
alone. No man will admire her the
necessary to obtain correct gauge. end—18 sts.
NOTIONS Markers (m); tapestry Next rnd: Knit.
more, no woman will like her the better
for it. Neatness and fashion are enough
needle. Inc rnd: *K1f&b, knit to m, sl m; rep
GAUGE 18 sts and 28 rows = 4" in from * to end—9 sts inc’d.
for the former, and a something of
shabbiness or impro-priety will be most
St st. Rep the last 2 rnds 7 (8, 9) more
endearing to the latter.”
times—90 (99, 108) sts.
Jane Austen, Northanger Abbey
NOTES Next rnd: Knit, removing all m except
• Bonnet is knitted top down. the beg of rnd m.
• Emily Ocker cast-on method is

RISE Row 6: Sl 1 pwise wyf, purl to 3 sts Row 8 (12, 12): Sl 1 pwise wyf, purl to
Dec rnd: Purl to the last st, sl 1 st, before m, turn. 3 sts before m, turn.
remove m, return slipped st to left Row 7: Sl 1 kwise wyb, knit to 4 sts Row 9 (13, 13): Sl 1 kwise wyb, knit to
needle and p2tog, pm—1 st dec’d. Rep before m, turn. 2 sts before m, turn.
Dec Rnd once more—88 (97, 106) sts Row 8: Sl 1 kwise wyb, knit to 4 sts Row 10 (14, 14): Sl 1 pwise wyf, purl to
rem. before m, turn. 2 sts before m, turn.
Work 21 rnds in Garter Ridge Pattern, Row 9: Sl 1 kwise wyb, knit to 5 sts Row 11 (15, 15): Sl 1 kwise wyb, knit to
ending with a purl rnd. before m, turn. end (center back m).
Row 10: Sl 1 pwise wyf, purl to 5 sts
BAND before m, turn. INNER BAND
Change to CC. Row 11: Sl 1 pwise wyf, purl to 6 sts Dec rnd: Knit to 2 before m, k2tog,
Rnd 1: Sl 1 pwise wyb, knit to end. before m, turn. knit to m, sl m, k2tog, knit to the
Rnd 2: K17, pm and knit to last 17 sts, Row 12: Sl 1 pwise wyf, purl to 6 sts end—2 sts dec’d.
pm, knit to end. before m, turn. Rep dec rnd 6 more times—94 (103,
Inc rnd: Knit to m, sl m, k1f&b, knit Row 13: Sl 1 kwise wyb, knit to 7 sts 112) sts rem.
to 1 st before m, k1f&b, sl m, knit to before m, turn. Knit 1 rnd.
end—2 sts inc’d. Rep inc rnd 6 more Row 14: Sl 1 kwise wyb, knit to 7 sts BO all sts securing the last st to the
times—102 (111, 120) sts. before m, turn. first BO st to complete the rnd. Break
MC yarn leaving a tail long enough to
OUTER BRIM Sizes M and L only: sew the BO edge to the WS of the CC
Change to MC. Row 15: Sl 1 kwise wyb, knit to 8 sts brim.
Next rnd: Rep inc rnd—104 (113, 122) before m, turn.
sts. Row 16: Sl 1 pwise wyf, purl to 8 sts FINISHING
Turning rnd: Sl 1 pwise wyb, purl to before m, turn. Fold inner brim and band to the
end. Row 17: Sl 1 pwise wyf, purl to 9 sts WS at the turning rnd, lining up the
Next rnd: Rep inc rnd—106 (115, 124) before m, turn. BO edge to the top row of the CC
sts. Row 18: Sl 1 pwise wyf, purl to 9 sts band. Te inner band should fold
Shape brim: Cont working back and before m, turn. naturally resulting in the turning
forth in short-rows as follows: row surrounding the edge of finished
Row 1: (RS) Knit to m, sl m, k1f&b, INNER BRIM bonnet. Sew the BO edge of the
knit to 1 st before m, k1f&b, turn— Sizes M and L only: bonnet to the top row of the CC band
108 (117, 126) sts. Row 1: (RS) Sl 1 kwise wyb, knit to 8 so the CC does not show. Note: Only
Row 2: (WS) Sl 1 kwise wyb, knit to 1 sts before m, turn. the MC will be seen on the inside of
st before m, turn. Row 2: (WS) Sl 1 pwise wyf, purl to 8 bonnet. Block hat as needed.
Row 3: Sl 1 kwise wyb, knit to 2 sts sts before m, turn.
before m, turn. Row 3: Sl 1 kwise wyb, knit to 7 sts
Row 4: Sl 1 pwise wyf, purl to 2 sts before m, turn. At the age of nine Cathy Trimble received
before m, turn. Row 4: Sl 1 pwise wyf, purl to 7 sts a learn-how-to-knit kit as a gift, and
Row 5: Sl 1 pwise wyf, purl to 3 sts before m, turn. that opened a door to the world of fiber
before m, turn. arts. Self-taught and a self-proclaimed
All Sizes: jack-of-all-trades and master of none,
Row 1 (5, 5): Sl 1 kwise wyb, knit to 6 Cathy enjoys spinning, felting, knitting,
sts before m, turn. crocheting, sewing, and any related fiber
Row 2 (6, 6): Sl 1 pwise wyf, purl to 6 arts. Cathy has a love of hats and is
sts before m, turn. proud to be a lifelong resident of Indiana
Row 3 (7, 7): Sl 1 kwise wyb, knit to 5 where she lives with her very tolerant and
sts before m, turn. supportive husband, Steve.
Row 4 (8, 8): Sl 1 pwise wyf, purl to 5
sts before m, turn.
Row 5 (9, 9): Sl 1 kwise wyb, knit to 4
sts before m, turn.
Row 6 (10, 10): Sl 1 pwise wyf, purl to
4 sts before m, turn.
Row 7 (11, 11): Sl 1 kwise wyb, knit to
3 sts before m, turn.

Rnd 4: *K2, p1, k2tog, yo, p1; rep from rnd. Change to larger needle. Work in
* around. St st for 3 (4, 4½, 5½, 6)". Leave yarn
Rep Rnds 1–4 for patt. attached and set aside.
BODY SLEE VES

With larger cir needle, CO 324 (360, With larger dpn, CO 96 (108, 120,
396, 444, 480) sts. Pm and join in 132, 144) sts. Pm and join in the rnd.
Country
the rnd, being careful not to twist sts. Work 4 rnds in St st for ruffle. Next
Work 4 rnds in St st for ruffle. Change rnd: *K2tog; rep from * around—48
to smaller cir needle. Next rnd: *K2tog; (54, 60, 66, 72) sts rem. Work 3 rnds
rep from * around—162 (180, 198, 222, in k1, p1 rib. Work 4 (4, 4, 5, 5) rnds
MAIDEN FAIR 240) sts rem. Next rnd: Knit. Work in St st. Next rnd: *K2, M1; rep from
BLOUSE Rnds 1–4 of Twisted Lace Rib (see
Stitch Guide) 15 (17, 18, 20, 21) times,
* around—72 (81, 90, 99, 108) sts.
Work 6 (7, 8, 9, 10) rnds even in St st.
Laura Lynch
then work Rnd 1 once more. Purl 1 Dec rnd: Dec 8 (9, 10, 11, 12) sts evenly
S lightly puffed sleeves, a low-cut

neckline, and empire styling under
the bust all evoke Regency-era fashion.
Like many of Jane Austen’s characters,
this little sweater has a sweet girlish-
ness as well as a hint of sophistication
and elegance. The lace rib of the
bodice is reflected in the detailing of
the raglan sleeve shaping and the easy
ruffles that adorn the edges.
FINISHED SIZE 32½ (36, 39½,

44½, 48)" bust circumference. Sweater
shown measures 32½".
YARN Rowan Cashsoft DK (57%
extrafine Merino, 33% acrylic micro-
fiber, 10% cashmere; 126 yd [115 m]
/1¾ oz [50 g]): #505 mist, 6 (7, 8, 10,
11) balls. Distributed by Westminster
Fibers.
NEEDLES Lower body—size 3 (3.25
mm): 24" circular (cir). Upper body and
sleeves—size 6 (4 mm): 24" cir and set
of double-pointed (dpn). Adjust needle
size if necessary to obtain the correct
gauge.
NOTIONS Markers (m); stitch
holders; tapestry needle; 1½–2 yd of ¼"
brown ribbon.
St st on larger needle; 24 sts and 30
rnds = 4" in twisted lace rib on smaller
needle.
Stitch Guide
Twisted Lace Rib: (multiple of 6 sts)
Rnds 1 and 3: *K2, p1; rep from * around.
Rnd 2: *K2, p1, yo, ssk, p1; rep from *
around.

spaced. Rep dec rnd every 4th rnd 2
more times—48 (54, 60, 66, 72) sts
rem. Work 4 (4, 4, 5, 5) rnds even in St
st. Place sts on holder.
YOKE
Join sleeves and body: K39 (44, 48, 54,
59) body sts, pm, k1, k1 sleeve st, pm,
knit to last sleeve st, pm, k1, k1 body st,
pm, k79 (88, 97, 109, 118) body sts, pm,
k1, k1 sleeve st, pm, knit to last sleeve
st, pm, k1, k1 body st, pm, k40 (44, 49,
55, 59) body sts—258 (288, 318, 354,
384) sts total; rnd beg at center front.
Shape raglan:
Rnd 1: *Knit to 2 sts before m, ssk, yo,
sl m, k2, sl m, k2tog; rep from * 3 more
times, knit to end of rnd—4 sts dec’d.
Rnd 2: *Knit to 2 sts before m, ssk, sl holder for front neck—167 (178, 189, more, k12 (12, 14, 16, 16), place next 27
m, k2, sl m, yo, k2tog; rep from * 3 203, 214) sts rem: 15 (16, 17, 18, 19) sts (30, 33, 39, 42) sts on holder for back
more times, knit to end of rnd—4 sts for each front, 65 (70, 75, 83, 88) sts neck, turn—2 sts dec’d.
dec’d. for back, 32 (34, 36, 38, 40) sts for each Row 2: *Purl to 2 sts before m, p2tog,
Rep last 2 rnds 2 (4, 6, 8, 10) more sleeve, 8 raglan sts. yo, sl m, p2, sl m, ssp; rep from * once
times—234 (248, 262, 282, 296) sts Row 1: *Knit to 2 sts before m, ssk, yo, more, purl to end—2 sts dec’d.
rem: 36 (39, 41, 45, 48) sts for right sl m, k2, sl m, k2tog; rep from * 3 more Row 3: *Knit to 2 sts before m, ssk, yo,
front, 73 (78, 83, 91, 96) sts for back, 37 times, knit to end—4 sts dec’d. sl m, k2, sl m, k2tog; rep from * once
(39, 42, 46, 48) sts for left front, 40 (42, Row 2: *Purl to 2 sts before m, p2tog, more, knit to 2 sts before holder, turn—
44, 46, 48) sts for each sleeve, 8 raglan yo, sl m, p2, sl m, ssp; rep from * 3 more 2 sts dec’d.
sts. Shape front neck: Note: Shaping is times, purl to end—4 sts dec’d. Row 4: *Purl to 2 sts before m, p2tog,
worked in rows. Rep last 2 rows 4 (5, 4, 3, 4) more yo, sl m, p2, sl m, ssp; rep from * once
Row 1: *Knit to 2 sts before m, ssk, yo, times—127 (130, 149, 171, 174) sts more, purl to end—2 sts dec’d.
sl m, k2, sl m, k2tog; rep from * 3 more rem: 10 (10, 12, 14, 14) sts for each Row 5: *Knit to 2 sts before m, ssk, yo,
times, knit to last 12 (13, 15, 18, 19) sts, front, 55 (58, 65, 75, 78) sts for back, sl m, k2, sl m, k2tog; rep from * once
turn—4 sts dec’d. 22 (22, 26, 30, 30) sts for each sleeve, 8 more, knit to 4 sts before holder—90
Row 2: *Purl to 2 sts before m, p2tog, raglan sts. Shape right back neck: (90, 106, 122, 122) sts rem: 8 (8, 10,
yo, sl m, p2, sl m, ssp; rep from * 3 more Row 1: *Knit to 2 sts before m, ssk, yo, 12, 12) sts for right front, 17 (17, 21, 25,
times, purl to last 11 (13, 14, 17, 19) sts, sl m, k2, sl m, k2tog; rep from * once 25) sts for right sleeve, 11 (11, 13, 15,
turn—4 sts dec’d.
Row 3: *Knit to 2 sts before m, ssk,
yo, sl m, k2, sl m, k2tog; rep from * 3
7 (7½, 8¼, 9½, 10)"
more times, knit to 2 sts before previous 18 (19, 21, 24, 25.5) cm 4¼ (4½, 4¾, 5, 5¼)"
unworked sts, turn—4 sts dec’d. ½" 11 (11.5, 12, 12.5, 13.5) cm
Row 4: *Purl to 2 sts before m, p2tog, 1.3 cm
yo, sl m, p2, sl m, ssp; rep from * 3 6¼ (7, 7¾, 8¾, 9½)"

more times, purl to 2 before previous 16 (18, 19.5, 22, 24) cm 9½ (10¾, 12, 13¼, 14½)"
unworked sts, turn—4 sts dec’d. 24 (27.5, 30.5, 35.5, 37) cm
Rep Rows 3 and 4 two more

11½ (13½, 14½, 16¾, 17¾)" 14½ (16¼, 18, 19¾, 21½)"
times—202 (216, 230, 250, 264) sts 29 (34.5, 37, 42.5, 45) cm body 37 (41.5, 45.5, 50, 54.5) cm
rem: 32 (35, 37, 41, 44) sts for right
front, 65 (70, 75, 83, 88) sts for back, 33 32½ (36, 39½, 44½, 48)"
(35, 38, 42, 44) sts for left front, 32 (34, 82.5 (91.5, 100.5, 113, 122) cm
36, 38, 40) sts for each sleeve, 8 raglan

sts. Place 17 (19, 20, 23, 25) unworked 27 (30, 33, 37, 40)"
sts from right front and 18 (19, 21, 24, 68.5 (76, 84, 94, 101.5) cm
25) unworked sts from left front on

15) sts for right back, 14 (14, 16, ssp; rep from * once more, purl to
18, 18) sts for left back, 22 (22, end—2 sts dec’d. Rep last 2 rows 5
26, 30, 30) sts for left sleeve, 10 (5, 7, 9, 9) more times—14 sts rem:
(10, 12, 14, 14) sts for left front, 8 2 sts each for front and back, 6 sts
raglan sts. for sleeve, 4 raglan sts. Next row:
Place 4 unworked right back Ssk, yo, sl m, k2, sl m, k2tog, k2,
neck sts onto back neck holder ssk, yo, sl m, k2, sl m, k2tog—2 sts
Country
—86 (86, 102, 118, 118) sts rem: dec’d. Next row: P1, sl m, p2, sl m,
8 (8, 10, 12, 12) sts for right ssp, p1, p2tog, yo, sl m, p2, sl m,
front, 17 (17, 21, 25, 25) sts for ssp—10 sts rem: 1 st each for front
right sleeve, 7 (7, 9, 11, 11) sts for and back, 4 sts for sleeve, 4 raglan
right back, 14 (14, 16, 18, 18) sts sts. Neck edging: Note: Remove all
for left back, 22 (22, 26, 30, 30) raglan m as you come to them. Next
sts for left sleeve, 10 (10, 12, 14, rnd: K10, pick up and knit 30 (34,
14) sts for left front, 8 raglan sts. 40, 48, 52) sts along left front neck
Row 6: Rep Row 4—84 (84, 100, to holder, M1, working across held
116, 116) sts rem: 7 (7, 9, 11, 11) sts, [k2, M1] 3 times, k23 (26, 29,
sts each for right front and back, 35, 38), M1, [k2, M1] 3 times, pick
16 (16, 20, 24, 24) sts for right up and knit 30 (34, 40, 48, 52) sts
sleeve, 14 (14, 16, 18, 18) sts for along right front neck, k10 right
left back, 22 (22, 26, 30, 30) sts shoulder sts, pick up and knit 16
for left sleeve, 10 (10, 12, 14, 14) sts along right back neck to holder,
sts for left front, 8 raglan sts. M1, working across held sts, [k2,
Next row: *Knit to 2 sts before m, M1] 2 times, k27 (30, 33, 39, 42),
ssk, yo, sl m, k2, sl m, k2tog; rep M1, [k2, M1] 2 times, pick up and
from * once more, knit to end— knit 16 sts along left back neck,
2 sts dec’d. Next row: *Purl to 2 pm, and join in the rnd—196 (210,
sts before m, p2tog, yo, sl m, p2, sl 228, 256, 270) sts total.
m, ssp; rep from * once more, purl Sizes 32½ (44½)" only:
to end—2 sts dec’d. Rep last 2 Next rnd: *K1, p2tog, k2tog, p1;
rows 4 (4, 6, 8, 8) more times—64 rep from * to last 4 sts, k1, p1, k1,
(64, 72, 80, 80) sts rem: 2 sts p1—132 (172) sts rem.
each for right front and back, 6 Sizes 36 (39½, 48)" only:
sts for right sleeve, 14 (14, 16, 18, Next rnd: *K1, p2tog, k2tog, p1;
18) sts for left back, 22 (22, 26, rep from * to end—140 (152,
30, 30) sts for left sleeve, 10 (10, 2 sts dec’d. 180) sts rem.
12, 14, 14) sts for left front, 8 raglan sts. Row 3: *Knit to 2 sts before m, ssk, yo, All sizes:
Next row: Ssk, yo, sl m, k2, sl m, k2tog, sl m, k2, sl m, k2tog; rep from * once Work 2 rnds in k1, p1 rib. Next rnd:
k2, ssk, yo, sl m, k2, sl m, k2tog—2 sts more, knit to end—2 sts dec’d. *K1, M1; rep from * around—264
dec’d. Next row: P1, sl m, p2, sl m, ssp, p1, Row 4: *Purl to 2 sts before m, p2tog, (280, 304, 344, 360) sts. Knit 1 rnd.
p2tog, yo, sl m, p2, sl m, ssp—60 (60, 68, yo, sl m, p2, sl m, ssp; rep from * once Remove m, k1, turn, sl st just worked to
76, 76) sts rem: 1 st each for right front more, purl to 4 sts before holder—42 right needle. With WS facing, loosely
and back, 4 sts for right sleeve, 14 (14, 16, (42, 50, 58, 58) sts rem: 12 (12, 14, 16, BO all sts kwise.
18, 18) sts for left back, 22 (22, 26, 30, 16) sts for back, 18 (18, 22, 26, 26) sts
30) sts for left sleeve, 10 (10, 12, 14, 14) for sleeve, 8 (8, 10, 12, 12) sts for front, FINISHING
sts for left front, 8 raglan sts. Break yarn. 4 raglan sts. Weave in loose ends. Block to measure-
Place 10 right shoulder sts on holder. Place 4 unworked left back neck sts ments. With ribbon threaded on a
Shape left back neck: With RS facing, onto back neck holder—38 (38, 46, 54, tapestry needle, beg at center front and
rejoin yarn after back neck holder. 54) sts rem: 8 (8, 10, 12, 12) sts each for working along base of neck edging,
Row 1: *Knit to 2 sts before m, ssk, yo, front and back, 18 (18, 22, 26, 26) sts weave ribbon in and out through spaces
sl m, k2, sl m, k2tog; rep from * once for sleeve, 4 raglan sts. Next row: *Knit between sts, ending at center front. Tie
more, knit to end—2 sts dec’d. to 2 sts before m, ssk, yo, sl m, k2, sl m, in bow.
Row 2: *Purl to 2 sts before m, p2tog, k2tog; rep from * once more, knit to
yo, sl m, p2, sl m, ssp; rep from * once end—2 sts dec’d. Next row: *Purl to 2 Laura Lynch spends her time knitting,
more, purl to 2 sts before holder, turn— sts before m, p2tog, yo, sl m, p2, sl m, reading, baking, and engaging in any

other creative pursuits that strike her of four or five double-pointed needles, Work even until piece measures 1½"
fancy at the moment. She thinks Mr. two circular needles, or one long from last inc rnd. Next rnd: Knit to m,
Knightley is infinitely preferable to Mr. circular needle for the Magic Loop sl m, k3, pm for gusset, knit to last 3
Darcy. Laura currently lives in New Jersey method. sts, pm for gusset, k3. Next rnd: *Knit
and can be found online at www to m, sl m, work Row 1 of Gusset chart
.tastefuldiversions.wordpress.com. Stitch Guide to m, sl m; rep from * once more. Work
Wrap 3: Wyb, sl 3 sts pwise to right through Row 15 of chart, then work
needle, bring yarn forward, sl 3 sts Rows 16–19 four times (or as needed
pwise to left needle, bring yarn back, sl for desired length), then work Row 20
3 sts pwise to right needle, bring yarn once—100 sts.
forward, sl 3 sts pwise to left needle, k1,
yo, k2tog. HEEL
Heel is worked back and forth over first
Left-leaning Wrap 3 (LL wrap 3): Sl 3 sts 36 sts of rnd. Shape heel using short-
onto cn, hold in front, p1, work Wrap 3 rows (see Glossary) as foll:
using sts on cn. Short-row 1: (RS) Knit to 1 st before m,
wrap next st, turn.
Right-leaning Wrap 3 (RL wrap 3): Sl Short-row 2: (WS) Purl to 1 st before
1 st onto cn, hold in back, Wrap 3, p1 m, wrap next st, turn.
from cn. Short-row 3: Work to 1 st before wrap-
THE MISTRESS OF ped st, wrap next st, turn.
DONWELL ABBEY TOE Rep Short-row 3 thirteen more times
SOCKS Using Judy’s Magic method (see Glos- —8 sts wrapped at each end of heel.
Katie Franceschi sary), CO 12 sts onto each needle—24 Next row: (RS) Knit to wrapped st,
sts total. Pm and join in the rnd. Next *knit wrap tog with wrapped st; rep
rnd: K12, pm, k12. Inc rnd: *K2, M1,
T hese agreeable socks are rife with
texture and intriguing details.
Cables weave and loop, flirting with
knit to 2 sts before m, M1, k2; rep from
* once more—4 sts inc’d. Rep inc rnd
from * 7 more times—no wrapped sts
rem on this end of heel. Turn work
(do not wrap). Next row: (WS) Purl
eyelets as they go. Worked toe up with every other rnd 11 more times—72 sts. to wrapped st, *purl wrap tog with
patterned arches, the Mistress of
Donwell Abbey socks are sensibly
designed and extravagantly
patterned—a fitting homage to Emma
Woodhouse. They are romantic enough
to suit an elegant lady yet comfy
enough for modern shoes.
FINISHED SIZE 8" foot circumfer-

ence and 7¾" long from back of heel to
tip of toe.
YARN Yarn Love Elizabeth Bennet
(65% superwash Merino, 20% bamboo,
15% silk; 195 yd [178 m]/1¾ oz [50 g]):
pizzaz, 2 skeins.
NEEDLES Foot and heel—size
1 (2.25 mm) (see Notes). Leg—size
3 (3.25 mm). Adjust needle size if
NOTIONS Markers (m); 2 cable
needles (cn); tapestry needle.
GAUGE 36 sts and 48 rnds = 4" in St
st on smaller needles.
NOTE
Tese socks can be worked using a set

wrapped st; rep from * 7 more times—
no wrapped sts rem. Turn work (do not
wrap).
HEEL FL AP
Short-row 1: (RS) Sl 1 wyb, knit to 1 st
before m, ssk (1 st from each side of m),
Country
replace m after ssk, turn—1 gusset st

dec’d.
Short-row 2: (WS) Sl 1 wyf, purl to 1
st before m, p2tog (1 st from each side
of m), replace m after p2tog, turn—1
gusset st dec’d.
Rep Short-rows 1 and 2 thirteen more
times—72 sts rem. Remove all m except
beg-of-rnd m.
LEG
Change to larger needles. Knit 1 rnd,
inc 8 sts evenly spaced—80 sts. Work
Rows 1–50 of Leg chart once over
all sts. Change to smaller needles.
Leg
51
49
47
45
43
Key Gusset
41
knit
19 39
purl 17 37
k1tbl 15 35
13 33
RLI (see Glossary), k1
11 31
k1, LLI (see Glossary)
9 29
pattern repeat 7 27
5 25
sl 1 st onto cn, hold in back, k1tbl, p1 from cn
3 23
sl 1 st onto cn, hold in front, p1, k1tbl from cn
1 21
sl 1 st onto cn, hold in back, k1tbl, k1tbl from cn
19
sl 1 st onto cn, hold in front, k1tbl, k1tbl from cn
17
wrap 3 (see Stitch Guide)
15
RL wrap 3 (see Stitch Guide)
13
LL wrap 3 (see Stitch Guide)
11
sl 1 st onto cn, hold in back, k3, p1 from cn
9
sl 3 sts onto cn, hold in front, p1, k3 from cn
7
sl 3 sts onto cn, hold in back, sl 1 st onto 2nd cn, hold in back, k3,
p1 from 2nd cn, k3 from cn 5
sl 3 sts onto cn, hold in front, sl 1 st onto 2nd cn, hold in back, k3, 3
p1 from 2nd cn, k3 from cn 1

Rep Row 51 of chart for 1½". Using a evenly on dpns. Pm, join in the rnd,
stretchy method, BO all sts. being careful not to twist sts. Work
Rnds 1–12 of Cuff chart—56 (64, 72)
FINISHING sts rem. Rib rnd: *P1, k1tbl; rep from
Weave in loose ends. *. Rep the last rnd 5 more times. Piece
should measure about 1½".
Katie Franceschi splits her time between
designing patterns and dyeing yarn for LEG
Yarn Love. She is especially addicted to Work Rnds 1–11 of Leg chart twice,
sock knitting. When she’s not knitting she then Rnds 1–7 once more.
enjoys spending time with her husband Leg rnd: *K2, [p1, k1tbl] twice, p1, k1;
and children, reading, watching films, and rep from *. Rep the last rnd 30 more
roasting coffee. times. Piece should measure about 6".
HEEL FL AP
Heel set-up: Remove m, k2 (1, 2), turn
st before gap, ssk, k1, turn.
work, heel flap will be worked back and
Row 4: (WS) Sl 1 pwise wyf, purl to 1
forth over 27 (33, 35) sts. Keep rem
st before gap, p2tog, p1, turn.
29 (31, 37) sts on needles or place on
Rep Rows 3 and 4 until all sts have
holder for instep. Work Rows 1–6 of
been worked—17 (19, 21) sts.
appropriate Heel chart for your size,
rep Rows 5 and 6 ten more times, then
rep Row 5 once more.
GUSSE T
Set-up rnd: Sl 1 pwise wyb, k16 (18,
20), pick up and knit 1 st in each
TURN HEEL
sl st along edge of heel flap; pm for
Cont on the heel sts:
beg of rnd. With needle 1: Work as
Row 1: (RS) Sl 1 pwise wyb, k15 (17,
PRETTYISH 19), ssk, k1, turn.
established across 29 (31, 37) instep
WILDERNESS SOCKS Row 2: (WS) Sl 1 pwise wyf, p6 (4, 6),
sts; with needle 2: Pick up and knit 1
st in each sl st along second side of heel
Rachel Coopey p2tog, p1, turn.
flap, k8 (9, 10) heel sts; with needle 3:
Row 3: (RS) Sl 1 pwise wyb, knit to 1
Knit to end of rnd.
T hese socks are inspired by the
garden surroundings in Pride and
Prejudice when Lady Catherine de
Bourgh comes to forbid Elizabeth
Bennet from marrying Mr. Darcy,
demanding they take a walk in the
“prettyish kind of a little wilderness on
one side of your lawn.”
FINISHED SIZE 7 (8, 9)" (will

stretch to fit foot circumference 7½
(8½, 9½)", leg length 6".
YARN Shibui Knits Sock (100%
superwash Merino; 191 yd [175 m]/1¾
oz [50 g]) # 7495 wasabi, 2 skeins.
NEEDLES Size 1½ (2.5 mm): set of
5 double-pointed (dpn). Adjust needle
size if necessary to obtain the correct
gauge.
St st.
CUFF
CO 168 (192, 216) sts, distribute sts

Cuff Leg
11 knit on RS;
11 purl on WS
9
9 purl on RS;
7 knit on WS
7
5 k1tbl on RS;
5 p1tbl on WS
3
Country
3 yo
1
1 k2tog
ssk
Heel
Heel (8" size) (7" and 9" sizes) sl2tog-k1-p2sso
SWEETHEART BAG
sl 1 pwise wyb on
5 5 RS, wyf on WS Donna Kay
3 3 no stitch
1 1 pattern repeat
C ould a reticule serve more than
one purpose? Perhaps Catherine
Morland carried such a bag—the heart-
Toe (8" size) Toe (7" and 9" sizes) shaped vine intertwined with leaves
and flowers carrying a subtle message
7 7
of one looking for love. Who will notice?
5 5 Certainly not someone as boorish Mr.
3 3 Thorpe, but perhaps the observant Mr.
1 1 Tilney?
The bag is worked circularly from
lace top to shaped bottom with a
Gusset rnd 1: With needle 1: Work k1—4 sts dec’d.
simple I-cord drawstring. The motif is
instep sts in patt; with needle 2: Ssk, Rnd 2: On needle 1: K2, work Rnd 8
adapted for knitting from a sixteenth-
knit to end of needle; with needle 3: of appropriate Toe chart for your size
century embroidery pattern.
Knit to last 2 sts, k2tog—2 sts dec’d. to last 2 sts on needle, k2; on needles 2
Gusset rnd 2: With needle 1: Work instep and 3: Knit.
sts in patt; with needles 2 and 3: Knit. Rep the last 2 rnds 9 (9, 12) more
Rep the last 2 rnds until 58 (62, 74) sts times—18 (22, 22) sts rem. Sl sts
rem; 29 (31, 37) sts on needle 1, 15 (16, from needle 3 onto needle 2 so there
19) sts on needle 2 and 14 (15, 18) sts are 9 (11, 11) sts on each of 2 needles.
on needle 3. Cut yarn, leaving a 12" tail. Graft sts
together using the Kitchener st (see
FO OT Glossary).
Cont working needle 1 instep sts as
established, and knitting sts on needles FINISHING
2 and 3 until piece measures 2½ (2½, Weave in ends and block.
3)" less than the desired finished length.
Toe set-up: With needle 1: Work Rachel Coopey of Worcester, United
appropriate Toe chart for your size; Kingdom, says that Jane Austen novels
with needles 2 and 3: Knit. Rep the last in the form of audiobooks and film
rnd until the Toe chart is complete. adaptations are her favorite knitting
accompaniment; she loves the costumes
TOE and the humor as well as the romance
Cont to rep Rnd 8 of Toe chart on and happy endings. In addition to this,
needle 1 sts and knitting sts on needles Rachel loves designing socks because
2 and 3 while working as follows: they can be intricate and detailed without
Rnd 1: On needle 1: K1, ssk, work rnd being overwhelming. Read more about
8 of appropriate Toe chart for your size her knitting and spinning adventures at
to last 3 sts on needle, k2tog, k1; on blog http://coopknit.blogspot.com.
needle 2: K1, ssk, knit to end of needle;
with needle 3: Knit to last 3 sts, k2tog,

FINISHED SIZE 14¾" circumfer- ED GING
ence and 7¾" tall. With color B and cir needle, CO 120
YARN Jamieson’s Shetland Spindrift sts. Pm and join in a rnd, being careful
(100% Shetland; 115 yd [105 m]/ 7⁄8 oz not to twist sts. Purl 1 rnd and break
[25 g]): #815 ivy (A), #140 rye (B), 1 ball color B. Join color A and work 11 rnds
each. Distributed by Simply Shetland. of Lace Edging chart.
NEEDLES Size 2 (2.75 mm): 16" Eyelet rnd: *K3, k2tog, [yo] twice, ssk,
circular (cir) and double-pointed (dpn). k3; rep from * around—12 eyelets. Next
Adjust needle size if necessary to obtain rnd: *K4, [k1, p1] into double yo, k4; rep
the correct gauge. from * around. Knit 1 rnd, purl 1 rnd.
NOTIONS Markers (m); tapestry Change to dpns. Dec rnd: *K10, k2tog,
needle. [k17, k2tog] twice, k10, pm for side; rep
GAUGE 31 sts and 35 rnds = 4" from * once more—114 sts rem.
measured over blocked bag chart.
BODY to measurements (see Notes). Using
NOTES Join color B and work Rnds 1–53 of color B and dpn, knit a 36" 2-st I-cord
• Te color pattern has some areas Bag chart, working the 57-st chart twice (see Glossary) and BO. Weave cord
with long stretches of one color. Weave per rnd. When chart is complete 62 through eyelets and sew CO and BO
in the stranded color in every five or six sts rem. Divide the sts of the front and ends together.
stitches in these areas. back onto 2 dpn, hold work with RS
• When the knitting is done use a damp tog and join using three-needle BO (see Donna Kay of Barrington, New Hampshire,
cloth and an iron on wool setting to press Glossary). is an instructor, knitwear designer, and
the colorwork on both sides to “full” the handspinner. Hr passion for traditional
knitting. Use the stream iron only (do FINISHING knitting led her to start her own company,
not press) lace portion of the bag. Weave in any loose ends. Block bag Tree of Life Designs. See more of her
work at www.treeoflifedesigns.co.
Bag
53 Key
51 with color A, knit
49
with color B, knit
47
45 k2tog in indicated
43 color
41
ssk in indicated
39
color
37
35 no stitch
33
31
29 Lace Edging
27 11
25 9
23
7
21
5
19
17 3
15 1
13 Key
11 knit
9
purl
7
5 yo
3
sl1-k2tog-psso
1

Manor

EMMA’S OVERDRESS
Designed by HEATHER ZOPPETTI. PAGE 60.
YARN: Swans Island, Natural Colors Collection.
KELLYNCH TUNIC
Designed by ANNE PODLESAK. PAGE 62.
YARN: Classic Elite Yarns Soft Linen.

REGENCY BOLERO
Designed by KAREN E. HOOTON. PAGE 66.
YARN: Filatura Di Crosa Zarina,
distributed by Tahki-Stacy Charles Inc.
BONNET AND WRISTLETS

FOR BABY EMMA
Designed by SUSAN STRAWN. PAGE 68.
YARN: Schoeller Stahl Fortissima, distributed by Skacel.

LYDIA’S TUNIC
Designed by ANNIKA BARRANTI.
PAGE 70. YARN:Louet Euroflax Sport.

HENRY
TILNEY’S VEST
Designed by DONNA KAY. PAGE 72.
YARN: Spud & Chloë Fine,
distributed by Blue Sky Alpacas.
MR. KNIGHTLEY’S
TEA COZY
Designed by ANNE BERK with
VALERIE ALLEN, ELAINE
BLATT, and STEPHANIE
FLEMING. PAGE 75. YARN:
O-Wool Classic Worsted.
TILNEY SOCKS
Designed by RACHEL
COOPEY. PAGE 76. YARN:
Lorna’s Laces Shepherd Sock.

FINISHED SIZES 28 (32, 36, 39¾,
43¾, 47¾, 51¾)" bust circumference,
buttoned. Vest shown measures 32".
YARN Swans Island Natural Colors
Collection (100% organic Merino;
525 yd [480 m]/3½ oz [100 g]): #YF120
winterberry, 2 (2, 2, 3, 3, 3, 3) skeins.
Manor
NEEDLES Cabled band—size 2

(2.75 mm); Body—size 4 (3.5 mm):
32" circular (cir). Adjust needle sizes if
EMMA’S OVERDRESS NOTIONS Cable needle (cn);
markers (m); stitch holders; tapestry
Heather Zoppetti
needle; one 7⁄8" button.
GAUGE 28 sts and 38 rows = 4" in St
T he overdress was the perfect

cover-up to change the look of a
simple day dress and to protect
st on larger needles.
NOTE
clothing from wear. Inspired by an
Because the border sts will vary in
overdress worn in the 1996 film
number depending on where you are in
adaptation of Emma, this design has
the chart, most st counts will be given
been shortened into a tunic-length
discounting the borders.
garment for modern women. Wear it
Next row: (WS) Work Row 1 of Border
over a shirt or sundress for added
Stitch Guide A chart, sl m, purl to last m, sl m, work
warmth and style. The cabled band is
Ribbing: Row 1 of Border B chart.
knitted first, and stitches are picked up
Row 1: Sl 1 pwise with yarn in front, * Next row: (RS) Work next row of
for both the bodice and skirt. A dainty
k1, p1; rep from * to last st, k1. Border B chart, sl m, knit to last m, sl
lace edging keeps the appearance
Rep Row 1 for patt. m, work next row of Border A chart.
feminine, and a pretty button closure
adorns the front.
Cont in patt as established, working
WAISTBAND in St st between border m, until piece
With smaller needles, CO 20 sts. Work measures 2" from pick up row, ending
Ribbing (see Stitch Guide) until piece with a WS row. Inc row: (RS) Work
measures 1". Work Rows 1–8 of Cable in patt to left side seam m, M1R (see
chart 40 (47, 54, 60, 67, 74, 81) times. Glossary), sl m, k1, M1L (see Glossary),
Work in Ribbing for ½" ending with a work in patt to 1 st before right side
WS row. Next row: (RS) Work 8 sts in seam m, M1R, k1, sl m, M1L, work in
patt, BO 4 sts, work in patt to end. Next patt to end—4 sts inc’d. Cont in patt,
row: (WS) Work 8 sts in patt, CO 4 sts, rep Inc Row every 10th row 5 more
work in patt to end. Work in patt until times—176 (204, 232, 256, 284, 312,
ribbing measures 1". BO all sts in patt. 340) sts between border m; 96 (110,
Waistband measures about 25 (29, 33, 124, 136, 150, 164, 178) back sts and
36¼, 40¼, 44¼, 48¼)". 40 (47, 54, 60, 67, 74, 81) sts each front.
Work 1 WS row in patt. Dec row: (RS)
SKIRT Work border sts in patt, sl m, k1, ssk,
With larger needles and RS of work in patt to 3 sts before border st
waistband facing, beg at CO end m, k2tog, k1, sl m, work border sts in
working bet ribbing on cable section patt—2 sts dec’d. Cont in patt, rep Dec
only, pick up and knit 4 sts for left front row every 4th row 3 more times, then
border, pm, 34 (41, 48, 54, 61, 68, 75) every RS row 10 times—148 (176, 204,
sts for left front, pm for left side seam, 228, 256, 284, 312) sts rem between
84 (98, 112, 124, 138, 152, 166) sts for border m; 26 (33, 40, 46, 53, 60, 67)
back, pm for right side seam, 34 (41, 48, sts rem each front. Next row: (WS)
54, 61, 68, 75) sts for right front, pm, Work right front border sts in patt, BO
4 sts for right front border—160 (188, 148 (176, 204, 228, 256, 284, 312) sts,
216, 240, 268, 296, 324) sts. work left front border sts in patt—only

border sts rem. Place right front border 324) sts. sts. Place right front, including border,
sts on st holder. Edging: Working on Next row: (WS) Work Row 1 of Border and back sts, including any m, on st
left front border sts, beg with next A chart, sl m, purl to last m, sl m, work holders.
row in patt, rep Rows 6–9 of chart 52 Row 1 of Border B chart.
(61, 71, 80, 90, 99, 109) more times, Inc row: (RS) Work next row of Border LEF T FRONT
ending after last RS row where chart B chart, sl m, knit to right side seam m, Next row: (WS) Work border sts in
will best match rem sts from right front M1R, sl m, k1, M1L, work in patt to 1 patt, sl m, work to end of row, pm, CO
border—st counts for both borders st before left side seam m, M1R, k1, sl 4 sts for sleeve border.
should match. Next row: (WS) K1, purl m, M1L, knit to last m, sl m, work next Note: Armhole shaping and neckline
to end. Use Kitchener st (see Glossary) row of Border A chart—4 sts inc’d. shaping are worked simultaneously. Read
to graft left front border to right front Cont in patt, rep Inc Row every 4th through foll section before proceeding.
border. row 6 more times—180 (208, 236, 260, Shape armhole at the beginning of the
288, 316, 344) sts between border m; row: (RS) Beg with Row 2, work next
BODICE 98 (112, 126, 138, 152, 166, 180) back row of Border B chart, sl m, k1, ssk,
With larger needles and RS of sts and 41 (48, 55, 61, 68, 75, 82) sts work in patt to end of row—1 st dec’d.
waistband facing, working bet ribbing each front. Work even in patt until Work armhole dec every other row 9
on cable section only, pick up and knit bodice measures 3½" from pick-up row. (9, 11, 11, 13, 13, 15) more times. At the
4 sts for right front border, pm, 34 (41, Separate fronts and back: (RS) Work same time, Shape neckline at the end
48, 54, 61, 68, 75) sts for right front, border sts in patt, sl m, [knit to 7 (7, 7, of the row: (RS) Work in patt to 3 sts
pm for right side seam, 84 (98, 112, 8, 8, 10, 10) sts before next m, BO 14 before neckline border m, k2tog, k1, sl
124, 138, 152, 166) sts for back, pm for (14, 14, 16, 16, 20, 20) sts] twice, work m, work neckline border sts in patt—
left side seam, 34 (41, 48, 54, 61, 68, 75) in patt to end—84 (98, 112, 122, 136, 1 st dec’d. Work neckline dec every 4
sts for left front, pm, 4 sts for left front 146, 160) back sts and 34 (41, 48, 53, (4, 4, 4, 2, 2, 2) rows 9 (14, 16, 18, 20,
border—160 (188, 216, 240, 268, 296, 60, 65, 72) sts each front minus border 24, 26) more times. 14 (16, 19, 22, 25,
Border A
2¾ (5¼, 5¾, 6¼, 6¾, 8, 8½)"
7 (13.5, 14.5, 16, 17, 20.5, 021.5) cm 9
3 (3¼, 3¾, 4¼, 4½, 4¾, 5¼)"
7
7.5 (8.5, 9.5, 11, 11.5, 12, 13.5) cm
1" for all sizes 5
2.5 cm for all sizes
7 (7½, 8, 8½, 8¾, 9, 9¼)" 6¼ (7¼, 8¼, 9¼, 10¼, 11¼, 12¼)" 3
18 (19, 20.5, 21.5, 22, 23, 23.5) cm 16 (18.5, 21, 23.5, 26, 28.5, 31) cm
1
3½" for all sizes 14 (16, 18, 19¾, 21¾, 23¾, 25¾)"
9 cm for all sizes 35.5 (40.5, 45.5, 50, 55, 60.5, 65.5) cm
1½" for all sizes
3.8 cm for all sizes 12 (14, 16, 17¾, 19¾, 21¾, 23¾)"
back 30.5 (35.5, 40.5, 45, 50, 55, 60.5) cm Border B
11" for all sizes
28 cm for all sizes
&
right 9
front 7
5
13¾ (15¾, 17¾, 19 ½ , 21¼, 23½, 25½)"
35 (40, 45, 49.5, 54, 59.5, 65) cm
3
Key
1
k on RS; p on WS sl 1 kwise wyb
p on RS; k on WS
Cable
bind off 1 st
yo pattern repeat 7
5
sl 1 pwise wyf
3
sl 3 sts onto cn, hold in back, k3, k3 from cn 1
sl 3 sts onto cn, hold in front, k3, k3 from cn

29) sts, minus border sts. BO all sts.
FINISHING
Neckline border: Put held sts from left
front on the needle. With WS facing,
rejoin yarn. Beg with next row in patt,
rep Rows 6–9 of chart 17 (20, 22, 23,
25, 27, 29) more times, ending with
Manor
same number sts as are on hold for

right front border. Use Kitchener st
(see Glossary) to graft border sts tog.
Underarm borders: With RS facing,
pick up and knit 4 sts along back
armhole border sts. Work border in
patt as established for 5 (5, 5, 6, 6,
7, 7) repeats of chart, ending after a
BO row. BO all sts. Using mattress st
26, 29) sts bet m after all dec complete. 4 sts for sleeve border, pm, work to (see Glossary), seam skirt border to
Work even in patt until piece measures end of row, pm, CO 4 sts for sleeve skirt BO edge. Seam neck border to
7 (7½, 8, 8½, 8¾, 9, 9¼)" from armhole border—92 (106, 120, 130, 144, neckline. Seam underarm borders to
BO, ending after a WS row. BO all sts 154, 168) sts. Shape armholes at the underarm BO edges and where they
except the neckline border sts, work beginning and end of row: Dec row: meet border BO from front armhole
across neckline border sts in patt and (RS) Beg with Row 2, work next row borders. Block to measurements.
place on st holder. of Border B chart, sl m, k1, ssk, work Weave in all loose ends. Sew button to
to 3 sts before next m, k2tog, k1, sl buttonband opposite buttonhole.
RIGHT FRONT m, beg with Row 6, work next row of
Put right front held sts on the needle. Border A chart—2 sts dec’d. Rep Dec Heather Zoppetti lives in Lancaster,
With WS facing, join yarn. Next row: row every other row 9 (9, 11, 11, 13, Pennsylvania, with her husband and yarn
(WS) CO 4 sts sleeve border, pm, work 13, 15) more times—64 (78, 88, 98, collection.
in patt to end of row. 108, 118, 128) sts bet m. Work even in
Note: Armhole shaping and neckline patt until piece measures 6 (6½, 7, 7½,
shaping are worked simultaneously. Read 7¾, 8, 8¼)" from armhole BO, ending
through foll section before proceeding. after WS row. Separate right and left:
Shape neckline at the beginning of the Next row: (RS) Work border sts in
row: (RS) Work neckline border sts, sl patt, sl m, work 19 (21, 24, 27, 30, 31,
m, k1, ssk, work in patt to end of row— 34) sts in patt, BO next 26 (36, 40, 44,
1 st dec’d. Work neckline dec every 4 48, 56, 60) sts, work in patt to end—
(4, 4, 4, 2, 2, 2) rows 9 (14, 16, 18, 20, 19 (21, 24, 27, 30, 31, 34) sts each side
24, 26) more times. At the same time, minus border sts. Place right back sts,
shape armhole at the end of the row: including border and m, on st holder.
(RS) Work in patt to 3 sts before sleeve
border m, k2tog, k1, sl m, beg with Row LEF T BACK
6, work next row of Border A chart—1 Shape neckline: Work 1 WS row even.
st dec’d. Work armhole dec every other Dec row: (RS) K1, ssk, work in patt to
KELLYNCH TUNIC
row 9 (9, 11, 11, 13, 13, 15) more times. end—1 st dec’d. Rep Dec Row every Anne Podlesak
14 (16, 19, 22, 25, 26, 29) sts bet m after other row 4 more times—14 (16, 19, 22,
all dec complete. Work even in patt until 25, 26, 29) sts, minus border sts. BO
piece measures 7 (7½, 8, 8½, 8¾, 9, 9¼)"
from armhole BO, ending after WS
all sts. A nne Elliot has always been one of
my favorite Jane Austen characters.
This simple but pretty and feminine top
row. Work neckline border sts in patt RIGHT BACK would be just the thing for the quiet,
and place on st holder, BO all rem sts. Put held sts on the needle. With WS self-possessed Anne to wear on a
facing, rejoin yarn. Shape neckline: pleasant day walking along the seawall
BACK Work 1 WS row even. Dec row: (RS) in Bath or perhaps strolling in the
Place 84 (98, 112, 122, 136, 146, 160) Work in patt to last 3 sts, k2tog, k1—1 gardens of the Elliot family home,
held back sts on the needle. With WS st dec’d. Rep Dec Row every other row Kellynch Hall.
facing, join yarn. Next row: (WS) CO 4 more times—14 (16, 19, 22, 25, 26,

This project incorporates several • When working the bodice neckline first 3 and last 3 sts in garter st, work
features of Regency-era style: a high decreases, as well as the armhole 14 (24, 24, 26, 26, 28) rows in St st.
waistline, small gathered sleeves, and a decreases, maintain stitches in the Dec row: (RS) K25 (19, 24, 26, 27, 29),
wrap-front closure. The sweater is lace pattern as much as possible. *k2tog, k43 (16, 21, 23, 26, 28); rep
knitted from the bottom up, all in one However, if there are not enough from * to last 26 (20, 25, 27, 28, 30)
piece to the armholes, back and forth stitches to work the widest part of sts, k2tog, k24 (18, 23, 25, 26, 28)—
on circular needles to accommodate the lace motif plus two knit stitches, 226 (242, 268, 292, 324, 348) sts rem.
the length, and then is divided for the work all stitches of the lace motif in Keeping first 3 and last 3 sts in garter
front and back. It features a band of stockinette stitch to prevent partial st, work 8 (8, 8, 8, 7, 7) rows in St st.
lace patterning around the bottom motifs along the decrease edges. Sizes 47½ (52)" only:
hem, tapering to the raised waistline. Dec row: K27 (29), *k2tog, k25 (27);
The bodice is knitted with a deep SKIRT rep from * to end—313 (337) sts rem.
V-neck with a simple eyelet lace CO 231 (255, 279, 303, 335, 359) sts. All sizes:
pattern. The front edges of the neckline Do not join. Knit 3 (3, 5, 5, 5, 5) rows. Work even until piece measures 13½
are trimmed with a simple knit-on picot Next row: (WS) K3, purl to last 3 sts, (14, 14, 14½, 14½, 15½)" from CO,
edging. The bodice closes with an k3. Set-up row: (RS) K3, work Border ending with a RS row.
interior set of snaps, and an exterior chart to last 3 sts, k3. Cont in patt until Eyelet waistband:
ribbon tie threaded through the eyelets Rows 1–20 of Border chart have been Row 1: (WS) Knit.
at the waistline. worked 2 (2, 3, 3, 3, 3) times. Keeping Row 2: K3, purl to last 3 sts, k3.
All sizes feature a generous overlap
built in at the overlapping front, so
there is some flexibility in sizing. For
the best fit, if your actual bust
measurement falls between two sizes,
choose the smaller size.
FINISHED SIZE 32 (35½, 40, 44½,

47½, 52)" bust circumference when
closed, with an 8–9" front overlap at the
waist. Cardigan shown measures 32".
YARN Classic Elite Yarns Soft Linen
(35% wool, 35% linen, 30% baby alpaca;
137 yd [125 m]/1¾ oz [50 g]): #2248
blue grotto, 7 (8, 9, 10, 12, 13) balls.
NEEDLES Size 5 (3.75 mm): 36" or
longer circular (cir). Adjust needle size
if necessary to obtain the correct gauge.
holders; tapestry needle; one ½" snap;
sewing needle and thread; about 2–3 yd
of 5⁄8" ribbon.
St st.
NOTES
• When working the skirt portion of
the sweater, knit the first three and
last three stitches of every row to
form a garter-stitch edging.
• When working the bodice portion
of the sweater, slip the first stitch of
every row purlwise. Tis will help to
create a smooth edge when picking
up stitches for the picot edging along
the neckline.

sts for back. Work 1 WS row—piece
measures about 2½ (2½, 3, 3½, 4¼, 5)"
from top of eyelet waistband. Shape
armhole: (RS) Sl 1 pwise, k1, ssk, *work
in patt to 4 (4, 4, 6, 6, 6) sts before m,
BO 8 (8, 8, 12, 12, 12) sts; rep from *
once more, work to last 4 sts, k2tog,
Manor
k2—190 (206, 228, 240, 257, 275) sts

rem: 55 (58, 63, 65, 69, 72) sts for each
front, 80 (90, 102, 110, 119, 131) sts for
back. Place right front and back sts on
holders. Left front: (WS) Sl 1 pwise,
work in patt to end. Cont neck shaping
as established, at beg of RS rows, BO
3 sts once, then BO 2 sts 2 times, then
BO 1 st 4 (4, 5, 5, 6, 6) times—37 (40,
Row 3: K3, purl to last 3 sts, k3. BODICE 43, 45, 47, 50) sts rem. Dec 1 st at neck
Row 4: K3, *k2tog, yo; rep from * to See Notes. Dec row: (RS) Sl 1 pwise, edge every RS row as established 19
last 5 (5, 5, 5, 4, 4) sts, k5 (5, 5, 5, 4, 4). k1, ssk, beg with st 2 (4, 1, 4, 4, 2) and (19, 22, 23, 25, 27) more times—18 (21,
Row 5: K3, purl to last 3 sts, k3. ending with st 19 (17, 20, 17, 18, 20) of 21, 22, 22, 23) sts rem. Work even until
Row 6: K3, p66 (69, 76, 82, 88, 94), pm chart, work Bodice chart to last 4 sts, armhole measures 7¾ (7¾, 8½, 9, 9½,
for right side, p88 (98, 110, 122, 131, k2tog, k2—2 sts dec’d. Rep Dec Row 10¼)", ending with a WS row. Shape
143), pm for left side, p66 (69, 76, 82, every RS row 8 (8, 10, 12, 14, 17) more shoulder: Next row: (RS) BO 6 (7, 7, 7,
88, 94), k3. times—208 (224, 246, 266, 283, 301) 7, 7) sts, work in patt to end—12 (14,
Row 7: Knit. sts rem: 60 (63, 68, 72, 76, 79) sts for 14, 15, 15, 16) sts rem. Work 1 WS
each front, 88 (98, 110, 122, 131, 143) row. Next row: (RS) BO 6 (7, 7, 8, 8,
8) sts, work to end—6 (7, 7, 7, 7, 8) sts
rem. Work 1 WS row. BO all sts. Right
front: With WS facing, rejoin yarn to
3¼ (3¾, 3¾, 4, 4, 4¼)" 4 (4¾, 6½, 7¾, 9, 10¾)"
8.5 (9.5, 9.5, 10, 10, 11) cm 10 (12, 16.5, 19.5, 23, 27.5) cm 55 (58, 63, 65, 69, 72) right front sts.
Cont neck shaping as established, at
¾" beg of WS rows, BO 3 sts once, then
2 cm
BO 2 sts 2 times, then BO 1 st 4 (4, 5,
7¾ (7¾, 8½, 9, 9½, 10¼)"
19.5 (19.5, 21.5, 23, 24, 26) cm
11 (11, 12¼, 13¼, 14½, 16)" 5, 6, 6) times—38 (41, 44, 46, 48, 51)
28 (28, 31, 33.5, 37, 40.5) cm
sts rem. Dec 1 st at neck edge every RS
row as established 20 (20, 23, 24, 26,
body 28) more times—18 (21, 21, 22, 22,
16 (17¾, 20, 22¼, 23¾, 26)"
23) sts rem. Work even until armhole
17 (17½, 18, 19, 19½, 21½)"
43 (44.5, 45.5, 48.5, 49.5, 54.5) cm 40.5 (45, 51, 56.5, 60.5, 66) cm measures 7¾ (7¾, 8½, 9, 9½, 10¼)",
ending with a RS row. Shape shoulder:
Next row: (WS) BO 6 (7, 7, 7, 7, 7) sts,
work in patt to end—12 (14, 14, 15,
15, 16) sts rem. Work 1 RS row. Next
42 (46¼, 50¾, 55, 61, 65¼)" row: (WS) BO 6 (7, 7, 8, 8, 8) sts, work
106.5 (117.5, 129, 139.5, 155, 165.5) cm
to end—6 (7, 7, 7, 7, 8) sts rem. Work
1 RS row. BO all sts. Back: With WS
5¾ (6½, 6½, 7, 7, 8)"
14.5 (16.5, 16.5, 18, 18, 20.5) cm facing, rejoin yarn to 80 (90, 102, 110,
119, 131) back sts. Cont in patt, BO 3
sts at beg of next 2 rows, then BO 2 sts
7¾ (7¾, 8½, 9, 9½, 10¼)" at beg of foll 4 rows—66 (76, 88, 96,
sleeve
19.5 (19.5, 21.5, 23, 24, 26) cm 105, 117) sts rem. BO 1 st at beg of next
3 (3½, 3½, 4, 4, 4½)" 15¾ (17½, 17½, 19¼, 19¼, 21)"
8 (8, 10, 10, 12, 12) rows—58 (68, 78,
7.5 (9, 9, 10, 10, 11.5) cm 40 (44.5, 44.5, 49, 49, 53.5) cm 86, 93, 105) sts rem. Work even until
armholes measure 7¾ (7¾, 8½, 9, 9½,
12½ (14¼, 14¼, 15¾, 15¾, 17½)"
31.5 (36, 36, 40, 40, 44.5) cm
10¼)", ending with a WS row. Shape

right shoulder: Next short-row: (RS) BO from * to last 3 sts, k3—86
6 (7, 7, 7, 7, 7) sts, work 12 (14, 14, 15, (96, 96, 106, 106, 116) sts.
15, 16) sts, turn, work to end—52 (61, Work even until piece
71, 79, 86, 98) sts rem. Next short-row: measures 3 (3½, 3½, 4,
(RS) BO 6 (7, 7, 8, 8, 8) sts, work 6 (7, 4, 4½)" from I-cord edge,
7, 7, 7, 8) sts, turn, work to end—46 ending with a WS row.
(54, 64, 71, 78, 90) sts rem. Next short- Shape cap: BO 4 sts at beg
row: (RS) BO 6 (7, 7, 7, 7, 8) sts; break of next 2 rows, then BO 3
yarn—40 (47, 57, 64, 71, 82) sts rem. sts at beg of foll 2 rows—
Shape left shoulder: With RS facing, 72 (82, 82, 92, 92, 102) sts
rejoin yarn. Work 1 RS row. Next short- rem. BO 2 sts at beg of next
row: (WS) BO 6 (7, 7, 7, 7, 7) sts, work 4 rows, then BO 1 st at beg
12 (14, 14, 15, 15, 16) sts, turn, work of foll 8 (8, 8, 10, 10, 12)
to end—34 (40, 50, 57, 64, 75) sts rem. rows—56 (66, 66, 74, 74,
Next short-row: (WS) BO 6 (7, 7, 8, 8, 8) 82) sts rem. Work even until
sts, work 6 (7, 7, 7, 7, 8) sts, turn, work piece measures 7¼ (7¼, 8, and knit 2 sts along left back neck, then
to end—28 (33, 43, 49, 56, 67) sts rem. 8½, 9, 9¾)" from I-cord edge, ending 1 st in each sl st along left front neck
Next short-row: BO 6 (7, 7, 7, 7, 8) sts; with a WS row. Sleeve cap gathers: to top of eyelet waistband. Purl 1 WS
break yarn—22 (26, 36, 42, 49, 59) sts Next row: (RS) K3, *k2tog, k2; rep row. Next row: (RS) BO 2 sts, *transfer
rem. Place sts on holder. from * to last 5 (3, 3, 3, 3, 3) sts, knit st from right needle to left needle; using
to end—44 (51, 51, 57, 57, 63) sts rem. the knitted method (see Glossary), CO
SLEE VES Purl 1 row. Next row: K2, *k2tog, k1; 2 sts, BO 4 sts; rep from * to end. If 1
CO 3 sts. Work I-cord (see Glossary) rep from * to last 3 (4, 4, 1, 1, 4) st(s), extra st rem, BO 1 st. Fasten off. Sew
for 69 (78, 78, 87, 87, 96) rows. BO 2 knit to end—31 (36, 36, 39, 39, 44) sts sleeve seams. Sew in sleeves, easing
sts, then pick up and knit 68 (77, 77, rem. Purl 1 row. BO all sts. gathered sleeve cap evenly to upper edge
86, 86, 95) sts along I-cord edge—69 of armhole. Weave in loose ends. Soak
(78, 78, 87, 87, 96) sts total. Sleeves are FINISHING sweater thoroughly in lukewarm water.
worked back and forth. Sew shoulder seams. Picot edging: Press or spin excess water out and then
Row 1: (WS) Purl. With RS facing and beg at top of eyelet lay flat to dry, pinning lace border at hem
Row 2: (RS) K3, *k1f&b, k8; rep from * to waistband, pick up and knit 1 st in each out firmly to show patt, and blocking
last 3 sts, k3—76 (86, 86, 96, 96, 106) sts. sl st along right front neck to shoulder, bodice to finished measurements. Make
Row 3: Purl. 2 sts along right back neck to held sts, sure picot edging lies flat. Allow to
Row 4: K3, *k1f&b, k6 (7, 7, 8, 8, 9); rep k22 (26, 36, 42, 49, 59) held sts, pick up dry thoroughly before unpinning. Try
sweater on and mark front of left bodice
Bodice Border at end of overlap. On WS of right front at
waistband, sew a snap at end of underlap
19 19
to help keep front edges closed. Sew
17 17 other side of snap to RS of left front at
15 15 front edge. Tread ribbon through eyelet
13 13 waistband, beg at right front edge and
11 11
ending at left front edge at beg of overlap.
9 9
Anne Podlesak of White Rock, New
7 7 Mexico, has been knitting since the
5 5 squirmy age of six. She was taught to knit
3 3 by her grandmother and great-aunt in an
attempt to get her to sit still. She didn’t
1 1
officially become an addict until she
was in high school, at which point there
st 20 st 4
was no looking back. She is the owner
st 19 st 2
st 18 st 1 of Wooly Wonka Fibers, as well as the
st 17 coeditor of the Ennea Collective (www
Key
.enneacollective.com), an online maga-
k on RS; p on WS k2tog sl 2 as if to k2tog, k1, p2sso zine for handspinners and knitters.
yo ssk pattern repeat

yarn and smaller needles for infant
sizes.
Stitch guide:
Lace Edging: (worked over 7 sts)
Note: Te number of sts increases to 9 on
Row 1, then dec back to 7 on Row 4.
Manor
Row 1: (WS) Sl 1 body st wyb from

right-hand needle to left-hand needle
and k2tog with next st on left-hand
needle, (k2tog, [yo] twice) twice, k2—9
REGENCY BOLERO sts; 1 st joined from body.
Karen E. Hooton Row 2: (RS) K3, p1, k2, p1, k1, ssk
last st of edging tog with next body st,
turn—1 st joined from body.
I have a favorite ceramic ornament
depicting a young lady with a very
elegant Regency gown and a parasol.
Row 3: Sl 1 body st wyb from right-
hand needle to left-hand needle and
The shape of the sleeves on the gown k2tog with next st on left-hand needle,
was the inspiration for this perfect k2tog, [yo] twice, k2tog, k4—1 st
M1R, k2—1 st inc’d.
accessory to a strapless evening dress joined from body.
Next row: Purl.
or a shoestring summer top. Row 4: BO 2 sts (1 st rem on right-hand
Rep last 2 rows 7 (8, 9, 10, 11, 12, 13)
needle), k3, p1, k1, ssk last st of edging
more times. Rep Inc Row once more—
FINISHED SIZE: 29 (32, 35, 38, tog with next body st, turn—7 sts rem;
69 (76, 83, 90, 97, 104, 111) sts.
40½, 43½, 46½)" bust circumference. 1 st joined from body.
Set-up row for increase of puff sleeve:
Shown in size 32" on little girl and size Rep Rows 1–4 for patt, joining 1 st
(WS) P9 (10, 11, 12, 13, 14, 15) for
38" on mom. from body on each row.
front, pm, p40 (44, 48, 52, 56, 60, 64)
YARN: Filatura Di Crosa Zarina
for sleeve, pm, p20 (22, 24, 26, 28, 30,
(100% superwash Merino, 180 yd [165 RIGHT SIDE
32) for back.
m]/1¾ oz [50 g]): #1401 white 2, (2, 2, With larger needles and using
Sleeve inc row: (RS) K20 (22, 24, 26,
3, 3, 4, 4) balls. Distributed by Takhi- provisional method (see Glossary), CO
28, 30, 32) sts, sl m, [RLI, k1] 40 (44,
Stacy Charles Inc. 40 (44, 48, 52, 56, 60, 64) sts for center
48, 52, 56, 60, 64) times, sl m, k7 (8, 9,
NEEDLES: Size 4 (3.5 mm). Size back. Work toward right shoulder, beg
10, 11, 12, 13) sts, M1R, k2—110 (121,
2 (3.0 mm) 16" circular (cir). Adjust with a WS row.
132, 143, 154, 165, 176) sts.
needle size if necessary to obtain the Row 1: (WS) Purl.
Note: Row count here should be the same
correct gauge. Row 2: Knit.
as number of sts at center back CO.
NOTIONS: Markers (m); stitch Work in St st for 18 (20, 22, 24, 26, 28,
Next row: Purl.
holders; waste yarn; tapestry needle, 30) more rows, ending with a RS row.
Next row: (RS) Knit to 3 sts before first
row counter, size F (3.75 mm) crochet Next row: Using cable method (see
m, k2tog, k1, sl m, k1, M1L, knit to 1 st
hook. If desired, a narrow ¼" ribbon Glossary), CO 20 (22, 24, 26, 28, 30,
before next m, M1R, k1, sl m, k1, ssk,
can be threaded through the eyelet lace 32) sts for the right front, purl to end—
knit to last 2 sts, M1R, k2—1 st inc’d
border and a small bow placed on each 60 (66, 72, 78, 84, 90, 96) sts.
at right front edge.
front slant. Right Front shaping:
Next row: Purl.
GAUGE: 22 sts and 33 rows = 4" in Inc row: (RS) Knit to the last 2 sts,
Rep last 2 rows 8 (9, 10, 11, 12, 13, 14)
St st on larger needles.
4¾ (5¼, 5¾, 6¼, 6¾, 7¼, 7¾)"
NOTES 12 (13.5, 14.5, 16, 17, 18.5, 19.5) cm
• Bolero is worked from the center 2¼ (2½, 2½, 3, 3¼, 3½, 3¾)"
5.5 (6.5, 6.5, 7.5, 8.5, 9, 9.5) cm 3¾ (4, 4¼, 4¾, 5, 5½, 5¾)"
back toward the armholes beginning 9.5 (10, 11, 12, 12.5, 14, 14.5) cm
with a provisional CO. Te length is
the number of sts, and the width is 5½ (6, 6½, 7¼, 7¾, 8¼, 8¾)"
14 (15, 16.5, 18.5, 19.5, 21, 22) cm 9 (9¾, 10¾, 11½,
the number of rows. It is important
12½, 13½, 14½)"
to get the gauge correct as there are 1¾ (2, 2¼, 2¼, 2½, 2¾, 3)" 23 (25, 27.5, 29,
no measurements as you work, only 4.5 (5, 5.5, 5.5, 6.5, 7, 7.5) cm 31.5, 34.5, 37) cm
row counts.
14½ (16, 17½, 19, 20¼, 21¾, 23¼)"
• Try working the bolero with finer 37 (40.5, 44.5, 48.5, 51.5, 55, 59) cm

more times—119 (131, 143, 155, 167, more times—69 (76, 83, 90, 97, 104, Dec across base of sleeve:
179, 191) sts. 111) sts. Next row: (RS) K2, M1L, knit to 3 sts
Dec across base of sleeve: Set-up row for increase of puff sleeve: before next m, k2tog, k1, sl m, [ssk] 49
Next row: (RS) Knit to 3 sts before m, (WS) P20 (22, 24, 26, 28, 30, 32) for (54, 59, 64, 69, 74, 79) times, sl m, k1,
k2tog , k1, sl m, [ssk] 49 (54, 59, 64, back, pm. P40 (44, 48, 52, 56, 60 64) ssk, knit to end—69 (76, 83, 90, 97,
69, 74, 79) times, sl m, k1, ssk, knit to for sleeve, pm, p9 (10, 11, 12, 13, 14, 15) 104, 111) sts rem; 10 (11, 12, 13, 14, 15,
last 2 sts, M1R, k2—69 (76, 83, 90, 97, for front. 16) sts for front and 49 (54, 59, 64, 69,
104, 111) sts rem; 10 (11, 12, 13, 14, 15, Note: Row count here should be the same 74, 79) sts bet m for sleeve, and rem 10
16) sts for body and 49 (54, 59, 64, 69, as number of sts at center back CO. (11, 12, 13, 14, 15, 16) sts for back. Purl
74, 79) sts bet m for sleeve. Purl 1 row. Sleeve inc row: K2, M1L, knit to m, sl 1 row.
Next row: K10 (11, 12, 13, 14, 15, 16) m, [RLI, k1] 40 (44, 48, 52, 56, 60, 64) Next row: K10 (11, 12, 13, 14, 15, 16)
sts, transfer the sts just worked to a st times, sl m, knit to end—110 (121, 132, sts, transfer the sts just worked to a st
holder for underarm seam, remove m. 143, 154, 165, 176) sts. holder for underarm seam, remove m.
Using the cable method, CO 7 sts for Next row: Purl. Using the cable method, CO 7 sts for
lace edging on sleeve. Next row: (RS) K2, M1L, knit to 3 sts lace edging on sleeve.
Next row: K6, ssk last edging st tog with before m, k2tog, k1, sl m, k1, M1R, Next row: K6, ssk last edging st tog with
first sleeve st, turn. Work Rows 1–4 of knit to one st before next m, M1L, k1, first sleeve st, turn. Work Rows 1–4
Lace Edging (see Stitch guide) until all sl m, k1, ssk, knit to end of row—1 st of Lace Edging until all sleeve sts have
sleeve sts have been worked tog with inc’d at left front edge. been worked tog with edging. Knit
edging. Knit rem 10 (11, 12, 13, 14, 15, Next row: Purl. rem 10 (11, 12, 13, 14, 15, 16) sts from
16) sts from other side of m to end of Rep last 2 rows 8 (9, 10, 11, 12, 13, 14) other side of m to end of row, removing
row, removing m. Join the underarm more times—119 (131, 143, 155, 167, m. Join the underarm seam as foll: Sl
seam as foll: Sl sts from st holder back 179, 191) sts. sts from st holder back onto an empty
onto an empty needle. With RS of
work together and working toward
lace edge, use a three-needle BO to join
the 10 (11 12, 13, 14, 15, 16) body sts,
cont to BO lace edging by knitting into
the sts on needle while picking up the
corresponding loop from the original
7 CO of lace edge, and cont BO. Break
yarn and fasten off.
Note: Tere may be 7 or 9 sts left at the
end of last edging row. If there are 9 sts
left, BO the last 2 sts after joining the first
7 with the CO edge; this will keep the
continuity of indent at the edge of lace.
LEF T SIDE
Undo the provisional CO and place the
40 (44, 48, 52, 56, 60, 64) sts on larger
needle. Work toward left shoulder, beg
with a RS row.
Row 1: (RS) Knit.
Row 2: Purl.
Work in St st for 18 (20, 22, 24, 26, 28,
30) more rows, ending with a WS row.
Next row: Using cable method, CO 20
(22, 24, 26, 28, 30, 32) sts for the left
front, knit to end—60 (66, 72, 78, 84,
90, 96) sts.
Left Front shaping:
Next row: (WS) Purl.
Inc row: K2, M1L, knit to end—1 st inc’d.
Rep last 2 rows 8 (9, 10, 11, 12, 13, 14)

needle. With RS of work together and dates, at least, to the early nineteenth
working toward lace edge, use a three- century. The shape of the baby bonnet
needle BO to join the 10 (11 12, 13, 14, resembles the medieval coif, a modest
15, 16) body sts, cont to BO lace edging cap with ties that made a practical
by knitting into the sts on needle while and versatile head covering often worn
picking up the corresponding loop from beneath a soldier’s military helmet or
the original 7 CO of lace edge, and cont lady’s mop cap. The coif was made
Manor
BO. Break yarn and fasten off. from woven cloth, but knitting became
Note: Tere may be 7 or 9 sts left at the widespread in Britain during the late
end of last edging row. If there are 9 sts Middle Ages and proved well-suited
left, BO the last 2 sts after joining the first for better fit and comfort in stockings
7 with the CO edge; this will keep the BONNET AND and caps. A passion for white work
continuity of indent at the edge of lace. WR ISTLETS FOR appeared after the French Revolution
BABY EMMA and continued throughout the Regency,
FINISHING Victorian, and Edwardian eras.
Susan Strawn
Lace edge: Using smaller needles and
beg at the right front bottom seam with FINISHED SIZES Newborn (6
RS facing, pick up and knit 40 (44, 48,
52, 56, 60, 64) sts up right front slope,
E mma Woodhouse of Jane Austen’s
Emma was born to a life of wealth
and privilege, a fortunate child indulged
months–1 year).
Bonnet: About 5 (6¼)" wide and 5½
20 (22, 24, 26, 28, 30, 32) sts along (6¾)" tall.
by an affectionate father. Emma’s
right front CO, 30 (34, 36, 40, 42, 46, Wristlet: About 3¼ (4¼)" circumference.
mother may have knitted such finery as
48) sts across back neck, 20 (22, 24, YARN Schoeller Stahl Fortissima
this white baby bonnet for her precious
26, 28, 30, 32) sts along left front CO, Socka 100 (75% superwash wool, 25%
infant. Her baby’s lovely and happy
40 (44, 48, 52, 56, 60, 64) sts down polyamide; 458 yd [420 m]/3½ oz
little face shone from the delicate lace
left front slope, 94 (102, 112, 120, 130, [100 g]): #2001 white, 1 skein.
pattern handknitted using fine steel
138, 148) sts along bottom of back— Distributed by Skacel.
needles and laceweight yarn, perhaps
244 (268, 292, 316, 340, 364, 388) sts. NEEDLES Size 1 (2.25 mm) set of
in cotton as a christening cap. When
With RS facing, CO 7 sts. Next row: 5 double-pointed (dpn). Adjust needle
Emma grew to young womanhood, she
K6, ssk last edging st tog with first sizes if necessary to obtain the correct
had no need or desire to marry, and
picked up st from body. Work Rows gauge.
she did not anticipate babes of her
1–4 of Lace Edging 61 (67, 73, 79, 85, NOTIONS Stitch markers (m);
own. Instead, she saved the delicate
91, 97) times—7 sts rem and all picked tapestry needle; 3⁄8" satin ribbon, 1 yd.
bonnet for her niece and namesake,
up body sts have been joined to edging. GAUGE 34 sts and 56 rows = 4" in
baby Emma.
Pick up 7 sts from edging CO and place Openwork Diamonds patt.
The knitted white openwork baby
on second needle. Join with rem edging
bonnet with the star-pattern crown
sts using three-needle BO. Break yarn
and fasten off. Weave in end. Block to
measurements.
Karen E. Hooton lives in Scotland with

her husband, Peter. The eldest of a big
family, she didn’t start knitting until she
was six years old when she was taught by
her aunt and her grandmother. She’s such
a prolific knitter that her sister swears
she didn’t give birth to her children, she
knitted them. She’s interested in all
crafts, in particular broomstick, lace,
bead knitting, and crochet.

BONNE T BACK
CO 8 sts and divide sts equally onto
4 dpn. Pm and join to work in the rnd
being careful not to twist sts. Work
Rnds 1–23 (1–27) of Back chart for
your size—96 (112) sts, end the last
rnd 3 (1) st(s) before m. BO 17 (15) sts
removing m—79 (97) sts.
L ACE P ORTION
Change to 3 dpn and knit back and
forth instead of around. Work Rows
1–8 of Openwork Diamonds chart 4
(6) times. Knit 3 rows.
BORDER
Change to 5 dpn, pm for corner, with
RS facing, pick up and knit 16 (23) sts
evenly along selvedge edge of lace, 17
(15) sts along back BO sts, then 17 (23)
sts along other selvedge edge of lace—
129 (158) sts. Pm for beg of rnd and
join to work in the rnd. Purl 1 rnd.
Knit 1 rnd. Inc rnd: Knit to m, remove
m, M1, knit to end of rnd, M1—131
(160) sts.
Eyelet rnd: *K3, yo, k2tog, rep from * to BONNE T FINISHING rnd being careful not to twist sts.
last 1 (0) sts, k1 (0)—26 (32) eyelets. Block piece to measurements. Weave *Purl 1 rnd, knit 1 rnd; rep from * 2
Knit 3 rnds, *purl 1 rnd, knit 1 rnd, rep in loose ends. Tread satin ribbon more times. Work in St st until piece
from * 1 more time. through eyelets along neck (edge measures 1½" from beg. *Purl 1 rnd,
Picot BO as follows: *Use knitted without picots). knit 1 rnd; rep from * 1 more time. Knit
method (see Glossary) to CO 2 sts, BO 1 rnd.
5 sts, then sl the st on the right needle WRISTLE T (MAKE 2) Eyelet rnd: *K1, yo, k2tog; rep from
onto the left needle; rep from * 26 (32) CO 27 (36) sts and divide sts equally *—9 (12) eyelets.
more times—50 (61) sts rem. BO rem onto 3 dpn. Pm and join to work in the Knit 3 rnds.
sts. *Purl 1 rnd, knit 1 rnd; rep from * 1
more time.
Key Newborn Back 6 months–1 year Back Picot BO as follows: *Use the knitted
knit 23 27 method to CO 2 sts, BO 5 sts, then sl
21 25 the st on the right needle onto the left
yo needle; rep from * 8 (11) more times.
19 23
k2tog
17 21
WRISTLE T FINISHING
ssk 15 19 Block piece to measurements. Weave in
sl2tog-k1-p2sso 13 17 loose ends.
11 15
pattern repeat Susan Strawn lives in Oak Park, Illinois,
9 13
where she is a professor at Dominican
7 11 University in River Forest. During
Openwork Diamonds
5 9 summers, she knits in Seattle. She is the
7 3 7 author of Knitting America, A Glorious
5 History from Warm Socks to High Art
1 5
(Voyageur Press, 2007).
3 3
1 1

band of fabric near the hem. Lydia’s GAUGE 24 sts and 28 rows = 4" in St
Tunic attempts to re-create that look in st after blocking (see Notes).
a practical tunic for little girls and
includes the detachable long sleeves NOTES
that were sometimes used in Regency • Linen changes significantly after
times. Linen fabrics were common knitting, the fibers soften and fill in
then, and linen yarn is delightful—it stitches beautifully. It is necessary to
Manor
has a paperlike quality that softens as wash, dry, and block your swatch to
it is worn. The tunic is constructed determine gauge. After your tunic
from the bottom up, with decreases is knitted, it should go through the
and a pleat creating the empire waist. washer and dryer, and may be steam
Short sleeves are knitted separately ironed. After this initial blocking, it
LYDIA’S TUNIC and joined to the body, and raglan is recommended that you machine
Annika Barranti decreases shape the yoke. Increases, wash your garment, then machine
decreases, and a shoulder pleat form dry for fifteen minutes and lay flat to
the puffed sleeves. A decorative eyelet finish drying; you may steam iron at
I started reading Pride and Prejudice
when I was seventeen and finished
when I was thirty-three. I know, I know.
round doubles as buttonholes for the
separate long sleeves.
any time.
• Because your gauge may change, be
After I had (finally) finished the book, I sure to note your row gauge pre- and
obsessively watched as many adapta- FINISHED SIZES 2T (4T, 6, 8, 10 post-washing and adjust the length
tions as I could get my hands on. The years). of the tunic if needed so that it will
best part, for me, was the costumes! In YARN Louet Euroflax Sport (100% be long enough after washing. For
the 1995 BBC miniseries, Lydia linen; 270 yd [247 m]/3½ oz [100 g]): reference, my row gauge did not
Bennett’s dress caught my eye. Among #14, Caribbean blue (MC), 3 (4, 4, 5, 5) change but my stitch gauge did.
other lovely details, it had a contrasting skeins; #01, champagne (CC), 1 skein. • Because unwashed linen is rather
NEEDLES Size 5 (3.75 mm): 16 (24, stiff, it can be difficult to weave in
24, 24, 24)" and 40" circular (cir) and ends. I used TECHknitter’s tutorial
set of 5 double-pointed (dpn), size 4 on weaving in ends as you change
(3.5 mm) 40" cir and set of 5 dpn. colors/balls. I recommend waiting
Adjust needle size if necessary to obtain to trim the ends until after washing,
the correct gauge. so you can adjust the stitches if
NOTIONS Markers (m); stitch necessary. http://techknitting
holders or waste yarn; tapestry needle; .blogspot.com/2007/07/back-to
14 (16, 18, 20, 22) ½" buttons, tapestry -back-join.html.
needle.
1.3 (2, 2, 2, 2) cm
18.5 (22, 22, 25.5, 27.5) cm
½ (¾, ¾, ¾, ¾)"
5 (5¾, 6¼, 6¼, 6½)" 7¼ (8, 8¾, 9, 9¼)"

7¼ (8¾, 8¾, 10, 10¾)"
12.5 (14.5, 16, 16, 16.5) cm 18.5 (20.5, 22, 23, 23.5) cm
11 (11.5, 12, 14, 15) cm
4½ (4½, 4¾, 5½, 6)"
23 (28, 30.5, 33, 35.5) cm

9 (11, 12, 13, 14)"
tunic
5 (5.5, 7, 9.5, 10) cm
sleeve
2 (2¼, 2¾, 3¾, 4)"
22¾ (24¾, 26¾, 28, 29¾)"
58 (63, 68, 71, 75.5,) cm
25.5 (27.5, 30, 33.5, 35.5) cm

10 (10¾, 11¾, 13¼, 14)"
6 (6¼, 6¾, 7, 7¼)"

15 (16, 17, 18, 18.5) cm
45½ (50, 53¼, 56, 59¾)"
115 (127, 135.5, 142, 151.5,) cm

k34 (36, 40, 42, 44), make 17 (19, 20,
21, 23) st pleat (see Stitch Guide), k17
(18, 20, 21, 22)—136 (148, 160, 168,
178) sts rem.
BODICE
Purl 1 rnd. Work even in St st until
bodice measures 2 (2¼, 2¾, 3¾, 4)"
from waist shaping, or desired length
from empire waist to underarm. Bind-
off underarm stitches: *K60 (66, 72, 76,
81) sts, BO 8 sts; rep from * once more.
YOKE
Stitch Guide and work even until piece measures With larger 40" cir, *knit to BO sts,
Make pleat: 10 (10¾, 11¾, 13¼, 14)" from CO, or pm, knit across sleeve sts, pm; rep from
Sl specified number of sts to a dpn. desired length to empire waist. Shape * once more—236 (272, 284, 316, 338)
Hold dpn to front of work. Sl same waist: With shorter cir, k17 (18, 20, 21, sts. Work yoke decreases: Note: Change
number of sts to second dpn and fold 22), k3tog 34 (38, 40, 42, 44) times, to shorter needle when sts no longer fit
it behind the first dpn, WS facing each
other. Holding both dpns in front of
left needle k3tog (one st from each
needle) across all sts on dpns. First half
of pleat completed. Sl specified number
of sts to dpn. Hold dpn to back of work.
Sl same number of sts to second dpn
and fold it in front of the first dpn, RS
facing each other. Holding both dpns
in back of left needle, k3tog (one from
each needle) across all sts on dpns.
Second half of pleat completed.
SHORT SLEEVES (MAKE 2)

With MC and smaller dpns, CO 44
(52, 52, 60, 64) sts, pm, and join for
working in the rnd. Work 2 rnds in
garter st, beg with a knit rnd. Work
eyelet rnd: *yo, k2tog; rep from * to
end. Purl 1 rnd. Inc rnd: *k1f&b, k1;
rep from * to end—66 (78, 78, 90, 96)
sts. Switch to larger dpns and work in
St st until sleeve measures 1½" from
CO. Knit to last 4 sts, BO 8 sts, knit
to end—58 (70, 70, 82, 88) sts. Sl sts
onto st holder or waste yarn. Cut yarn,
leaving a long tail.
SKIRT
With MC and smaller 40" cir, CO 272
(300, 320, 336, 358) sts, pm, and join
in the rnd. Work garter st until piece
measures 1 (1, 1¼, 1½, 1½)" from CO.
Change to larger 40" cir, CC, and work
in St st until piece measures 3 (3, 3¾,
4¼, 4½)" from CO. Switch back to MC

comfortably on 40" needle.
Rnd 1: *k1, ssk, knit to 3 sts before
m, k2tog, k1, sl m; rep from * 3 more
W hile researching textiles from
Jane Austen’s time, I was
inspired by a Regency-era brocade vest
times—8 sts dec’d. and immediately knew that I wanted to
Rnd 2: Knit. try to re-create it with knitting. I
Rep the last 2 rnds 13 (14, 15, 17, 19) imagined Henry Tilney wearing just
more times—124 (152, 156, 172, 178) such a vest while he was in Bath
Manor
sts total; 32 (36, 40, 40, 41) sts each attending a ball or the theater. The
front and back, 30 (40, 38, 46, 48) sts repeating color pattern paired with wool
each sleeve. Next dec rnd: *K1, ssk, knit and silk yarn achieved the look I
to 3 sts before m, k2tog, k1, sl m, k1, envisioned. A few tailored details were
ssk, k0 (2, 1, 2, 0), make 4 (5, 5, 6, 7) st HENRY TILNEY’S added, such as the back vent and small
pleat, k0 (2, 1, 2, 0), k2tog, k1, sl m; rep VEST front pockets. It is as wearable with
from * once—84 (104, 108, 116, 114) one of Mr. Tilney’s cravats as it would
Donna Kay
sts. Final dec rnd: *Knit to m, sl m, k0 be with a simple shirt and a pair of
(0, 1, 0, 0), k2tog 5 (7, 6, 8, 8) times, sl jeans.
m; rep from * once—72 (86, 92, 96, 96)
sts. Switch to smaller dpns, knit 1 rnd,
and work 2 rnds in garter st. BO loosely
pwise.
DE TACHABLE LONG
SLEE VES (MAKE 2)
With MC and smaller dpns, CO 36
(38, 40, 42, 44) sts, pm, and join for
working in the rnd. Work in garter st
for 1". Switch to larger dpns.
Rnd 1: K1, M1L (see Glossary), knit to
last st, M1R (see Glossary), k1—2 sts
inc’d.
Work 7 rnds even. Rep the last 8 rnds 3
(4, 5, 5, 5) more times—44 (48, 52, 54,
56) sts. Work even until piece measures
9 (11, 12, 13, 14)". BO loosely pwise.
FINISHING
Sew underarms with mattress st (see
Glossary). Weave in ends. Wash and
dry tunic and sleeves. Block to shape.
Attach buttons evenly around the tops
of long sleeves, just below the BO.
Annika Barranti is pretty embarrassed

to admit that it took her sixteen years to
finish reading Pride and Prejudice and
hopes you will not hold it against her. She
lives in Los Angeles with her husband
and two children. She designs knitting
patterns inspired by literature, her
children, and just about everything else.

FINISHED SIZE 34¼ (36½, P O CKE T LININGS (MAKE work to last 34 (42, 42, 42, 42) sts, rep
40¾, 45, 49¼)" chest circumference, 2 BEFORE BEG VEST ) from * to * for 2nd pocket, work to end
buttoned. Vest shown measures 40¾". With CC and larger needle, CO 19 sts. of rnd. Cont in patt over all sts for 55
YARN Spud & Chloë Fine (80% Work in St st until piece measures 3" (59, 63, 69, 73) rnds, ending with Row
wool, 20% silk; 248 yd [227 m]/2¼ oz from CO. Break yarn, leaving a 12" tail. 1 (5, 9, 15, 3) of chart. Shape armhole:
[65 g]): #7803 dachshund (MC), 3 (3, Place sts on holder. Cont in patt, work 53 (56, 62, 69, 76)
4, 4, 5) skeins; #7819 orangutan (CC), right front sts, work 22 (24, 28, 30,
2 (2, 3, 3, 4) skeins. Distributed by Blue HEM 32) sts for underarm and place these
Sky Alpacas. With MC and smaller 32" cir needle, sts on holder, work 107 (113, 125, 139,
NEEDLES Body—size 2 (2.75 mm): CO 128 (136, 152, 168, 184) sts, pm, 153) back sts, work 22 (24, 28, 30,
32" circular (cir). Edging—size 1 CO 5 sts for back vent steek, pm, CO 32) sts for underarm and place these
(2.25 mm): 16" and 32" cir. Adjust 128 (136, 152, 168, 184) sts, pm, CO sts on holder, work 53 (56, 62, 69, 76)
needle size if necessary to obtain the 5 sts for front steek, pm, and join in left front sts. Next rnd: *Work to 2 sts
correct gauge. the rnd. Knit 7 rnds. Join CC and knit before armhole opening, k2tog, pm,
NOTIONS Markers (m); stitch 1 rnd. Purl 1 rnd for turning ridge, CO 5 armhole steek sts, pm, ssk; rep
holders; tapestry needle; size C/2 ending at center of front steek. from * once more, work to end of rnd—
(2.75 mm) crochet hook; 5 (5, 6, 6, 4 sts dec’d. Dec 1 st each side of each
7) ½" buttons; sewing machine and BODY armhole steek every rnd 1 (1, 3, 4, 6)
thread. Change to larger cir needle. Knit 2 rnds more time(s), then every other rnd 6
GAUGE 30 sts and 32 rnds = 4" in with MC. Beg with st 1 and ending (6, 7, 7, 7) times—181 (193, 205, 229,
patt on larger needle. with st 16 (8, 8, 8, 8) of chart, work 249) sts rem: 45 (48, 51, 57, 62) sts for
Body chart to vent steek, work steek each front, 91 (97, 103, 115, 125) sts
NOTES sts (see Notes), beg with st 2 (10, 10, for back. Work 37 (45, 45, 46, 48) rnds
• Block gauge swatch and let dry 10, 10) and ending with st 1 of chart, even, ending with Row 5 (1, 9, 1, 9) of
completely before measuring. work to end of rnd. Work through Row chart. Shape front neck: Cont in patt,
• Vest is knitted in the round using 15 of chart. End vent steek: (Row 16 BO front steek and first 13 (13, 14, 15,
steeks for all openings. On pattern of chart) Work to vent steek, remove 17) sts of rnd, work to last 13 (13, 14,
rounds the steek pattern is as follows: m, BO steek sts, remove m, work in 15, 17) sts, BO 13 (13, 14, 15, 17) sts—
K2 MC, k1 CC, k2 MC. patt to end. Next rnd: Work in patt to 155 (167, 177, 199, 215) sts rem: 32 (35,
• Steek stitches are not included in vent opening, using the backward-loop 37, 42, 45) sts for each front, 91 (97,
stitch counts unless indicated. method (see Glossary), CO 1 MC (CC, 103, 115, 125) sts for back. Break yarns.
• Edgings are picked up and knitted CC, CC, CC) st onto right needle (st Next rnd: Pm, join yarns and CO 5 neck
between body and steek. 1 [9, 9, 9, 9] of chart), work in patt to steek sts onto right needle, pm, ssk,
• If you’ve never attempted steeks, end—257 (273, 305, 337, 369) sts. Cont work in patt to last 2 sts, k2tog—2 sts
Eunny Jang has written an in patt over all sts for 24 rnds, ending dec’d. Dec 1 st each side of neck steek
informative article on the topic that with Row 9 of chart. Pocket openings: every rnd 6 (6, 6, 7, 8) more times, then
is available for free at janeaustenknits (Row 10 of chart) Work 15 (23, 23, 23, every other rnd 2 times—137 (149, 159,
.com/steeks. 23) sts of right front, *place next 19 sts 179, 193) sts rem: 23 (26, 28, 32, 34) sts
on holder for pocket, with RS facing, for each front, 91 (97, 103, 115, 125) sts
transfer 19 sts of a pocket lining onto for back. Work 4 (4, 4, 3, 2) rnds even,
left needle and work these sts in patt,* ending with Row 5 (1, 9, 1, 9) of chart.

3 (3½, 3¾, 4¼, 4½)" 6 (6, 6¼, 6¾, 7½)"
7.5 (9, 9.5, 11, 11.5) cm 15 (15, 16, 17, 19) cm Key Body
2¾" MC 15
7 cm
9¼ (10¼, 10¾, 11, 11½)"
13
23.5 (26, 27.5, 28, 29) cm CC
11
pattern repeat 9
Manor
body 7
12½ (13, 13½, 14½, 14¾)"
31.5 (33, 34.5, 37, 37.5) cm 5
3
1"
2.5 cm 1
st 16 st 10 st 2
34¼ (36½, 40¾, 45, 49¼)" st 9 st 1
87 (92.5, 103.5, 114.5, 125) cm
st 8
Shape back neck: Work in patt across and WS facing, sew pocket lining cir needle. Join CC and knit 2 rows
front, armhole steek and first 26 (29, in place. Back vent edging: With RS for turning ridge. Next row: (RS) Knit.
31, 35, 37) sts of back, BO 39 (39, 41, facing, smaller needle, and MC, pick up Inc row: P1, M1P (see Glossary), purl
45, 51) sts for back neck, work to end of and knit 16 sts along left side of steek to last st, M1P, p1—2 sts inc’d. Rep
rnd—98 (110, 118, 134, 142) sts rem: (see Notes). Purl 1 row. Rep from * to last 2 rows 2 more times—109 (113,
23 (26, 28, 32, 34) sts for each front, 26 * of pocket edging. Rep for right side 117, 121, 129) sts. Loosely BO all sts.
(29, 31, 35, 37) sts for each back. Next of steek. Armhole edgings: With MC, Trim steeks: Trim loose edges of steeks,
rnd: Work to 2 sts before back neck smaller 16" cir needle, and RS facing, being careful not to cut into machine
opening, k2tog, pm, CO 5 back neck beg at center of underarm, k11 (12, 14, stitching. Sew and press hems: Fold
steek sts onto right needle, pm, ssk, 15, 16) held sts, pick up and knit 110 facings to WS over cut edges and sl st
work to end of rnd—2 sts dec’d. Dec (120, 126, 130, 134) sts evenly spaced (see Glossary) in place. Turn lower hem
1 st each side of back neck steek every around armhole, k11 (12, 14, 15, 16) to WS along turning ridge and sl st in
rnd 2 more times—23 (26, 28, 32, 34) held sts—132 (144, 154, 160, 166) sts place. Lap left side of back vent over
sts rem for each shoulder; Row 9 (5, 13, total. Pm and join in the rnd. Knit 2 right and sl st in place. Press all facings
5, 13) of chart is complete. Break CC. rnds. Join CC. Knit 1 rnd. Purl 1 rnd on both sides with a damp cloth and
Knit 1 rnd with MC. Next rnd: Knit, for turning ridge. With MC, knit 7 iron on wool setting. Sl st open edges
BO all steek sts. Place sts on holders. rnds for facing. Loosely BO all sts. of hems tog. Buttons and button loops:
Front edgings: With RS facing, MC, Sew buttons to right front, placing top
FINISHING and smaller cir needle, pick up and knit button just below collar, bottom button
Join shoulders: With RS tog, MC, 114 (122, 128, 134, 140) sts along front about 1" from lower edge, and others
and larger needle, join shoulders using edge. Working back and forth in rows, evenly spaced between. With crochet
three-needle BO (see Glossary). Prepare purl 1 row. Purl 1 RS row for turning hook, join MC to left front opposite
steeks: Prepare steeks for cutting by ridge. Work 7 rows in St st for facing. button. Ch 7 (see Glossary for crochet
machine sewing 2 rows of stitching on BO all sts. Collar: With RS facing, MC, instructions) or until ch is long enough
each side of center steek st. Cut open all and larger cir needle, beg at turning to fit around button. Join with sl st to
steeks along center st. Pocket edgings: ridge on right front edging, pick up and left front edge. Rep for rem buttons.
Place 19 pocket sts from holder onto knit 31 (32, 33, 34, 36) sts along right Weave in loose ends. Block vest to
larger needle. With MC and beg neck to shoulder, 47 (49, 51, 53, 57) sts finished measurements.
with a RS row, knit 1 row, purl 1 row. across back neck to shoulder, and 31
Change to smaller needle. *With RS (32, 33, 34, 36) sts along left neck edge, Donna Kay of Barrington, New
facing, join CC and knit 2 rows for ending at turning ridge—109 (113, Hampshire, is an instructor, knitwear
turning ridge. Break CC. With MC, 117, 121, 129) sts total. Working back designer, and handspinner. Her passion
work 4 rows in St st for facing. BO all and forth in rows, purl 1 row. Dec row: for traditional knitting led her to start her
sts*. With MC threaded on a tapestry (RS) K1, ssk, knit to last 3 sts, k2tog, own company, Tree of Life Designs, www
needle, sew corners of edging to vest. k1—2 sts dec’d. Rep last 2 rows 2 more .treeoflifedesigns.co.
Sew facing to WS of pocket front. times—103 (107, 111, 115, 123) sts
With CC threaded on a tapestry needle rem. Purl 1 WS row. Change to smaller

Emma, Mr. Woodhouse, Mr. Knightley, Note: Te next section is worked flat,
and Mrs. Weston in the parlor of to accommodate spout and handle. Half
Hartfield, as they talk and laugh over a of the sts will be worked, leaving the
good spot of tea! other half on the needle and then worked
separately, to match.
FINISHED SIZE Lining, 20" Row 1: K40, turn.
circumference. Row 2: P40, turn.
YARN O-Wool Classic Worsted Rep Rows 1 and 2 sixteen to twenty
100% certified organic Merino (99 yd more times, or until the piece clears the
[90 m]/1¾ oz [50 g]) Chocolate (MC), handle and spout when arranging it
1 skein; Saff ron (CC), 1 skein. around the teapot. Break yarn.
MR. KNIGHTLEY’S NEEDLES Size 8 (5 mm): 16" Join yarn to 40 sts on hold. Rep Rows
TEA COZY circular (cir), straight needles, and 1 and 2 until piece measures same as
double-pointed needles (dpn). first side.
Anne Berk with Valerie Allen,
NOTIONS: cable needle (cn), marker Pm and join to work in the rnd. Knit
Elaine Blatt, and Stephanie
(m), tapestry needle. 2 rnds.
Fleming
GAUGE 16 sts and 24 rows = 4" in Shape top:
St st. Note: Change to dpn when needed.
“There is nothing like staying at home
Rnd 1: *K6, k2tog; rep from * to end—
for real comfort.”
Stitch Guide 70 sts rem.
—Jane Austen
Picot Bind-Off: Rnd 2 and all even rounds: Knit.
*(K1, p1, k1, p1) into next st, pass first Rnd 3: *K5, k2tog; rep from * to end—
W hat can be more comforting

than good company and a pot
of tea? We are a group of Jane-
3 sts over 4th, BO next 3 sts, sl last st to
left hand needle, rep from * to end.
60 sts rem.
Rnd 5: *K4, k2tog; rep from * to end—
50 sts rem.
obsessed ladies of different back-
LINING Rnd 7: K3, k2tog; rep from * to end—
grounds, ages, and knitting abilities
Using CC and cir, CO 80 sts. Place 40 sts rem.
who met in a cozy cottage that had
marker (pm) and join to work in the Rnd 9: *K2, k2tog; rep from * to end—
been converted to a yarn shop. Jane
rnd, being careful not to twist sts. 30 sts rem.
Austen’s Emma inspired us to design
Knit 7 rnds. Rnd 11: *K1, k2tog; rep from * to end—
and knit this tea cozy. We picture

Lace
Key
57 With MC, k on RS; p on WS
55
With MC, p on RS; k on WS
53
With MC, yo
51
49 With MC, k2tog
Manor
47 With CC, k on RS; p on WS

45
With CC, p on RS; k on WS
43
With CC, yo
41
39 With CC, k2tog
37 With MC, sl 2 sts onto cn, hold in back, k2, k2 from cn
35 With CC, sl 2 sts onto cn, hold in back, k2, k2 from cn
33
31
29
27
25
23
21
19
17
15
13 TILNEY SOCKS
11
Rachel Coopey
9
7
5 T hese elegant socks for a gen-
tleman are inspired by the kind
and sensible hero of Northanger Abbey,
3
Henry Tilney. They are cuff-down men’s
1
socks with an interesting but sensible
ribbing pattern on the front of the sock
20 sts rem. openings on both sides to match and a twisted traveling-stitch diamond
Rnd 12: *K2 tog; rep from * to end—10 openings in Lining. pattern down the center of the back of
sts rem. With CC, work a 3-st I-cord (see the leg—reminiscent of a stocking
BO all sts. Glossary) for 46" or desired length. seam. The rib pattern continues on to
Tread through the eyelets at the base the toe and the heel flap.
L ACE BODY (MAKE 2) of the ruffle. Tie into a bow.
With CC and straight needles, CO 34 FINISHED SIZE 7¼ (8½, 9¾)" (will
sts. Beg with a WS row, work Rows Designer Anne Berk (www.annetarsia stretch to fit foot circumference 7¾ (9,
1–58 of Lace chart. .com) is an optometrist in private practice 10¼)", leg length 7¼".
Next row: (WS) With MC, [p4, yo] 8 in Portland, Oregon. She is a Knitting YARN Lorna’s Laces Shepherd Sock
times, p2—42 sts. Work 10 rows in St Guild of America (TKGA) Master Knitter (80% superwash Merino, 20% nylon;
st, ending with a WS row. With CC, since April 2005 and teaches locally and 435 yd [398 m]/3½ oz [100 g]) cedar,
work Picot Bind-Off (see Stitch Guide). nationally. Valerie Allen, Elaine Blatt, 1 skein.
and Stephanie Fleming are passionate NEEDLES Size 1 (2.25 mm): set of
FINISHING knitters, and contributed to the design 5 double-pointed (dpn). Adjust needle
Block all pieces and weave in all ends. and knitting of the project. size if necessary to obtain the correct
Sew side seams of Lace Body leaving gauge.

p2tbl, [k1, p1tbl] 2 times, k2, p3, k2,
[p1tbl, k1] 2 times, p1.
Row 2: (RS) Sl1 pwise wyb, [p1, k1tbl]
2 times, p2, k3, p2, [k1tbl, p1] 2 times,
k2tbl, [p1, k1tbl] 2 times, p2, k3, p2,
[ktbl1, p1] 2 times, k1.
8½" only:
Row 1: (WS) Sl1 pwise wyf, k2, [p1tbl,
k1] 2 times, p1tbl, k2, p3, k2, [p1tbl,
k1] 2 times, p2tbl, [k1, p1tbl] 2 times,
k2, p3, k2, [p1tbl, k1] 2 times, p1tbl,
k2, p1.
Row 2: (RS) Sl1 pwise wyb, p2 [k1tbl,
p1] 2 times, k1tbl, p2, k3, p2, [k1tbl,
p1] 2 times, k2tbl, [p1, k1tbl], p2, k3,
p2, [k1tbl, p1] 2 times, k1tbl, p2, k1.
9¾" only:
Row 1: (WS) Sl1 pwise wyf, p2, k2,
[p1tbl, k1] 2 times, p1tbl, k2, p2, k2,
[p1tbl, k1] 2 times, p2tbl, [k1, p1tbl] 2
times, k2, p3, k2, [p1tbl, k1] 2 times,
NOTIONS Stitch marker (m); st twice, p2, k3, rep from * 4 more times,
p1tbl, k2, p3.
holder (optional); cable needle (cn); p2, pm, [k1tbl, p1] twice, k2tbl, [p1,
Row 2: (RS) Sl1 pwise wyb, k2, p2,
tapestry needle. k1tbl] twice, pm, p2, k3, p2, [k1tbl, p1]
[k1tbl, p1] 2 times, k1tbl, p2, k3, p2,
GAUGE 36 sts and 52 rows = 4" in twice, k1tbl, p2, k3.
[k1tbl, p1] 2 times, k2tbl, [p1, k1tbl],
St st. All sizes: Rep last rnd 19 more times.
p2, k3, p2, [k1tbl, p1] 2 times, k1tbl,
Piece should measure about 1½".
p2, k3.
CUFF
All Sizes: Rep the last 2 rows 12 more
CO 65 (77, 89) sts, distribute sts evenly LEG
times, then rep Row 1 once more.
on dpns. Pm, join in the rnd being Set-up Back chart: Work as established
careful not to twist sts. to m, sl m, work 10 sts of Back chart, sl
Size 7¼" only: *P2, k3, p2, k1tbl, [p1, m, work to end as established.
HEEL TURN
Cont on the heel sts:
k1tbl] twice; rep from * 2 more times, Cont in patt as established until
Row 1: (RS) Sl 1 pwise wyb, k18 (22,
p2, k3, p2, pm, [k1tbl, p1] twice, k2tbl, Rnds 1–18 of Back chart have been
24), ssk, k1, turn.
[p1, k1tbl] twice, pm, p2, k3, p2, k1tbl, completed 4 times and Rnd 1 has
Row 2: (WS) Sl 1 pwise wyf, p5 (7, 7),
[p1, k1tbl] twice. been worked once more. Piece should
p2tog, p1, turn.
Size 8½" only: K2, *p2, k1tbl, [p1, measure about 7¼".
Row 3: (RS) Sl 1 pwise wyb, k to 1 st
k1tbl] twice, p2, k3; rep from * 3 Turn work, the heel flap will be worked
before gap, ssk, k1, turn.
more times, p2, pm, [k1tbl, p1] twice, back and forth over the last 34 (40, 44)
k2tbl, [p1, k1tbl] twice, pm, p2, k3, p2, sts of the rnd. Keep rem 31 (37, 45)
[k1tbl, p1] twice, k1tbl, p2, k1. sts on needles or place on holder for
Size 9¾" only: *P2, k1tbl, [p1, k1tbl] instep.
Back HEEL FL AP
7¼" only:
b b
17 Row 1: (WS) Sl1 pwise wyf, [k1, p1tbl]
b b b b
15 2 times, k2, p3, k2, [p1tbl, k1] 2 times,
b b b b
13
Key
b b b b b b
11 k1tbl
b b b b
9 purl
b b
b b b b
7 sl 1 st onto cn and hold in back, k1tbl, k1tbl from cn
b b
b b
5 sl 1 st onto cn and hold in front, k1tbl, k1tbl from cn
b
b b b b
3 sl 1 st onto cn and hold in back, k1tbl, p1 from cn
b
b b
1 sl 1 st onto cn and hold in front, p1, k1tbl from cn

Row 4: (WS) Sl 1 pwise wyf, p to 1 st 22) sts on each needle 2 and 3. end of needle; with needle 3: Knit to last
before gap, p2tog, p1, turn. 3 sts on needle, k2tog, k1—4 sts dec'd.
Rep Rows 3 and 4 until all sts have FO OT Rep the last 2 rnds 10 (12, 15) more
been worked—20 (24, 26) sts. Cont working needle 1 instep sts in times—18 (22, 22) sts rem. Sl sts from
patt and knitting sts on needles 2 and needle 3 onto needle 2 so there are 9 (11,
GUSSE T 3 until piece measures 1¾ (2, 2½)" less 11) sts on each of 2 needles. Cut yarn,
Set-up rnd: Sl 1 pwise wyb, k19 (23, 25), than the desired finished length. leaving a 12" tail. Graft sts together
Manor
pick up and knit 1 st in each sl st along using the Kitchener st (see Glossary).
edge of heel flap; pm for beg of rnd. TOE
With needle 1: Work as established Set-up rnd: FINISHING
across 31 (37, 45) instep sts; with Sizes 7¼ (8½)" only: With needle Weave in ends and block.
needle 2: Pick up and knit 1 st in each 1: Work instep sts in patt to end of
sl st along second side of heel flap, k10 needle; with needle 2: K1, ssk, knit to Rachel Coopey of Worcester, United
(12, 13) heel flap sts; with needle 3: end of needle; with needle 3: Knit to Kingdom, says that Jane Austen novels
Knit to end of rnd. last 4 sts, k3tog, k1—62 (74) sts rem. in the form of audiobooks and film
Gusset rnd 1: With needle 1: Work Size 9¾" only: With needle 1: K1, ssk, adaptations are her favorite knitting
instep sts in patt; with needle 2: Ssk, work instep sts in patt to end of needle; accompaniment; she loves the costumes
knit to end of needle; with needle 3: with needles 2 and 3: Knit—86 sts rem. and the humor as well as the romance
Knit to last 2 sts, k2tog—2 sts dec'd. All sizes: and happy endings. In addition to this,
Gusset rnd 2: With needle 1: Work Rnd 1: With needle 1: Work instep sts Rachel loves designing socks because
instep sts in patt; with needles 2 and in patt; with needles 2 and 3: Knit. they can be intricate and detailed without
3: Knit. Rnd 2: With needle 1: K1, ssk, work being overwhelming. Read more about
Rep the last 2 rnds until 65 (77, 89) sts instep sts in patt to last 3 sts on needle, her knitting and spinning adventures at
rem; 31 (37, 45) sts on needle 1, 17 (20, k2tog, k1; with needle 2: K1, ssk, knit to blog http://coopknit.blogspot.com.
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Garden
HUSSARS
SPENCER
Designed by T.L. ALEX-
ANDRIA VOLK. PAGE 86.
YARN: Cascade Yarns 220
Superwash and Alchemy
Yarns of Transformation
Silk Purse.

KENTISH TOQUE
Designed by T.L. ALEXANDRIA VOLK. PAGE 90.
YARN: Jamieson’s Heather Aran, distibuted by Simply Shetland.
BETWIXT AND
BETWEEN GLOVES
Designed by MOIRA ENGEL. PAGE 92.
YARN: Crystal Palace Yarns Mini Solid.

BIEDERMIER STOLE
Designed by ANNIE MODESITT. PAGE 94.
YARN: Lorna’s Laces Lion & Lamb.
SOUTACHE SPENCER
Designed by ANNIE MODESITT. PAGE 97.
YARN: Hazel Knits DK Lively.

ELINOR’S
DAY COAT
Designed by CAROL
WESSINGER. PAGE 101.
YARN: Rowan Alpaca
Cotton and Rowan Lima,
both distributed by
Westminster Fibers.

NORTHANGER
ABBEY MITTENS
Designed by CELESTE YOUNG.
PAGE 104. YARN: Berroco
Blackstone Tweed.

FINISHED SIZE 33 (37, 40, 45, Petersham ribbon; sewing needle and
49)" bust/chest circumference, closed. matching thread; 8 size 1 hook-and-eye
Cardigan shown measures 33". closures; fifteen 5⁄8" metal buttons.
YARN Cascade Yarns 220 Superwash GAUGE 20 sts and 28 rows = 4" in St
(100% superwash wool; 220 yd [201 m] st with MC on larger needles.
/3½ oz [100 g]): #900 charcoal (MC),
5 (5, 6, 6, 7) skeins; #893 ruby (CC1), 1 NOTES
Garden
(1, 1, 2, 2) skein(s). • Te spencer has no side seams—it

Alchemy Yarns of Transformation Silk is constructed along the style lines
Purse (100% silk; 163 yd [149 m]/1¾ oz of actual early nineteenth-century
[50 g]): #02W deep sea (CC2), 1 skein. military tunics. Te front sides wrap
HUSSARS SPENCER NEEDLES Body and sleeves—sizes around and meet the triangular back,
6 and 7 (4 and 4.5 mm). I-cord—size forming the back seams.
T.L. Alexandria Volk
6 (4 mm): Set of double-pointed (dpn). • Sleeves are longer than usual—they
Adjust needle size if necessary to obtain should reach your knuckles when
I n the early nineteenth century, as the
invention of the tape measure and
other improved tailoring methods
the correct gauge.
NOTIONS Stitch holders; tapestry
hemmed, and are fairly tight fitting,
in keeping with the military tunic’s
needle; about 1 yd coordinating closely tailored line. If you have larger
shifted menswear design away from
expensive, colorful fabric and embroid-
ery to dark colors and meticulous fit,
military uniform design underwent a
period of extreme opulence. Opinions
vary as to the cause of this, but a major
one seemed to be that the uniform was
a recruitment tool. Men wanted to look
impressive, and both sexes loved the
way the sculptured, colorful uniforms
both revealed and enhanced the male
physique. It did not take long for the
military look to start influencing
feminine fashion, as women took the
spencer jacket—originally a man’s
garment—and made it one of the most
enduring styles of the Regency era.
Dashing uniforms were definitely a
part of the Jane Austen aesthetic, as
military men and their uniforms
swooped through her characters’ lives
and thoughts. This spencer is based on
one of my favorite regimental designs—
the Hussars. I have toned down the
opulence to make a more wearable
garment for the modern day, but if you
feel like making more I-cord and
adding more embellishment to the
sleeves or body, or swapping out the
gray and red for a more bold color
statement, take a look at nineteenth-
century portraits of the Hussar officers,
be inspired, and be as dashing as you
dare!

upper arms, you may want to add a Next row: BO 3 sts, work to end—20
couple of extra increase rows before (20, 22, 23, 24) sts rem. Work 3 rows
shaping your sleeve cap to avoid too- even. BO all sts.
tight sleeves.
• Don’t be put off by the sewn ribbon LEF T FRONT/ SIDE
placket interfacings, applied contrast With MC and larger needles, CO 77
on the fronts, or the deepish hems— (87, 96, 107, 116) sts. Work in k1, p1
they give the spencer some of the rib for 1", ending with a WS row.
body and substance of the deeply Shape back edge:
fulled woolen uniform tunic. Row 1: (RS) K1, ssk, knit to end—1 st
dec’d.
Stitch Guide Row 2: Purl.
Seed Stitch: (odd number of sts) Row 3: Rep Row 1—1 st dec’d.
Row 1: *K1, p1; rep from * to last st, k1. Row 4: Purl to last 3 sts, ssp, p1—1 st
Rep Row 1 for patt. dec’d.
For petite chest (A and B cup) only:
BACK Rep last 4 rows 6 more times—56 (66,
With CC1 and larger needles, CO 10 75, 86, 95) sts rem; piece measures 5"
(10, 10, 10, 12) sts. Work in St st until from CO.
piece measures 1" from CO, ending For full chest (B [C, D] cup) only:
with a RS row. Turning row: (WS) Knit. Rep last 4 rows 4 (3, 3) more times for Rep last 4 rows 0 (1, 2, 3, 4) more
Change to MC. Work in St st until B (C, D) cup, then work Row 1 once time(s)—7 (6, 6, 7, 5) sts rem.
piece measures 1" from turning row, more—61 (71, 80, 91, 100) sts rem for Sizes 33 (45)" only:
ending with a WS row. Shape back: B cup, 64 (74, 83, 94, 103) sts rem for Next row: K1, ssk, k1, k2tog, k1—5 sts
Row 1: K1, M1R (see Glossary), knit to C or D cup; piece measures 4 (3½, 3½)" rem. Next row: Purl to last 3 sts, ssp,
last st, M1L (see Glossary), k1—2 sts from CO for B (C, D) cup. Shape bust p1—4 sts rem. Next row: Ssk, k2tog—2
inc’d. using short-rows (see Glossary) as foll: sts rem. Next row: Purl. Next row: Ssk—
Row 2: Purl. Short-row 1: (WS) P36 (41, 45, 51, 56), 1 st rem. Fasten off last st.
Row 3: Rep Row 1—2 sts inc’d. wrap next st, turn. Sizes 37 (40)" only:
Row 4: P1, M1LP (see Glossary), purl Short-row 2: (RS) Work to end of row. Next row: K1, ssk, knit to end—5 sts
to last st, M1RP (see Glossary), p1—2 Short-row 3: Purl to 1 st before wrapped rem. Next row: Purl to last 3 sts, ssp,
sts inc’d. st, wrap next st, turn. p1—4 sts rem. Next row: K1, ssk, knit
Rep last 4 rows 9 (10, 11, 12, 12) more Short-row 4: Work to end of row. to end—3 sts rem. Next row: Purl.
times, then work Row 1 zero (one, one, Rep last 2 short-rows 1 (4, 10) more Next row: K1, ssk—2 sts rem. Next row:
zero, one) time(s)—70 (78, 84, 88, 92) time(s) for B (C, D) cup—3 (6, 12) Ssp—1 st rem. Fasten off last st.
sts. Work even until piece measures wrapped sts. Next row: (WS) Purl to Size 49" only:
11 (11½, 12, 12½, 12½)" from turning end of row, working wraps tog with Next row: Ssk, k2tog, k1—3 sts rem.
row, ending with a WS row. Shape right wrapped sts as you come to them. Next row: Ssp, p1—2 sts rem. Next row:
neck: K35 (39, 42, 44, 46), place next Work Rows 3 and 4 (of back edge K2tog—1 st rem. Fasten off last st.
35 (39, 42, 44, 46) sts on holder—35 shaping), then rep Rows 1–4 one (two, All sizes:
(39, 42, 44, 46) sts rem for right neck. two) more times for B (C, D) cup—56 Shape front armhole: With RS facing,
Next row: (WS) BO 7 (11, 12, 13, 14) (66, 75, 86, 95) sts rem. place 43 (49, 53, 58, 64) held sts onto
sts pwise, work to end—28 (28, 30, 31, All sizes: needle. Next row: (RS) BO 4 (6, 5, 4, 6)
32) sts rem. Next row: Knit. Next row: Divide for armhole: (RS) K1, ssk, k10 sts for underarm, knit to end—39 (43,
BO 5 sts pwise, work to end—23 (23, (14, 19, 25, 28), place next 43 (49, 53, 48, 54, 58) sts rem. Work 1 WS row.
25, 26, 27) sts rem. Next row: Knit. Next 58, 64) sts on holder—12 (16, 21, 27, Row 1: (RS) K1, ssk, knit to end of
row: BO 3 sts pwise, work to end—20 30) sts rem for back armhole. Purl 1 row—1 st dec’d.
(20, 22, 23, 24) sts rem. Work 2 rows WS row. Shape back armhole: Row 2: Purl.
even. BO all sts. Shape left neck: With Row 1: (RS) K1, ssk, knit to last 3 sts, Rep last 2 rows 3 (3, 5, 9, 11) more
RS facing, place 35 (39, 42, 44, 46) held k2tog, k1—2 sts dec’d. times—35 (39, 42, 44, 46) sts rem.
sts onto needle. Next row: (RS) BO 7 Row 2: Purl to last 3 sts, ssp, p1—1 st Work in St st until armhole measures 6
(11, 12, 13, 14) sts, work to end—28 dec’d. (6½, 7, 7½, 7½)", ending with a RS row.
(28, 30, 31, 32) sts rem. Next row: Purl. Row 3: K1, ssk, knit to last 3 sts, k2tog, Shape front neck: Next row: (WS) BO 7
Next row: BO 5 sts, work to end—23 k1—2 sts dec’d. (11, 12, 13, 14) sts pwise, purl to end—
(23, 25, 26, 27) sts rem. Next row: Purl. Row 4: Purl. 28 (28, 30, 31, 32) sts rem. Next row:

C or D cup; piece measures 4 (3½, 3½)" Sizes 37 (40)" only:
from CO for B (C, D) cup. Shape bust Next row: P1, p2tog, purl to end—5 sts
using short-rows as foll: rem. Next row: Knit to last 3 sts, k2tog,
Short-row 1: (RS) K36 (41, 45, 51, 56), k1—4 sts rem. Next row: P1, p2tog, purl
wrap next st, turn. to end—3 sts rem. Next row: Knit. Next
Short-row 2: (WS) Work to end of row. row: P1, p2tog—2 sts rem. Next row:
Short-row 3: Knit to 1 st before K2tog—1 st rem. Fasten off last st.
Garden
wrapped st, wrap next st, turn. Size 49" only:

Short-row 4: Work to end of row. Next row: P2tog, ssp, p1—3 sts rem.
Rep last 2 short-rows 1 (4, 10) more Next row: K2tog, k1—2 sts rem. Next
time(s) for B (C, D) cup—3 (6, 12) row: Ssp—1 st rem. Fasten off last st.
wrapped sts. Next row: (RS) Knit to All sizes:
end of row, working wraps tog with Shape front armhole: With WS facing,
Knit. Next row: BO 5 sts pwise, purl to wrapped sts as you come to them. place 43 (49, 53, 58, 64) held sts onto
end—23 (23, 25, 26, 27) sts rem. Next Work Rows 3 and 4 (of back edge needle. Next row: (WS) BO 4 (6, 5, 4, 6)
row: Knit. Next row: BO 3 sts pwise, shaping), then rep Rows 1–4 one (two, sts for underarm, purl to end—39 (43,
purl to end—20 (20, 22, 23, 24) sts two) more times for B (C, D) cup—56 48, 54, 58) sts rem.
rem. Work 2 rows even. BO all sts. (66, 75, 86, 95) sts rem. Row 1: (RS) Knit to last 3 sts, k2tog,
All sizes: k1—1 st dec’d.
RIGHT FRONT/ SIDE Divide for armhole: (WS) P1, p2tog, Row 2: Purl.
With MC and larger needles, CO 77 p10 (14, 19, 25, 28), place next 43 (49, Rep last 2 rows 3 (3, 5, 9, 11) more
(87, 96, 107, 116) sts. Work in k1, p1 53, 58, 64) sts on holder—12 (16, 21, times—35 (39, 42, 44, 46) sts rem.
rib for 1", ending with a RS row. Shape 27, 30) sts rem for back armhole. Knit 1 Work in St st until armhole measures
back edge: RS row. Shape back armhole: 6 (6½, 7, 7½, 7½)", ending with a WS
Row 1: (WS) P1, p2tog, purl to end— Row 1: (WS) P1, p2tog, purl to last 3 row. Shape front neck: Next row: (RS)
1 st dec’d. sts, ssp, p1—2 sts dec’d. BO 7 (11, 12, 13, 14) sts, knit to end—
Row 2: Knit. Row 2: Knit to last 3 sts, k2tog, k1—1 28 (28, 30, 31, 32) sts rem. Next row:
Row 3: Rep Row 1—1 st dec’d. st dec’d. Purl. Next row: BO 5 sts, knit to end—
Row 4: Knit to last 3 sts, k2tog, k1—1 Row 3: P1, p2tog, purl to last 3 sts, ssp, 23 (23, 25, 26, 27) sts rem. Next row:
st dec’d. p1—2 sts dec’d. Purl. Next row: BO 3 sts, knit to end—
For petite chest (A and B cup) only: Row 4: Knit. 20 (20, 22, 23, 24) sts rem. Work 3
Rep last 4 rows 6 more times—56 (66, Rep last 4 rows 0 (1, 2, 3, 4) more rows even. BO all sts.
75, 86, 95) sts rem; piece measures 5" time(s)—7 (6, 6, 7, 5) sts rem.
from CO. Sizes 33 (45)" only: SLEE VES
For full chest (B [C, D] cup) only: Next row: P1, p2tog, p1, ssp, p1—5 sts With MC and smaller needles, CO
Rep last 4 rows 4 (3, 3) more times for rem. Next row: Knit to last 3 sts, k2tog, 50 (50, 50, 54, 58) sts. Work in St st
B (C, D) cup, then work Row 1 once k1—4 sts rem. Next row: P2tog, ssp— until piece measures 1¾" from CO,
more—61 (71, 80, 91, 100) sts rem for 2 sts rem. Next row: Knit. Next row: ending with a RS row. Knit 1 WS row
B cup, 64 (74, 83, 94, 103) sts rem for P2tog—1 st rem. Fasten off last st.
11 (12, 13.5, 14.5, 14.5) cm
3½ (3¼, 3½, 3½, 3¼)"

4¼ (4¾, 5¼, 5¾, 5¾)"
9 (8.5, 9, 9, 8.5) cm
37.5 (37.5, 39.5, 44.5, 44.5) cm
14¾ (14¾, 15½, 17½, 17½)"
6 (7½, 8, 8½, 8¾)" 4 (4, 4½, 4½, 4¾)"

15 (19, 20.5, 21.5, 22) cm 10 (10, 11.5, 11.5, 12) cm
1"
7 (7½, 8, 8½, 8½)"
2.5 cm
left front
19½ (19½, 20, 20½, 20½)"
49.5 (49.5, 51, 52, 52) cm
18 (19, 20.5, 21.5, 21.5) cm

sleeve
& back
8¼ (9¼, 10, 11¼, 12¼)"
5"
21 (23.5, 25.5, 28.5, 31) cm
12.5 cm
15½ (17½, 19¼, 21½, 23¼)"
39.5 (44.5, 49, 54.5, 59) cm
2 (2, 2, 2, 2½)"
5 (5, 5, 5, 6.5) cm
10 (10, 10, 10¾, 11½)"
Note: Length measurements do not include hems. 25.5 (25.5, 25.5, 27.5, 29) cm

for turning row. Change to CC1 and Row 3: Knit to last 4 sts, k2tog, k2—1 seams. Turn hems to WS at turning
larger needles. Work in St st until piece st dec’d. rows and sew in place. Sew shoulder
measures 3¼" from turning row, ending Row 4: P2, p2tog, purl to end of row— seams so that ridge shows on RS. Sew
with a WS row. Note: Sleeve shaping 1 st dec’d. back seams. Sew sleeves into armholes,
beg at the same time as intarsia; read Rep last 4 rows 3 more times—13 sts easing to fit. Collar: With CC2, smaller
the foll section all the way through before rem. Work 2 rows even. BO all sts. needles, and RS facing, beg at right
proceeding. Wind 5 yd MC onto bobbin front neck edge, pick up and knit 1
or into small ball. Work intarsia as foll: FINISHING st for every BO st and about 3 sts for
K2 with MC, work to last 2 sts with Sleeve trim: (Make 2) With CC2 and every 4 rows along sloped edges around
CC1, k2 with bobbin of MC. Cont in smaller dpn, CO 3 sts. Work I-cord neckline, ending at left front neck edge.
intarsia, work 1 fewer st with CC1 at (see Glossary) for 27". BO all sts. Long Knit 2 rows. Change to larger needles.
each end every row until 2 CC1 sts rem. front trim: (Make 2) With CC2 and Knit 1 WS row. Change to CC1. Work
On next row, work with MC, dropping smaller needles, CO 5 sts. Work in in St st for 5 rows. Change to smaller
CC1. At the same time, shape sleeve as seed st (see Stitch Guide) until piece needles and CC2. Knit 1 WS row for
foll: Inc 1 st each end of needle every turning row. Change to MC. Work
4 rows 7 (7, 9, 9, 9) times, then every in St st for 8 rows. Do not BO. Cut
6 rows 5 (5, 5, 8, 6) times—74 (74, yarn, leaving a 1¾ yd tail. With tail
78, 88, 88) sts. Work even until piece threaded on a tapestry needle, sew live
measures 19½ (19½, 20, 20½, 20½)" sts to WS of collar along pick-up row.
from turning row, ending with a WS With sewing needle and thread, slip-
row. Shape cap: BO 2 (3, 3, 2, 3) sts at stitch ribbon facings to WS of fronts,
beg of next 2 rows—70 (68, 72, 84, 82) turning under cut edges of ribbon ends
sts rem. Dec row: (RS) K1, ssk, knit to and making sure sts do not show on
last 3 sts, k2tog, k1—2 sts dec’d. Next RS of garment. Sew hooks and eyes to
row: Purl. Next row: Rep dec row—2 ribbon, spacing them about 1¾" apart.
sts dec’d. Work 3 rows even. Rep last 6 Sew right and left frontispieces to right
rows once more—62 (60, 64, 76, 74) sts and left fronts about 1" below collar as
rem. Rep dec row every RS row 6 (8, 9, shown. Sew long, medium, and short
11, 11) times—50 (44, 46, 54, 52) sts front trims to right and left fronts as
rem. BO 6 sts at beg of next 2 rows— shown. Sew 1 button to each end of
38 (32, 34, 42, 40) sts rem. BO 10 (8, each front trim. Fold back trim into
8, 12, 12) sts at beg of next 2 rows—18 a loop and sew to lower edge of back,
(16, 18, 18, 16) sts rem. BO all sts. about 1¾" above lower edge. Sew 1
button to top of back trim. Weave in
LEF T FRONTISPIECE loose ends. Block again, if desired.
With larger needles and CC1, CO 25
sts. Work 6 rows in St st, ending with a T.L. Alexandria Volk learned to knit
WS row. (contin-ental and combination) at the age
Row 1: (RS) K2, ssk, knit to end of of four, and the fiber arts are an integral
row—1 st dec’d. measures 4" from CO. BO all sts. part of her practice as a costumer,
Row 2: Purl. Medium front trim: (Make 2) With artist, milliner, writer, and teacher. She
Row 3: K2, ssk, knit to end of row—1 CC2 and smaller needles, CO 5 sts. is intrigued by the tension between the
st dec’d. Work in seed st until piece measures construction of objects from yarn and
Row 4: Purl to last 4 sts, ssp, p2—1 st 2½" from CO. BO all sts. Short front the construction of objects from fabric
dec’d. trim: (Make 2) With CC2 and smaller and how tailoring, millinery, and older
Rep last 4 rows 3 more times—13 sts needles, CO 5 sts. Work in seed st until garment-fitting methods and solutions
rem. Work 2 rows even. BO all sts. piece measures 1½" from CO. BO all can inspire design. She is also interested
sts. Back trim: With CC2 and smaller in how the patterns within biology and
RIGHT FRONTISPIECE needles, CO 7 sts. Work in seed st mathematics can be a fertile ground for
With larger needles and CC1, CO 25 until piece measures 2" from CO. BO developing beauty and functionality and
sts. Work 6 rows in St st, ending with a all sts. Block pieces to measurements. the evolution of stitch patterns and of
WS row. Sleeve ornamentation: Arrange I-cord knitting and crocheting techniques. On
Row 1: (RS) Knit to last 4 sts, k2tog, on sleeve in loops and swirls as shown. www.ravelry.com she is BlackSwan.
k2—1 st dec’d. Sew in place. Sew 1 button to base of
Row 2: Purl. each sleeve ornamentation. Sew sleeve

gingersnap (CC3), and aubergine (CC4) GAUGE 20 sts and 26 rows = 4" in
for all sizes. Distributed by Simply Rosehip st using smaller needles.
Shetland.
NEEDLES Size 6 (4.0 mm): 16" NOTES
circular (cir) and double-pointed (dpn). • Hat has negative ease to provide
Size 7 (4.5 mm): straight and 2 dpn. proper profile and fit.
Adjust needle size if necessary to obtain • Hat is worked flat to crown and then
joined in the rnd for crown decreases.
Garden
the correct gauge.

NOTIONS Markers (m); tapestry
needle, knitting pins or knitter’s safety Stitch Guide
pins to position trim on hat. Rosehip Stitch: (multiple of 4 st + 3)
KENTISH TOQUE
T.L. Alexandria Volk
T he Kentish Toque was inspired by

an actual fashion illustration,
dated 1817. As a milliner, I love all
forms of hat making, and this project
allowed me to combine the aesthetics
of the upright toque profile with the
comfort and warmth of a knitted hat.
The rosehip stitch is dense yet
stretchy, allowing a good form without
laborious blocking or shaping
techniques, while echoing straw
weaving patterns popular in the early
nineteenth century. This is the anti-
slouch hat: it is meant to ride high
upon the wearer’s head, with a
flirtatious dip forward of the crown.
Play with the flowers and leaves,
pinning them temporarily to the hat
and then trying the hat on, until you
have a pleasing arrangement. The bone
structure of the wearer’s face and her
attitude should be the ultimate arbiter
of the exact placement of all
decorative items. The gather is meant
to perch fetchingly over the top arch of
your eyebrow, as though you have just
noticed something interesting, as so
often happens in Jane Austen’s works.
The fit might seem a bit tight if
you are used to slouchy hats, but
the stitch pattern will conform to the
wearer’s precise head shape after a
couple of wearings.
FINISHED SIZE 17½ (18¼, 19)"

brim circumference, shown in size 18¼".
YARN Jamieson’s Shetland Heather
Aran (100% Shetland; 101 yd [92.35 m]
/1¾ oz [50 g]): 2 balls pine (MC), 1
ball each ivory (CC1), pippin (CC2),

Row 1: (RS) K3, *sl 1 pwise wyb, k3; BO all sts. To shape rose, twist to form back to left-hand needle] 4 times, using
rep from * to end. a spiral and stitch in place at back. cable method, CO 2 sts, BO 6 sts; rep
Row 2: (WS) K3, *sl 1 pwise wyf, k3; from * to end. Break yarn. Tread
rep from * to end. Leaf tail on a tapestry needle and run back
Row 3: K1, *sl 1 pwise wyb, k3; rep With CC2 and larger through cast-on edge, pull tightly and
from * to last 2 sts, sl 1 pwise wyb, k1. needles, make a slip knot. secure. Center: With
Row 4: K1, *sl 1 pwise wyf, k3; rep CO 5 sts. BO 5 sts. Slip CC3 and larger
from * to last 2 sts, sl 1 pwise wyf, k1. rem st to left-hand needle. needles, make a slip
Rep Rows 1–4 for patt. CO 8 st. BO 8 st. Fasten knot. *CO 7 sts. BO
off rem st. 7 sts, sl rem st back to
TO QUE Note: Make a few leaves, left-hand needle; rep
With MC and smaller needles, CO 87 as you need them— from * 9 more times,
(91, 95) sts. Do not join. Work in St st two were used for this varying number of CO
for 6 rows, ending with a WS row. Knit pattern. Vary CO and and BO sts from 5 to
2 rows. BO numbers to give 8 sts for a naturalistic
Next row (eyelet row): (RS) K1, *k2, pleasing variation to variation in petal size.
k2tog, yo; rep from * to last 2 sts, k2. your leaf shapes. BO rem st. Tread tail
Knit 1 WS row. Work in Rosehip on tapestry needle and run through
Stitch (see Stitch Guide) until piece Cabbage Rose and Leaf, © 2006 bottom, pull tight and secure. Stitch to
measures 6½" from CO edge, ending by Nicky Epstein, published by center of chrysanthemum base with a
with a WS row. Change to dpn. Nicky Epstein Books, an imprint of couple of sts.
Shape crown: Sixth&Spring Books. Used by permission.
Size 17½" only: Next row: (RS) Knit, Purple Spike (Mexican Sage) Flower
dec 3 sts evenly across row and place Small Cabbage Rose Make 1 small and 1 large.
marker (pm) every 12 sts—84 sts. Join With CC1 and larger needles, CO 10 With CC4 and larger needles, CO 10
in the rnd. sts. Work Rows 1–4 of Cabbage Rose (14) sts. BO 2 (3) sts, knit to end of row.
Size 18¼" only: Next row: (RS) Knit, patt. BO all sts. To shape rose, twist to Work Picot BO as follows:
pm every 13 sts. Join in the rnd. form a spiral and stitch in place at back. For small flower only: *BO 1 st, return
Size 19" only: Next row: (RS) Knit, dec st to left-hand needle, CO 1 st using
4 sts evenly across row and pm every 13 Petite Garter Leaf cable method, BO 2 sts; rep from *
sts—91 sts. Join in the rnd. With CC2 and larger needles CO 9 sts. once more. BO 1 st, return st to left-
All sizes: Dec rnd: Knit to 2 st before m, Rows 1 and 3: (RS) K3, sl 2 sts as if to hand needle, CO 2 sts, BO rem sts.
ssk, sl m—7 sts dec’d. k2tog, k1, psso, k3—7 sts. For large flower only: *BO 1 st, return st
Next rnd: Knit. Row 2: (WS) K1, M1, k2, p1, k2, M1, to left-hand needle, using cable method,
Rep last 2 rnds once more. k 1—9 sts. CO 2 sts, BO 3 sts; rep from * twice
Rep Dec Rnd every rnd 9 (10, 10) more Row 4: K3, p1, k3. more—5 sts left on needle. BO 1 st,
times—7 sts rem. Break yarn, leaving Row 5: K2, sl 2 sts as if to k2tog, k1, return st to left-hand needle, CO 3 sts,
an 8" tail. Tread yarn through rem sts, psso, k2—5 sts. BO 4 sts, BO rem sts.
pull tightly to close and secure. Weave Row 6: K2, p1, k2. Both sizes: Break yarn. Tread tail on
in ends. Row 7: K1, sl 2 sts as if to k2tog, k1, tapestry needle, run tail yarn up and
psso, k1—3 sts.
DEC OR ATION Row 8: K1, p1, k1.
Cabbage Rose Row 9: Sl 2 sts as if to k2tog, k1, psso—
With CC1 and larger needles, CO 10 1 st. Break yarn and thread through
sts. rem st to fasten off.
Row 1: (RS) Knit. Note: Make a few leaves, as you need
Row 2 (and all even rows): (WS) Purl. them—three were used for this pattern.
Row 3: *K1f&b; rep from * to end—
20 sts. Chrysanthemum
Row 5: *K1f&b; rep from * to end— Base: With CC3 and larger needles,
40 sts. CO 17 sts.
Row 7: *K1f&b; rep from * to end— Row 1: Knit.
80 sts. Row 2: BO 1 st, *sl 1 st back to left-
Row 8: Purl. hand needle, using cable method (see
Glossary), [CO 2 sts, BO 2 sts, sl 1 st

down the length of the spike a couple of NOTIONS Eight small buttons,
times within the CO edge, to improve markers (m), tapestry needle, size C
its uprightness and form. (2.75 mm) crochet hook, stitch holder
(or waste yarn).
FINISHING GAUGE 32 sts and 44 rows = 4" in St
Using Mattress st (see Glossary), sew st; 35 sts and 44 rows in Fir Cone patt.
side seam, gathering it slightly along its
Garden
length so the CO edge pulls upward NOTE

a bit, and the crown dips forward Chart is worked circularly and back
slightly. Try the toque on to get the and forth.
right fit for your forehead and eyebrow
configuration—the lower edge dip BETWIXT AND GLOVE (MAKE 2)
should perch above an eyebrow— BETWEEN GLOVES CO 61 (71) sts onto one dpn. Do not
which one is up to you. With larger dpn join. Purl 1 row. Work Rows 1–16 of
Moira Engel
and CC2, CO 3 sts. Work I-cord (see Fir Cone chart once, then rep Rows
Glossary) for 30". BO all sts. Weave 1–8. Divide sts evenly on 4 dpn, place
I-cord through Eyelet row and knot on
the inside of toque. Arrange flowers
D uring the Regency era, a lady’s
gloves were an essential
accessory for the very practical
marker (pm) and join in the rnd being
careful not to twist sts. Work Rnds
and leaves on hat, using knitting pins 9–16 of chart.
purpose of protecting a lady’s delicate
or safety pins to hold in place until
skin. There were special styles for every
a happy arrangement is achieved. Thumb gusset:
occasion. I designed these gloves to
Tack down flowers and leaves, paying Note: When working the Tumb
usher that lady through the seasonal
attention to attach them from the Gusset, work in Fir Cone patt to gusset
changes in lacy style.
lower edges, not the centers, and use m, sl m, work gusset, sl next m, and
as few stitches as possible—that’s the resume Fir Cone patt on the next st.
FINISHED SIZE 7 (8)" hand
milliner’s way! You should be able You may find that you need to split the
circumference. Shown in 7" size.
to take all ornament off the hat and patt to accommodate the thumb gusset.
YARN Crystal Palace Yarns Mini
rearrange it if you should desire to do If needed, have a yo on one side of the
Solid (80% Merino, 20% nylon; 195 yd
so, as Jane Austen describes in her gusset and a k1, yo on the other side
[178 m]/1¾ oz [50 g]), #1101 intense
letters to her sister Cassandra. of the gusset. If you need to split a sl1,
red, 2 skeins.
k2tog, psso, work the yo, k1, yo that
NEEDLES Size 2 (2.75 mm), set of 5
T.L. Alexandria Volk learned to knit comes before, then k2, k2tog, work thumb
double-pointed (dpn).
(continen-tal and combination) at the age gusset, sl m, sl1, k1, psso. Cont in patt.
of four, and the fiber arts are an integral
part of her practice as a costumer,
artist, milliner, writer, and teacher. She
is intrigued by the tension between the
construction of objects from yarn and
the construction of objects from fabric
and how tailoring, millinery, and older
garment-fitting methods and solutions
can inspire design. She is also interested
in how the patterns within biology and
mathematics can be a fertile ground for
developing beauty and functionality and
the evolution of stitch patterns and of
knitting and crocheting techniques. On
www.ravelry.com she is BlackSwan.

Break yarn, thread through rem sts, and
pull tight to close.
Middle Finger:
Next rnd: Attach yarn at base of ring
finger, k8 (9) sts, place next 16 (19) sts
onto a holder or waste yarn, knit the
last 8 (9) sts, pick up and knit 4 sts
from the base of the ring finger—20
(22) sts for middle finger. Evenly divide
the 20 (22) sts on 3 dpn and join in the
rnd. Knit until finger measures 3¼ (3½,
3¾)" (or desired length) from base.
Next rnd: [K5, k2tog] 2 (1) times, knit
to end of rnd—18 (21) sts rem.
Rnd 1: Work 30 (35) sts in patt, pm, 17 (20) sts for little finger; 48 (55) sts Knit 1 rnd.
M1, pm, work in patt to end of rnd—1 on hold at hand. Evenly divide the 17 Next rnd: *K1, k2tog; rep from * to
st inc’d for gusset. (20) sts on 3 dpn and join in the rnd. end—12 (14) sts rem.
Rnd 2: Work in patt to m, sl m, yo, k1, Knit until finger measures 2¼ (2¾)" (or Break yarn, thread through rem sts, and
yo, sl m, work in patt to end of rnd—3 desired length) from base. pull tight to close.
gusset sts. Next rnd: *K1, k2tog; rep from * to last
Rnd 3: Work to m, sl m, k3, sl m, work 2 sts, k2tog—11 (13) sts rem. Index Finger:
to end of rnd. Break yarn, thread through rem sts, and Next rnd: Attach yarn at base of middle
Rnd 4: Rep Rnd 3. pull tight to close. finger, k16 (19) sts from holder, pick
Rnd 5: Work to m, sl m, k1, yo, k1, yo, up and knit 4 sts from the base of the
k1, sl m, work to end of rnd—5 gusset Using yarn from the rnd before the middle finger—20 (23) sts for index
sts. start of the little finger, pick up and finger. Evenly divide the 20 (23) sts on
Rnd 6: Work to m, sl m, knit to next m, knit 4 sts from the CO sts at base of 3 dpn and join in the rnd. Knit until
sl m, work to end of rnd. the little finger, k48 (55), pm for beg of finger measures 3 (3½)" (or desired
Rnd 7: Rep Rnd 6. rnd—52 (59) sts. Knit 2 rnds. length) from base.
Rnd 8: Work to m, sl m, k2, yo, k1, yo, Next rnd: [K5, k2tog] 2 times, knit to
k2, sl m, work to end of rnd—7 gusset Ring Finger: end of rnd—18 (21) sts.
sts. Next rnd: K44 (50), with a separate Knit 1 rnd.
Rnds 9 and 10: Rep Rnd 6. needle, k8 (9), remove beg of rnd m, k12 Next rnd: *K1, k2tog; rep from * to
Rep last 3 rnds 7 (9) more times, (13)—last 20 (22) sts just worked are end—12 (14) sts rem.
working one additional knit st before ring finger; 32 (37) sts rem on hold at Break yarn, thread through rem sts, and
first yo and after second yo—21 (25) hand. Evenly divide the 20 (22) sts on pull tight to close.
gusset sts bet m. 3 dpn and join in the rnd. Knit until
finger measures 3 (3½)" (or desired Thumb:
Hand: length) from base. Next rnd: K21 (25) sts from holder,
Next rnd: Work to first gusset m, Next rnd: [K5, k2tog] 2 (1) times, knit pick up and knit 3 sts from the base of
remove m, sl the next 21 (25) sts (gusset to end of rnd—18 (21) sts rem. the thumb hole on the hand—24 (28)
sts) to holder or waste yarn, remove Knit 1 rnd. thumb sts. Divide sts evenly on 4 dpn
second gusset m, work to end of rnd— Next rnd: *K1, k2tog; rep from * to and join in the rnd. Knit until thumb
61 (71) sts for hand. Work even in patt end—12 (14) sts rem. measures 2¼ (2¾)" (or desired length)
until piece measures 6 ½ (7)" from CO
Fir Cone
edge (or desired length), ending with an Key
even-numbered rnd. k on RS; p on WS 15
yo 13
Little finger: 11
Next rnd: Knit to 7 (8) sts before end of k2tog
9
rnd, drop yarn but do not break, attach sl 1, k1, psso 7
new yarn, with a new needle, k7 (8), 5
sl 1, k2tog, psso
remove m, k6 (8), using the backward- 3
loop method (see Glossary), CO 4 sts— pattern repeat
1

from the base.
Next rnd: [K6, k2tog] 1 (2) times, knit
to end of rnd—23 (26) sts rem.
Knit 1 rnd.
Next rnd: *K1, k2tog; rep from * to last
2 sts, k2tog—15 (17) sts rem.
Break yarn, thread through rem sts, and
Garden
pull tight to close.
Buttonband: With crochet hook,

work 24 sc along edge of cuff opening,
turn. Next row: [Ch3, skip 2 sc sts,
sc in next st] 4 times along 1 edge of
opening. Fasten off. Sew on buttons to
correspond with buttonholes.
FINISHING
Weave in ends. Steam block.
Moira Engel is a Pacific Northwest

designer married to a tugboat captain.
Comfort requires a certain creativity with
warm woollies for wet weather. Moira’s
desires to design unique items that are
fun to knit and practical enough to use
often. You can find her on www.ravelry
.com as the Backloop.
hook, this technique can be mastered 22½, 23¾, 26)" long at center back.
quickly. Even better, the vines can Stole shown measures 48¼".
easily be ripped out and re-crocheted. YARN Lorna’s Laces Lion & Lamb
BIEDER MIER STOLE The colorwork flowers provide anchoring (50% wool, 50% silk; 205 yd [187 m]
Annie Modesitt points to make the embroidery /3½ oz [100 g]): chino (tan; MC),
repetition easier to work in a measured 3 (3, 4, 5, 6) balls; Irving Park (red
T he Biedermier period in Germany

was concurrent with Regency/
Georgian in England and Empire in
fashion. This capelet is designed to fit
the shoulders and to easily drape down
to the elbows. The refined cut of this
variegated; CC1) and envy (green
variegated; CC2), 1 ball each.
NEEDLES Size 7 (4.5 mm) and size
France. A hallmark of this elegant style garment allows full movement while 6 (4 mm): 32'' circular (cir). Adjust
was a convergence of lines that created retaining subtle elegance as well as needle size if necessary to obtain the
naturalistic ornamentation. By working comfortable warmth. correct gauge.
several rows of simple decorative chain NOTIONS Smooth waste yarn for
embroidery around the edges and along FINISHED SIZE 40¾ (48¼, provisional CO; markers (m; 1 green,
the fronts and collar of this cape, the 55½, 59¼, 62¾)" circumference at 1 blue); removable markers; stitch
knitter can mimic the same effect. lower edge, 14½ (14½, 17, 17, 17)" holders; tapestry needle; size G/6
Even if one has never used a crochet circumference at neck, and 18 (19¾, (4 mm) crochet hook.

Left Placket Right Placket k18 (22, 26, 28, 30)] 5 times, s2kp2 and
mark this st, knit to end—104 (128,
23 23 152, 164, 176) sts rem.
21 21 Rows 2 and 4: Purl.
19 19 Row 3: [Knit to marked st, sl 1 pwise] 6
17 17 times, knit to end of row.
15 15 Row 5: [Knit to 1 st before marked st,
13 13 s2kp2] 6 times, knit to end of row—12
11 11 sts dec’d.
9 9 Row 6: Purl.
7 7 Rep last 4 rows 1 (3, 4, 5, 6) more
5 5 time(s)—80 (80, 92, 92, 92) sts rem.
3 3
Rep Rows 3 and 4 until piece measures
1 1
4 (4½, 5½, 5½, 6½)" from pick-up row,
ending with a WS row. Place sts on
(Key on page 96.) holder, keeping m in place.
GAUGE 20 sts and 27 rows = 4" in St side beg at left front and working around
st on larger needle; 24 sts and 30 rows to right front edge. With larger needle, RIGHT FRONT PL ACKE T
= 4" in St st on smaller needle. MC, and using a provisional method With smaller needle and beg at top of
(see Glossary), CO 49 (55, 61, 67, 73) right yoke, pick up (but do not knit)
Stitch Guide sts. Do not join. 19 (19, 25, 25, 31) sts down right yoke
Decorative Chain Embroidery: Holding Row 1: (RS) Work Lower Stole chart edge, then place 49 (55, 61, 67, 73) held
yarn on WS of work, insert hook from over 36 sts (dec’d to 34 sts), pm (blue) sts (and m) onto needle—68 (74, 86,
RS to WS. Yo, draw loop through after st 6 as shown on chart and pm 92, 104) sts total. Do not join. Placket
to RS of fabric. *Move hook to point (green) at end of chart, knit to end of lace panel: With MC and beg with
where next chain should beg and insert row. a RS row, work Rows 1–12 of Right
hook from RS to WS. Yo, draw loop Row 2 and all WS rows: Purl to m, work Placket chart once over all sts. Placket
through fabric and through loop on chart to end of row. colorwork: Next row: (RS) Work Row
hook; rep from * as needed. To end, cut Rows 3 and 9: Work chart as 13 of Right Placket chart to m, join
yarn, draw last loop from RS to WS, established to 2nd m, k2 (2, 4, 4, 6), CC1 and work Flower Edge chart over
then pull tail of yarn through loop. wrap next st, turn. 60 (66, 78, 84, 96) sts, ending with st
Rows 5 and 11: Work chart as 12 (6, 6, 12, 12) of chart. Work in patt
s2kp2: Sl 2 sts as if to k2tog, k1, pass 2 established to 2nd m, knit to wrapped as established for 9 more rows. Break
sl sts over—2 sts dec’d. st, work wrap tog with wrapped st, knit CC1. Next row: (RS) Work Row 23 of
to end of row. Right Placket chart to m, knit to end.
NOTES Row 7: Work chart as established to Next row: Purl to m, work Row 24 of
• Tere is a yarnover at the end of 2nd m, knit to end of row. chart to end. Turning ridge: With larger
the row in several lace charts. Tis Row 12: Purl to m, work chart to end needle and CC2, knit 2 rows. Break
can be worked at the beginning of of row. CC2. Facing: With MC and smaller
the following row if you prefer. Te Rep last 12 rows 18 (22, 26, 28, 30) needle, create facing as foll:
yarnover is there to be worked as part more times—228 (276, 324, 348, 372) Row 1: Ssk, knit to end of row—1 st
of a decrease in the following row to rows of lace at right edge, 152 (184, dec’d.
provide a bit of heft to a scalloped 216, 232, 248) rows of St st at left edge. Row 2: P2tog, purl to end of row—1 st
lace edge. Place sts on holder, removing green m dec’d.
• Weave in ends as you go as this will and keeping blue m in place. Rep last 2 rows 6 more times—54 (60,
make keeping the yarns separate 72, 78, 90) sts rem. Loosely BO all sts.
much easier, and it is necessary YOKE Cut yarn, leaving a 30" tail for sewing
for working the decorative chain With MC, smaller needle, and RS facing.
embroidery. facing, pick up and knit 116 (140, 164,
• Use two balls of CC1 in the intarsia 176, 188) sts across St st selvedge edge LEF T FRONT PL ACKE T
section of the Lower Stole chart to of body. Do not join. Beg with a WS Carefully remove provisional CO and
avoid long floats. row, work 3 rows in garter st. Work 6 place 49 (55, 61, 67, 73) sts onto smaller
rows in St st. Shape yoke: needle. Pick up (but do not knit) 18 (18,
BODY Row 1: (RS) K4 (6, 8, 9, 10), [s2kp2 24, 24, 30) sts along left yoke edge—
Note: Te body is worked from side to (see Stitch Guide) and mark this st, 67 (73, 85, 91, 103) sts total. Do not

Lower Stole Embroidery
Key
k on RS; p on WS with MC
k on RS; p on WS with CC1
Flower Embroidery
p on RS; k on WS with MC
yo
Garden
k2tog
ssk
sl 2 as if to k2tog, k1, p2sso
pattern repeat
marker position Flower Edge
9 Lower Stole
7
11
5
Lace Edging 9
3
7
5 1
5
3
st 12 st 6 3
1
1
join. Placket lace panel: With MC and (108, 120, 120, 120) sts total. Do not
beg with a RS row, work Rows 1–12 join. Neckband:
of Left Placket chart once over all Row 1: (RS) With MC, [k2tog] 8
sts, pm as indicated on chart. Placket times, k0 (0, 1, 1, 1), [s2kp2, knit to 1
colorwork: Next row: (RS) Join CC1 and st before marked st] 5 times, s2kp2, k0
work Flower Edge chart over 60 (66, (0, 1, 1, 1), [k2tog] 8 times—80 (80, 92,
78, 84, 96) sts, ending with st 12 (6, 6, 92, 92) sts rem.
12, 12) of chart, then work Row 13 of Row 2: Knit.
Left Placket chart to end of row. Work Row 3: [Knit to 1 st before marked st,
in patt as established for 9 more rows. s2kp2] 6 times, knit to end of row—68
Break CC1. Next row: (RS) Knit to m, (68, 80, 80, 80) sts rem.
work Row 23 of Left Placket chart to Work 6 (6, 4, 4, 4) rows in garter st,
end. Next row: Work Row 24 of chart ending with a RS row. Collar: Shape
to m, purl to end. Turning ridge: With collar using short-rows (see Glossary)
larger needle and CC2, knit 2 rows. as foll:
Break CC2. Facing: With MC and Short-row 1: (WS) Knit to last 7 (7, 8, 8,
smaller needle, create facing as foll: 8) sts, wrap next st, turn.
Row 1: Ssk, knit to end of row—1 st Note: From this point on, what had been
dec’d. the RS is now the WS.
Row 2: P2tog, purl to end of row—1 st Short-row 2: (WS) Purl to last 7 (7, 8, 8,
dec’d. 8) sts, wrap next st, turn.
Rep last 2 rows 6 more times—53 (59, 71, Short-row 3: (RS) Knit to 2 sts before
77, 89) sts rem. Loosely BO all sts. Cut wrapped st, wrap next st, turn.
yarn, leaving a 30" tail for sewing facing. Short-row 4: (WS) Purl to 2 sts before
wrapped st, wrap next st, turn.
NECKBAND AND C OLL AR Rep last 2 short-rows 9 (9, 12, 12,
Place 80 (80, 92, 92, 92) yoke sts from 12) more times—14 (14, 12, 12, 12)
holder onto smaller cir needle. At each unwrapped sts at center. Next row: (RS)
end of neck, pick up (but do not knit) Knit to end of row, working wraps tog
14 sts along selvedge edge of each lace/ with wrapped sts as you come to them.
colorwork placket section (do not pick Next row: (WS) K4, purl to last 4 sts
up along diagonal edge of facing)—108 (working wraps tog with wrapped sts),

k4. Colorwork section: Next row: (RS) edge of lace (2 sc every other row). Spencer (Princess Diana’s great-great-
K4, work Flower Edge chart over 60 Fasten off. With crochet hook, CC2, great-grandfather) became so bemused
(60, 72, 72, 72) sts, k4. Cont in patt and RS of collar facing, sc around collar by the outlandish fashion of the early
for 5 rows. Next short-row: (RS; Row 7 edge. Ties: With crochet hook and nineteenth century that he claimed that
of chart) K4, work in patt to last 4 sts, CC2, join yarn to point just below collar he could cut the tails off his jacket and
k3, wrap next st, turn. Next short-row: neckband. Ch 60, turn work and sc into it would become the new fad. He did,
(WS) K3, work in patt to last 4 sts, back loop of each ch, working to neck and it did. Adopted by British military
k3, wrap next st, turn. Next short-row: edge. Weave in loose ends. officers as formal evening wear (mess
(RS) K3, work in patt to 2 sts before dress), the spencer is also known as a
last wrapped st, wrap next st, turn. Next Annie Modesitt lives in Saint Paul, “mess jacket.”
short-row: (WS) K1, work in patt to 2 Minnesota, with her husband, children, The lines of the spencer worked
sts before last wrapped st, wrap next pets and many, many books. She agrees beautifully with the high-waisted,
st, turn. Break CC1. Next short-row: with Henry Tilney that “the person, be it columnar fashions that evolved from
(RS) With MC, knit to 2 sts before last gentleman or lady, who has not pleasure in the round gown of the late eighteenth
wrapped st, wrap next st, turn. Next a good novel, must be intolerably stupid.” century. As thinner, more casual dress
short-row: (WS) Purl to 2 sts before last moved from French private salons to
wrapped st, wrap next st, turn. Rep last English society at large, the spencer
2 short-rows once more. Next row: (RS) provided a sense of tailoring to the
Knit to end of row, working wraps tog lightweight muslin gowns that seemed,
with wrapped sts as you come to them, to British sensibilities, perhaps a bit
then pick up and knit 6 sts along garter too intimate for street wear.
edge of neckband—74 (74, 86, 86, This semi-fitted short spencer
86) sts total. Change to larger needle. jacket features a trellis cable pattern
Next row: (WS) Purl to end, working that forms the perfect background
wraps tog with wrapped sts, then pick for a very easy chain embroidery and
up and purl 6 sts along garter edge of French-knot decoration.
neckband—80 (80, 92, 92, 92) sts total.
Knit 1 RS row. Next row: (WS) K14 FINISHED SIZE 30½ (33½, 36,
(14, 16, 16, 16), [M1, k13 (13, 15, 15, 39, 41½, 44½, 50)" bust circumference.
15)] 4 times, M1, knit to end of row— SOUTACHE SPENCER Spencer shown measures 33½".
85 (85, 97, 97, 97) sts. Lace edging: Annie Modesitt YARN Hazel Knits DK Lively (90%
Work Rows 1–6 of Lace Edging chart superwash Merino, 10% nylon; 275 yd
once over all sts. Loosely BO all sts. [251 m]/3½ oz [100 g]): wheatberry
FINISHING
A story, perhaps apocryphal, has it
that George Spencer, second Earl (MC), 5 (6, 7, 8, 8, 9, 10) skeins;
Weave in loose ends. Steam block

all parts of stole. Decorative chain
embroidery: Using decorative chain
embroidery (see Stitch Guide) and
CC2, work one long chain in each garter
“gutter” at lower edge of yoke. Foll
Lower Stole Embroidery and Flower
Embroidery diagrams, work decorative
chain embroidery with CC2 along body
of stole in 5 passes, then down each
placket front and along collar in 1 pass
each. Front plackets: Turn facing to
WS at CC2 turning ridge. With tail
threaded on a tapestry needle, sew BO
edge to WS of work. Steam plackets
again. Crochet edging: With crochet
hook, CC2, and RS facing, beg at left
front lower edge, sc (see Glossary for
crochet instructions) across lower edge
of stole, working 2 sc into each yo at

(128, 152, 168, 184, 200, 224) sts. 208, 224, 240, 256, 284) sts. Work 3
Change to smaller needles and work in rows even. Inc row: (RS) K1, *work
rib as foll: in patt to 1 st before m, k1, LLI (see
Row 1: (RS) *P1, k2, p1; rep from * to Glossary), [remove m, k1] 2 times,
end of row. remove m, RLI (see Glossary), k1; rep
Row 2: (WS) *K1, p2, k1; rep from * to from * once more, work in patt to last
end of row. st, k1—176 (192, 212, 228, 244, 260,
Garden
Cont in rib as established for 2", 288) sts. Next row: (WS) P1, work in
ending with a RS row. Change to Trellis patt to last st, p1. Work even in
larger needles. Next row: (WS) Work patt until piece measures 10½ (10½,
12 (16, 24, 28, 32, 36, 40) sts in rib as 10½, 10½, 10¾, 11½, 11½)" from CO,
established for left front, [pm, p16 (16, ending with a WS row. Divide for fronts
15, 15, 15, 15, 16)] 2 times for left side, and back: Next row: (RS) Working in
pm, work 24 (32, 44, 52, 60, 68, 80) patt as established, work 44 (48, 54, 58,
sts in rib as established for back, [pm, 62, 66, 72) sts and place these sts on
p16 (16, 15, 15, 15, 15, 16)] 2 times for holder for right front, work 88 (96, 104,
right side, pm, work 12 (16, 24, 28, 32, 112, 120, 128, 144) sts for back, place
36, 40) sts in rib as established for right next 44 (48, 54, 58, 62, 66, 72) sts on
front. holder for left front. Back: Work 1 WS
row. Shape armhole: BO 4 sts at beg of
woodland (CC1), 1 skein; chocoberry next 2 rows—80 (88, 96, 104, 112, 120,
(CC2), 1 skein. 136) sts rem. BO 2 (2, 3, 3, 3, 3, 3) sts
NEEDLES Size 7 (4.5 mm): straight, at beg of next 4 rows—72 (80, 84, 92,
16" circular (cir), and set of double- 100, 108, 124) sts rem. BO 1 st at beg
pointed (dpn). Size 6 (4 mm): straight of next 4 (4, 2, 2, 2, 4, 4) rows—68 (76,
and set of dpn. Adjust needle size if 82, 90, 98, 104, 120) sts rem. Work
necessary to obtain the correct gauge. even until armhole measures 7½ (8,
NOTIONS Markers (m); stitch 8½, 8½, 9, 9½, 9½)", ending with a WS
holders; cable needle (cn); tapestry row. Shape shoulder: BO 7 (8, 9, 10, 11,
needle; size G/6 (4 mm) crochet hook; 12, 14) sts at beg of next 4 rows, then
ten ½" (1.3 cm) buttons. BO 6 (7, 9, 11, 12, 12, 13) sts at beg of
GAUGE 20 sts and 30 rows = 4" in St foll 2 rows—28 (30, 28, 28, 30, 32, 38)
st on larger needles; 23 sts and 30 rows sts rem. Place sts on holder. Right front:
= 4" in trellis patt on larger needles. With WS facing, place held right front
sts onto larger needle. Cont in patt as
Stitch Guide established, at beg of WS rows, BO 4
S2kp2: Sl 2 sts as if to k2tog, k1, pass 2 sts once, then BO 2 (2, 3, 3, 3, 3, 3) sts
sl sts over—2 sts dec’d. 2 times, then BO 1 st 2 (2, 1, 1, 1, 2, 2)
time(s)—34 (38, 43, 47, 51, 54, 60) sts
Double Left Lifted Increase (DLLI): Row 1: (RS) K1, *work Trellis chart to rem. Work even in patt as established
K1, insert needle into side of st 1 row 1 st before m, DLLI (see Stitch Guide), until armhole measures 4½ (4¾, 5¼,
below st just knit and knit that st, then sl m, knit to 2 sts before m, k2tog, sl m, 5¼, 5¼, 5¾, 5¼)", ending with a WS
insert needle into side of st 2 rows ssk, knit to m, sl m, DRLI (see Stitch row. Shape neck: At beg of RS rows,
below original st and knit that st—2 sts Guide); rep from * once more, work BO 7 (7, 8, 8, 8, 9, 9) sts once, then
inc’d. Trellis chart to last st, k1—116 (132, BO 1 st 3 (4, 4, 4, 4, 4, 5) times—24
156, 172, 188, 204, 228) sts. (27, 31, 35, 39, 41, 46) sts rem. Work 3
Double Right Lifted Increase (DRLI): Keeping first and last st in St st and rows even, then BO 1 st at beg of next
Knit into side of st 2 rows below next working new sts into charted patt, work (RS) row. Rep last 4 rows 3 (3, 3, 3, 4,
st on needle, then knit into side of st 3 rows even. Inc row: (RS) K1, *work 4, 4) more times—20 (23, 27, 31, 34,
in row immediately below next st on in patt to 1 st before m, DLLI, sl m, 36, 41) sts rem. Shape shoulder: At beg
needle, then knit next st on needle—2 knit to 2 sts before m, k2tog, sl m, ssk, of WS rows, BO 7 (8, 9, 10, 11, 12, 14)
sts inc’d. knit to m, sl m, DRLI; rep from * once sts 2 times, then BO 6 (7, 9, 11, 12, 12,
more, work in patt to last st, k1—4 13) sts once—no sts rem. Left front:
BODY sts inc’d. Rep last 4 rows 13 (13, 12, With RS facing, place held left front
With larger needles and MC, CO 112 12, 12, 12, 13) more times—172 (188, sts onto larger needle. Cont in patt as

established to 2nd m, sl m, sl 1, [(RLI,
k1, LLI) 3 times, sl 1] 3 (4, 4, 4, 4, 4,
4) times, sl m, wrap next st, turn—81
(99, 107, 107, 107, 115, 115) sts total; 31
(41, 41, 41, 41, 41, 41) sts between top
of cap m.
Short-row 2: (WS) Remove m, p1, [k9,
p1] 3 (4, 4, 4, 4, 4, 4) times, remove m,
wrap next st, turn—81 (99, 107, 107,
107, 115, 115) sts total: 10 (18, 26, 26,
26, 34, 34) sts for lower sleeve, 71 (81,
81, 81, 81, 81, 81) sts for upper sleeve.
Short-row 3: Work Row 1 of Sleeve Cap
chart to wrapped st, work wrap tog
with wrapped st, wrap next st, turn.
Short-row 4: Work Row 2 of Sleeve Cap
chart to wrapped st, work wrap tog
with wrapped st, wrap next st, turn.
established, at beg of RS rows, BO 4 17) for top of cap, pm, k20 for side of Rep last 2 short-rows 14 more times,
sts once, then BO 2 (2, 3, 3, 3, 3, 3) sts cap. Next rnd: P2, *k2, p2; rep from * working new sts into charted patt. Next
2 times, then BO 1 st 2 (2, 1, 1, 1, 2, 2) to m, [k1, p9] 2 times, sl m, k1, [p3, k1] row: (RS) Work in patt to wrapped st,
time(s)—34 (38, 43, 47, 51, 54, 60) sts 3 (4, 4, 4, 4, 4, 4) times, sl m, [p9, k1] work wrap tog with wrapped st, work
rem. Work even in patt as established 2 times. Shape sleeve cap using short- in patt to last st, k1. Next rnd: P2, *k2,
until armhole measures 4½ (4¾, 5¼, rows (see Glossary) as foll: p2; rep from * to m, work in charted
5¼, 5¼, 5¾, 5¼)", ending with a RS Short-row 1: (RS) Work in rib as patt to end, working rem wrap tog
row. Shape neck: At beg of WS rows,
BO 7 (7, 8, 8, 8, 9, 9) sts once, then BO
1 st 3 (4, 4, 4, 4, 4, 5) times—24 (27, 31, Sleeve Cap Cuff Transition
35, 39, 41, 46) sts rem. Work 3 rows 1
even, then BO 1 st at beg of next (WS) 1
row. Rep last 4 rows 3 (3, 3, 3, 4, 4, 4)
more times—20 (23, 27, 31, 34, 36, 41) Key Embroidery Trellis
sts rem. Shape shoulder: At beg of RS k on RS; p on WS
7 7
rows, BO 7 (8, 9, 10, 11, 12, 14) sts 2
p on RS; k on WS 5 5
times, then BO 6 (7, 9, 11, 12, 12, 13)
sts once—no sts rem. k2tog 3 3
1 1
ssk
SLEE VES
Sew shoulder seams. With MC, RS sl 2 as if to k2tog, k1, p2sso Sleeve Shaping
facing, larger cir needle, and beg at
sl 1 pwise wyb 11
center of underarm, pick up and knit 63
(75, 83, 83, 83, 91, 91) sts evenly spaced sl 1 pwise wyf 9
around armhole. Break yarn. 7
RLI, k1
Left sleeve only:
5
Sl 9 (13, 17, 17, 17, 21, 21) sts from right no stitch
needle to left needle and pm for beg of 3
pattern repeat 1
rnd.
Right sleeve only:
Sl 1 (5, 9, 9, 9, 13, 13) st(s) from right sl 1 st onto cn, hold in back, k1, p1 from cn Cuff
needle to left needle and pm for beg of sl 1 st onto cn, hold in front, p1, k1 from cn
7*
rnd. sl 1 st onto cn, hold in back, k1, k1 from cn
5
Both sleeves: sl 1 st onto cn, hold in front, k1, k1 from cn
Rejoin yarn. Next rnd: K10 (18, 26, 26, 3*
26, 34, 34) for lower sleeve, pm, k20 for chain-st embroidery with CC1 1
side of cap, pm, k13 (17, 17, 17, 17, 17, French knot with CC2 * Work as given in directions

3½ (4, 4¾ , 5½, 6, 6¼, 7¼)" 4¾ (5¼, 4¾, 4¾, 5¼, 5½, 6½)"
9 (10, 12, 14, 15, 16, 18.5) cm 12 (13.5, 12, 12, 13.5, 14, 16.5) cm
¾" 16
2 cm 41 ¼ (1
.5
(4 7½,
4.
7½ (8, 8½, 8½, 9, 9½, 9½)" 5, 19,
19 (20.5, 21.5, 21.5, 23, 24, 24) cm 4 8 19
.5 , 2
body , 4 0½
8.
5, , 2 0
52 ½
, 5 ,20
2, ½
10½ (10½, 10½, 10½, 10¾, 11½, 11½)" 52 )"
Garden
)c
26.5 (26.5, 26.5, 26.5, 27.5, 29, 29) cm m
13 (15¾, 17, 17,
17, 18½, 18½)"
33 (40, 43, 43,
15¼ (16¾, 18, 19½, 20¾, 22¼, 25)" 43, 47, 47) cm 6¾ (8¾, 10¼, 10¼, 10¼, 11¾, 11¾)"
38.5 (42.5, 45.5, 49.5, 52.5, 56.5, 63.5) cm 17 (22, 26, 26, 26, 30, 30) cm
21¼ (24, 28, 30¾, 33½, 36¼, 40¾)"
54 (61, 71, 78, 85, 92, 103.5) cm
with wrapped st. Shape sleeve: Note: With larger needles and WS facing, Short-row 2: (WS) Purl to m, p12, wrap
Change to larger dpn when necessary. loosely BO all sts. Buttonhole band: next st, turn.
Next rnd: Work in rib to m, work Row With smaller needles, MC, and RS Short-row 3: Work to wrapped st, work
1 of Sleeve Shaping chart to end— facing, pick up and knit 75 (78, 83, 81, wrap tog with wrapped st, work 3 sts,
67 (83, 91, 91, 91, 99, 99) sts rem: 10 84, 88, 86) sts along right front edge. wrap next st, turn.
(18, 26, 26, 26, 34, 34) sts for lower Work 5 rows in garter st. Buttonhole Rep last short-row 3 (5, 5, 5, 7, 7, 9)
sleeve, 57 (65, 65, 65, 65, 65, 65) sts row: (RS) K5 (6, 4, 3, 5, 7, 6), [work 2-st more times—3 (4, 4, 4, 5, 5, 6) wrapped
for upper sleeve. Cont in patt through 1 row buttonhole (see Glossary), k5 (5, sts at each end. Next row: (RS) Knit to
Row 10 of chart—53 (67, 75, 75, 75, 6, 6, 6, 6, 6)] 9 times, work 2-st 1 row end, working wrap tog with wrapped
83, 83) sts rem: 10 (18, 26, 26, 26, 34, buttonhole, k5 (7, 5, 4, 5, 7, 6). Work st. Next row: (WS) K5, purl to last 5 sts
34) sts for lower sleeve, 43 (49, 49, 49, 5 more rows in garter st. With larger (working wrap tog with wrapped st), k5.
49, 49, 49) sts for upper sleeve. Cont in needles and RS facing, loosely BO all Change to larger needles. Work Rows
patt, rep Rows 11 and 12 of chart until sts. Collar: With MC, smaller needles, 1–8 of Trellis chart 2 times. Work 4
piece measures 16¼ (17½, 19, 19, 20½, and RS facing, beg at right front neck rows in garter st. Loosely BO all sts.
20½, 20½)" from underarm. Cuff: Next edge, pick up and knit 19 (22, 23, Embroidery: Using Embroidery chart as
rnd: Work in rib to m, ssk, *p1, k1, p1, 25, 26, 25, 28) sts along neck edge to a guide, work chain-st embroidery (see
s2kp2 (see Stitch Guide); rep from * to holder, k28 (30, 28, 28, 30, 32, 38) back Glossary) with CC1 and French knots
last 5 sts, p1, k1, p1, k2tog—39 (51, 59, neck sts from holder, pick up and knit (see Glossary) with CC2 onto trellis
59, 59, 67, 67) sts rem: 10 (18, 26, 26, 19 (22, 23, 25, 26, 25, 28) sts along neck patt on fronts, cuffs, and collar. Note:
26, 34, 34) sts for lower sleeve, 29 (33, edge to left front—66 (74, 74, 78, 82, Don’t strive for perfect straight lines, as
33, 33, 33, 33, 33) sts for upper sleeve. 82, 94) sts total. Work 2 rows in garter nature is seldom straight! Use the trellis
Next rnd: Work in rib to m, *k1, p1; rep st. Note: RS of collar is WS of body. lines as a guide and feel free to stray from
from * to last st, k1. Rep last rnd once Shape collar using short-rows as foll: them. Weave in loose ends. Safety pin
more. Change to smaller dpn. Next rnd: Short-row 1: (RS of collar; WS of body) fronts tog and sew buttons through
Work in rib to m, remove m, work Row K33 (37, 37, 39, 41, 41, 47), pm, k18 buttonholes to buttonband, then unpin
1 of Cuff Transition chart to end—40 (20, 20, 20, 22, 22, 26), wrap next st, (buttons will be perfectly placed).
(52, 60, 60, 60, 68, 68) sts. Next rnd: turn. Steam block garment, allowing it to
*P2, k2; rep from * to end. Rep Rows Short-row 2: (WS) Purl to m, p18 (20, cool and dry completely in the shape
1–8 of Cuff chart over all sts until cuff 20, 20, 22, 22, 26), wrap next st, turn. you desire.
measures 2", working Rows 3 and 7 as Short-row 3: Work to 2 sts before
foll: Work in patt to last st, work final wrapped st, wrap next st, turn. Annie Modesitt lives in Saint Paul,
cable cross using last st of rnd and first Rep last short-row 9 more times—6 Minnesota, with her husband, children,
st of next rnd (pm for beg of rnd in wrapped sts at each end. Next row: (RS) pets and many, many books. She agrees
center of cable). [Knit 1 rnd, purl 1 rnd] Knit to end of row, working wraps tog with Henry Tilney that “the person, be it
2 times. Loosely BO all sts kwise. with wrapped sts as you come to them. gentleman or lady, who has not pleasure
Next row: (WS) K5, purl to last 5 sts in a good novel, must be intolerably
FINISHING (working wraps tog with wrapped sts), stupid.”
Buttonband: With smaller needles, k5. Work 2 rows in St st. Shape collar
MC, and RS facing, pick up and knit using short-rows as foll:
75 (78, 83, 81, 84, 88, 86) sts along left Short-row 1: (RS) Knit to m, k12, wrap
front edge. Work 10 rows in garter st. next st, turn.

FINISHED SIZE 33 (37, 41, 45, 49)" Row 3: Knit.
bust circumference, buttoned. Coat Row 4: Purl.
shown measures 33". Rep Rows 1–4 for patt.
YARN Rowan Lima (84% baby
alpaca, 8% Merino, 8% nylon; 109 BACK
yd [100 m]/1¾ oz [50 g]): #882 chile With MC and largest needles, CO 103
(MC), 12 (13, 14, 16, 17) balls. (115, 127, 139, 148) sts. Work 6 rows
Rowan Alpaca Cotton (72% alpaca, in St st. Next row: (RS) Work 1 st in
28% cotton; 148 yd [135 m]/1¾ oz St st, work in Band patt (see Stitch
[50 g]): #415 lichen (CC), 2 balls. Guide) to last st, work 1 st in St st.
Both distributed by Westminster Work even in patt for 35 more rows.
ELINOR’S DAY COAT Fibers. Dec row: (RS) K1, p2tog, work in patt
NEEDLES Body and sleeves—size 9 to last 3 sts, p2tog, k1—2 sts dec’d. Rep
Carol Wessinger
(5.5 mm). Collar and cuffs—sizes 6 and dec row every 10th row 6 (7, 7, 7, 7)
7 (4 and 4.5 mm). Adjust needle size if more times—89 (99, 111, 123, 132) sts
I nspired by a coat Emma Thompson
wore in the 1995 film adaptation of
Sense & Sensibility, this is an everyday
NOTIONS Removable markers (m);
rem. Work even until piece measures
19" from CO, ending with Row 2 of
tapestry needle; one 1" button. patt. Dec row: (RS) Knit, dec 7 (7, 9,
coat Jane Austen would have worn for
GAUGE 20 sts and 27 rows = 4" in St 11, 10) sts evenly spaced—82 (92, 102,
going to town or strolling the garden.
st with MC on largest needles; 22 sts 112, 122) sts rem. Work 5 rows even
An easy band pattern gives body and
and 36 rows = 4" in band patt with MC in St st. Shape armholes: BO 2 (2, 3, 4,
texture to the lower half. An unusual
on largest needles; 24 sts and 28 rows = 6) sts at beg of next 2 (4, 2, 4, 2) rows,
design feature is the corded edging for
4" in St st with CC on smallest needles. then BO 0 (0, 2, 0, 5) sts at beg of foll 0
the center fronts, collar, and lapels.
(0, 2, 0, 2) rows—78 (84, 92, 96, 100)
The edge is worked as an applied
Stitch Guide sts rem. Dec 1 st each end of needle
I-cord; corners are joined by grafting
Band Pattern: (multiple of 3 sts + 2) every RS row 1 (2, 3, 3, 5) time(s)—76
stitches together. Blocking,
Row 1: (RS) P2, *sl 1 kwise wyb, p2; (80, 86, 90, 90) sts rem. Work even
accomplished through light steaming
rep from * to end. until armholes measure 7½ (7½, 8,
and wet-blocking, is especially
Row 2: K2, *sl 1 pwise wyf, k2; rep 8½, 9)", ending with a WS row. Shape
important for the collar and lapels.
from * to end. shoulders: BO 8 (8, 9, 9, 9) sts at beg of
next 4 rows, then BO 7 (9, 10, 10, 10)
sts at beg of foll 2 rows—30 (30, 30, 34,
34) sts rem. BO all sts.
RIGHT FRONT
With MC and largest needles, CO 60
(66, 72, 78, 84) sts.
Row 1: (RS) Sl 3 pwise wyb, knit to
end.
Row 2: Purl.
Rep last 2 rows 2 more times.
Band patt:
Row 1: (RS) Sl 3 pwise wyb, work in
Band patt to last st, k1.
Row 2: P1, work in patt to last 3 sts, p3.
Work even in patt for 34 more rows.
Dec row: (RS) Work in patt to last
3 sts, p2tog, k1—1 st dec’d. Rep dec
row every 10th row 6 (7, 7, 7, 7) more
times—53 (58, 64, 70, 76) sts rem.
Work even until piece measures 19"
from CO, ending with Row 2 of patt.
Dec row: (RS) Sl 3 pwise wyb, knit
to end, dec 3 (3, 4, 4, 6) sts evenly
spaced—50 (55, 60, 66, 70) sts rem.

rows, BO 2 (2, 3, 4, 6) sts 1 (2, 1, 2, 1)
time(s), then BO 0 (0, 2, 0, 5) sts 0 (0,
1, 0, 1) time. Dec 1 st at armhole edge
every RS row 1 (2, 3, 3, 5) time(s)—23
(25, 28, 28, 28) sts rem when all neck
and armhole shaping is complete. Work
even until armhole measures 7½ (7½,
Garden
8, 8½, 9)", ending with a WS row.

Shape shoulder: At beg of RS rows, BO
8 (8, 9, 9, 9) sts 2 times, then BO 7 (9,
10, 10, 10) sts once—no sts rem.
SLEE VES
Cuff: With CC and smallest needles,
CO 15 sts.
Row 1: (RS) Sl 3 pwise wyb, knit to
end.
Row 2: Sl 3 pwise wyf, purl to end.
Rep Rows 1 and 2 until piece measures
9 (9½, 10, 10½, 11)" from CO. Loosely
BO all sts. Pin cuff so it lies flat and
steam lightly. Sleeve: With RS facing,
MC, and largest needles, pick up and
knit 48 (52, 54, 56, 58) sts along one
corded edge of cuff. Purl 1 WS row.
Cont in St st, inc 1 st each end of needle
every 10 (8, 8, 8, 6) rows 3 (10, 8, 2, 14)
times, then every 8 (6, 6, 6, 4) rows 8
Keeping corded edge at beg of RS Row 1: (RS) Knit. (2, 5, 13, 2) times—70 (76, 80, 86, 90)
rows, work 5 rows even in St st. Shape Row 2: Sl 3 pwise wyf, purl to end. sts. Work even until piece measures 17"
neck and armhole: Note: Armhole Rep last 2 rows 2 more times. from bottom of cuff, ending with a WS
shaping beg on first WS row; read the Band patt: row. Shape cap: BO 3 (2, 3, 4, 5) sts at
foll section all the way through before Row 1: (RS) K1, work in Band patt to beg of next 2 (4, 4, 4, 4) rows—64 (68,
proceeding. Neck dec row: (RS) Sl last 3 sts, k3. 68, 70, 70) sts rem. Dec 1 st each end
3 pwise wyb, ssk, knit to end—1 st Row 2: Sl 3 pwise wyf, work in patt to of needle every RS row 12 (11, 13, 14,
dec’d. Rep neck dec row every RS last st, p1. 15) times—40 (46, 42, 42, 40) sts rem.
row 23 (23, 23, 26, 25) more times. At Work even in patt for 34 more rows. Work 1 WS row. BO 2 (3, 2, 2, 2) sts at
the same time, after fi rst neck dec has Dec row: (RS) K1, p2tog, work in patt beg of next 2 (4, 2, 4, 4) rows, then BO
been worked, shape armhole as foll: At to end—1 st dec’d. Rep dec row every 3 (4, 3, 3, 3) sts at beg of foll 4 (2, 4, 2,
beg of WS rows, BO 2 (2, 3, 4, 6) sts 10th row 6 (7, 7, 7, 7) more times—53 2) rows—24 (26, 26, 28, 26) sts rem.
1 (2, 1, 2, 1) time(s), then BO 0 (0, 2, (58, 64, 70, 76) sts rem. Work even BO all sts.
0, 5) sts 0 (0, 1, 0, 1) time. Dec 1 st at until piece measures 19" from CO,
armhole edge every RS row 1 (2, 3, 3, ending with Row 2 of patt. Dec row: FINISHING
5) time(s)—23 (25, 28, 28, 28) sts rem (RS) Knit, dec 3 (3, 4, 4, 6) sts evenly Sew shoulder seams. Sew in sleeves.
when all neck and armhole shaping is spaced—50 (55, 60, 66, 70) sts rem. Sew sleeve and side seams. Turn
complete. Work even until armhole Keeping corded edge at beg of WS lower edge of fronts and back to WS,
measures 7½ (7½, 8, 8½, 9)", ending rows, work 5 rows even in St st. Shape aligning CO edge to beg of band patt;
with a RS row. Shape shoulder: At neck and armhole: Note: Armhole whipstitch (see Glossary) in place.
beg of WS rows, BO 8 (8, 9, 9, 9) sts shaping beg on first RS row; read the Note: For collar and lapels, sl all sts
2 times, then BO 7 (9, 10, 10, 10) sts foll section all the way through before pwise wyb on RS and wyf on WS. Upper
once—no sts rem. proceeding. Neck dec row: (RS) Work collar: Place marker on each front neck
to last 5 sts, k2tog, k3—1 st dec’d. Rep edge 3 (3, 3, 3½, 3½)" below shoulder
LEF T FRONT neck dec row every RS row 23 (23, 23, seam. With CC, smallest needles,
With MC and largest needles, CO 60 26, 25) more times. At the same time, and WS facing, pick up and knit 72
(66, 72, 78, 84) sts. shape armhole as foll: At beg of RS (72, 72, 84, 84) sts along neck edge

between m. Using the knitted method Rows 17 and 18: Rep Rows 13 and 14. Row 1: (WS) Purl to end, then CO 2
(see Glossary), CO 2 sts—74 (74, 74, Change to middle-size needles. sts—32 (32, 34, 34, 37) sts.
86, 86) sts. Note: RS of collar is WS of Rows 19–24: Rep Rows 15 and 16 three Row 2: Sl 2, knit to last 3 sts, wrap next
coat. Shape collar using short-rows (see times—86 (86, 86, 98, 98) sts. st, turn.
Glossary) as foll: Row 25: Sl 2, p30, wrap next st, turn. Row 3 and all WS rows: Purl to end.
Row 1: (WS) Sl 2, purl to end, CO 2 Row 26: Knit to end. Row 4: Sl 2, knit to last 5 sts, wrap next
sts—76 (76, 76, 88, 88) sts. Row 27: Sl 2, p22, wrap next st, turn. st, turn.
Row 2: Sl 2, knit to end. Row 28: Knit to end. Row 6: Sl 2, knit to last 7 (7, 8, 8, 8) sts,
Row 3: Sl 2, purl to last 11 (11, 11, 12, Row 29: Sl 2, p14, wrap next st, turn. wrap next st, turn.
12) sts, wrap next st, turn. Row 30: Knit to end. Row 8: Sl 2, knit to last 9 (9, 10, 10, 10)
Row 4: Knit to last 11 (11, 11, 12, 12) Row 31: Sl 2, p6, wrap next st, turn. sts, wrap next st, turn.
sts, wrap next st, turn. Row 32: Knit to end. Row 10: Sl 2, k2tog, knit to last 11 (11,
Row 5: Purl to last 17 (17, 17, 19, 19) Row 33: Sl 2, purl to end, working 13, 13, 13) sts, wrap next st, turn—31
sts, wrap next st, turn. wraps tog with wrapped sts. (31, 33, 33, 36) sts rem.
Row 6: Knit to last 17 (17, 17, 19, 19) Row 34: Sl 2, k30, wrap next st, turn. Row 12: Sl 2, knit to last 13 (13, 15, 15,
sts, wrap next st, turn. Row 35: Purl to end. 15) sts, wrap next st, turn.
Row 7: Purl to last 23 (23, 23, 26, 26) Row 36: Sl 2, k22, wrap next st, turn. Row 14: Sl 2, knit to last 15 (15, 17, 17,
Row 8: Knit to last 23 (23, 23, 26, 26) Row 38: Sl 2, k14, wrap next st, turn. Row 16: Sl 2, knit to last 17 (17, 19, 19,
Row 9: Purl to last 29 (29, 29, 33, 33) Row 40: Sl 2, k6, wrap next st, turn. Row 18: Sl 2, knit to last 19 (19, 21, 21,
Row 10: Knit to last 29 (29, 29, 33, 33) Row 42: Sl 2, knit to end, working Row 20: Sl 2, k2tog, knit to last 21 (21,
sts, wrap next st, turn. wraps tog with wrapped sts. 23, 23, 25) sts, wrap next st, turn—30
Row 11: Working wraps tog with Row 43: Sl 2, purl to end. (30, 32, 32, 35) sts rem.
wrapped sts as you come to them, purl Applied I-cord: K2, *transfer 2 sts to left Row 22: Sl 2, knit to last 23 (23, 25, 25,
to last 2 sts, M1P (see Glossary), p2— needle, k1, k2tog tbl; rep from * until 27) sts, wrap next st, turn.
77 (77, 77, 89, 89) sts. 2 sts rem on each needle. Cut yarn, Row 24: Sl 2, knit to last 25 (25, 27, 27,
Row 12: Working wraps tog with leaving a 12" tail. Graft I-cord sts to last 29) sts, wrap next st, turn.
wrapped sts, sl 2, knit to last 2 sts, M1, 2 sts using Kitchener st (see Glossary). Row 26: Sl 2, knit to last 27 (27, 29, 29,
k2—78 (78, 78, 90, 90) sts. Right lapel: With CC, smallest needles, 31) sts, wrap next st, turn.
Row 13: Sl 2, purl to end. and WS facing, beg at base of upper Row 28: Sl 2, knit to end, working
Row 14: Sl 2, knit to end. collar, pick up and knit 30 (30, 32, 32, wraps tog with wrapped sts.
Row 15: Sl 2, purl to last 2 sts, M1P, 35) sts along right front edge, ending Row 29: Purl.
p2—1 st inc’d. 1" above beg of St st. Note: RS of collar Applied I-cord: K2, *transfer 2 sts to
Row 16: Sl 2, knit to last 2 sts, M1, is WS of coat. Shape lapel using short- left needle, k1, k2tog tbl; rep from *
k2—1 st inc’d. rows as foll: until all lapel sts are worked—2 sts rem.
4½ (5, 5½, 5½, 5½)" 6 (6, 6, 6¾, 6¾)"

11.5 (12.5, 14, 14, 14) cm 15 (15, 15, 17, 17) cm
1"
12 (12, 13.5, 14.5, 15) cm
2.5 cm
4¾ (5¼, 5¼, 5½, 5¼)"
4¾ (4¾, 5¼, 5¾, 6)"
7½ (7½, 8, 8½, 9)" 8½ (8½, 9, 9½, 10)" 12 (13.5, 13.5, 14, 13.5) cm
19 (19, 20.5, 21.5, 23) cm 21.5 (21.5, 23, 24, 25.5) cm
35.5 (38.5, 40.5, 44, 45.5) cm
14 (15¼, 16, 17¼, 18)"
16½ (18½, 20½, 22½, 24½)"

42 (47, 52, 57, 62) cm
10 (11, 12, 13¼, 14)"
20" right 25.5 (28, 30.5, 33.5, 35.5) cm sleeve
51 cm front 17"
43 cm
&
back 11 (12, 13, 14¼, 15¼)"
28 (30.5, 33, 36, 38.5) cm
18¾ (21, 23, 25¼, 27)" 9 (9½, 10, 10½, 11)"

47.5 (53.5, 58.5, 64, 68.5) cm 23 (24, 25.5, 26.5, 28) cm

Transfer 2 sts to left needle, k2tog tbl— underside of I-cord. Button loop: With (65% wool, 25% superkid mohair, 10%
1 st rem. Fasten off last st. Left lapel: MC and smallest needles, CO 3 sts. angora; 130 yd [119 m]/1¾ oz [50 g]):
With CC, smallest needles, and WS Work I-cord (see Glossary) for 2½". BO #2637 plum island, 2 (2, 3) skeins.
facing, beg 1" above beg of St st, pick up all sts. Sew ends of loop to right front NEEDLES Size 5 (3.75 mm) set of 5
and knit 30 (30, 32, 32, 35) sts along edge between bottom of right lapel and double-pointed (dpn).
left front edge, ending at base of upper beg of St st, overlapping WS of coat by NOTIONS Markers (m); cable needle
collar. Note: RS of collar is WS of coat. ¾". Sew button to left front opposite (cn); stitch holder; tapestry needle.
Garden
Shape lapel using short-rows as foll: button loop so fronts overlap 1". GAUGE 23 sts and 33 rounds = 4" in
Row 1: (WS) CO 2 sts, sl 2, purl to Lay coat flat. Pin corners of lapels so St st.
end—32 (32, 34, 34, 37) sts. they lie flat. Pin left front edge flat. Wet
Rows 2, 4, 6, 8, 12, 14, 16, 18, 22, 24, lapels and front edge with spray bottle Stitch Guide
26, and 28: Knit to end. or wet cloth. Pin right front edge over K2, p2 Rib: (multiple of 4 sts)
Row 3: Sl 2, purl to last 3 sts, wrap next left front so hems meet and wet. Allow Rnd 1: *K2, p2; rep from * around.
st, turn. to dry thoroughly before unpinning. Rep Rnd 1 for patt.
Row 5: Sl 2, purl to last 5 sts, wrap next
st, turn. Carol Wessinger designs and knits NOTE
Row 7: Sl 2, purl to last 7 (7, 8, 8, 8) sts, nonstop and teaches at her local yarn To accommodate long, elegant fingers
wrap next st, turn. shop in northeast Ohio. You can see and a narrow palm, choose the
Row 9: Sl 2, purl to last 9 (9, 10, 10, 10) more of her designs on www.ravelry size that corresponds to your hand
sts, wrap next st, turn. .com. Her current charity knitting is circumference and knit the hand
Row 10: Knit to last 4 sts, ssk, k2—31 hats and scarves for a local homeless straight in St st until your pinky is
(31, 33, 33, 36) sts rem. shelter, to give a little bit of home to covered before beg to dec for mitten top.
Row 11: Sl 2, purl to last 11 (11, 13, 13, those without.
13) sts, wrap next st, turn. LEF T MIT TEN
Row 13: Sl 2, purl to last 13 (13, 15, 15, CO 48 (52, 56) sts. Divide sts evenly
15) sts, wrap next st, turn. over 4 dpn. Pm and join in the rnd, be
Row 15: Sl 2, purl to last 15 (15, 17, 17, careful not to twist sts. Work in k2, p2
18) sts, wrap next st, turn. rib for 7".
Row 17: Sl 2, purl to last 17 (17, 19, 19, Establish Abbey chart and thumb
20) sts, wrap next st, turn. gusset: Work Rnd 1 of Abbey chart
Row 19: Sl 2, purl to last 19 (19, 21, 21, over 26 sts for back of hand, [k1, k2tog]
23) sts, wrap next st, turn. 6 (8, 8) times, k3 (1, 5) sts for palm,
Row 20: Knit to last 4 sts, ssk, k2—30 pm, M1R (see, Glossary), k1, M1L (see
(30, 32, 32, 35) sts rem. Glossary) for thumb gusset—44 (46,
Row 21: Sl 2, purl to last 21 (21, 23, 23, 50) sts rem.
25) sts, wrap next st, turn. Next 2 rnds: Work 26 chart sts, knit to
Row 23: Sl 2, purl to last 23 (23, 25, 25, m, sl m, knit to end.
27) sts, wrap next st, turn. NORTHANGER Inc rnd: Work 26 chart sts, knit to m,
Row 25: Sl 2, purl to last 25 (25, 27, 27, ABBEY MITTENS sl m, M1R, knit to end of rnd, M1L—
29) sts, wrap next st, turn. Celeste Young 2 sts inc’d.
Row 27: Sl 2, purl to last 27 (27, 29, 29, Rep the last 3 rnds 3 (4, 5) more
31) sts, wrap next st, turn. times—52 (56, 62) sts total; 11 (13, 15)
Row 29: Sl 2, purl to end, working
wraps tog with wrapped sts.
T he dramatic arch motif on the top
of each mitten alludes to the
soaring peaks of the churches of Bath.
sts for thumb gusset.
Next 2 rnds: Work 26 chart sts, knit to
Applied I-cord: CO 1 st, k2, *transfer The dramatic long cuff was in fashion m, sl m, knit to end.
2 sts to left needle, k1, k2tog tbl; rep from the Regency era into the beginning Note: When all 21 rnds of chart are
from * until 2 sts rem on each needle. of the Victorian era. Knitted with a completed, work all sts in St st.
Cut yarn, leaving a 12" tail. Graft I-cord hardworking tweed, these mittens will Divide thumb: Work in patt as
sts to last 2 sts using Kitchener st. keep you warm while appearing stylish. established to first thumb m, remove
Lightly steam collar and lapels on WS. m and place 11 (13, 15) thumb sts
With WS facing and beg at neck edge, FINISHED SIZES Women’s small onto a st holder, use the backward-
whipstitch upper edge of lapels to upper (medium, large); 7¼ (7¾, 8¼)" hand loop method (see Glossary) to CO 1
collar for 1". Whipstitch bottom end circumference; 13¼ (13¾, 15)" long. st onto right needle—42 (44, 48) sts.
of each lapel to neck edge, then tack Mittens shown are women’s medium. Cont working as established until piece
edge of lapel to front for 3", catching YARN Berroco Blackstone Tweed measures 5¼ (5¾, 6¾)" from thumb

divide, or 1 (1, 1¼)" less than total
finger length.
Shape fingers: Remove m, k3 (2, 0), pm
for new beg of rnd. Arrange sts so that
there are 10 (11, 12) sts on needles 1
and 3, and 11 (11, 12) sts on needles 2
and 4.
Dec rnd: *K1, ssk, knit to last 3 sts on
second dpn, k2tog, k1; rep from * once
more—4 sts dec’d. Rep Dec Rnd every
rnd 8 (8, 9) more times—6 (8, 8) sts rem.
Cut yarn and draw through rem sts.
Thumb: Return 11 (13, 15) held thumb
sts to dpns and knit across, pick up
and knit 3 sts across gap, pm for beg of times for palm—44 (46, 50) sts. and 3, and 11 (11, 12) sts on needles 2
rnd—14 (16, 18) sts. Next rnd: Knit to Next 2 rnds: Work 26 chart sts, sl m, and 4.
last 2 sts, k2tog—13 (15, 17) sts. Work knit to m, sl m, knit to end. Dec rnd: *K1, ssk, knit to last 3 sts on
even in St st for 1½ (1½, 1¾)", or ½" less Inc rnd: Work 26 chart sts, sl m, M1R, second dpn, k2tog, k1; rep from * once
than total thumb length. knit to m, M1L, sl m, knit across palm more—4 sts dec’d. Rep dec rnd every
Shape thumb: Dec rnd 1: [K3, k2tog] 2 sts to end—2 sts inc’d. rnd 8 (8, 9) more times—6 (8, 8) sts
(3, 3) times, k3 (0, 2)—11 (12, 14) sts Rep the last 3 rows 3 (4, 5) more rem. Cut yarn and draw through rem
rem. times—52 (56, 62) sts total; 11 (13, 15) sts. Work thumb same as for left mitten.
Rnd 2: [K2, k2tog] 2 (3, 3) times, k3 (0, sts for thumb gusset.
2)—9 (9, 11) sts rem. Next 2 rnds: Work 26 chart sts, sl m, FINISHING
Rnd 3: [K1, k2tog] 3 times, k0 (0, knit to m, sl m, knit to end. Weave in ends on WS of fabric,
2)—6 (6, 8) sts rem. Note: When all 21 rnds of chart are taking care to close any small holes
Rnd 4: K2tog to end—3 (3, 4) sts rem. completed, work all sts in St st. between thumb and hand. Block to
Cut yarn and draw through rem sts. Divide thumb: Work in patt as measurements.
established to first thumb m, remove m
RIGHT MIT TEN and place 11 (13, 15) thumb sts onto a Celeste teaches knitting, crochet, and
CO 48 (52, 56) sts. Pm and join in the st holder, remove m, use the backward- spinning at Trumpet Hill . . . Fine Yarns
rnd, be careful not to twist sts. Work in loop method to CO 1 st onto right and Accents in Albany, New York. She
k2, p2 rib for 7". needle, and knit to end—42 (44, 48) often knits while watching Lost in Austen,
Establish Abbey chart and thumb sts. Cont working as established until which she finds almost as enjoyable as
gusset: Work Rnd 1 of Abbey chart piece measures 5¼ (5¾, 6¾)" from reading Jane Austen. She is thrilled to be
over 26 sts for back of hand, pm, M1R, thumb divide, or 1 (1, 1¼)" less than pursuing level three of the Knitting Guild
k1, M1L to beg inc for thumb gusset, total finger length. of America’s Master Knitting Program.
pm, k3 (1, 5) sts, [k2tog, k1] 6 (8, 8) Shape fingers: Remove m, k3 (2, 0), pm Find her online at www.celeste
for new beg of rnd. Arrange sts so that youngdesigns.com and on www.ravelry
there are 10 (11, 12) sts on needles 1 .com as celknits.
Abbey Key
21 knit
19 purl
17 sl 2 sts onto cn, hold in
front, k1, k2 from cn
15
sl 2 sts onto cn, hold in
13 front, p1, k2 from cn
11 sl 1 st onto cn, hold in
back, k2, p1 from cn
9 sl 1 st onto cn, hold in
7 back, k2, k1 from cn
5
3
1

Town
FANNY’S
CHEMISETTE
Designed by DEBORAH
ADAMS. PAGE 112.
YARN: Fyberspates
Scrumptious, distributed by
Lantern Moon.

MANSFIELD PARK WRAPS:
THE MISSES PRICE
Designed by CATHERINE SALTER BAYAR. PAGE 117.
YARN: The Fibre Company Road to China Light,
distributed by Kelbourne Woolens.
THE MISSES BERTRAM

Designed by CATHERINE SALTER BAYAR. PAGE 115.
YARN: Handmaiden Flaxen.

NETHERFIELD EVENING BAG
Designed by ANNA COLE. PAGE122.
AUSTENSIBLE YARN: Louisa Harding Mulberry, distributed by
CAPELET Knitting Fever.
Designed by VALERIE
THIBODAUX. PAGE 120.
YARN: Rowan Kidsilk Haze,
distributed by Westminster
Fibers, and Madelinetosh
Tosh Merino.

PLEATED
NECK SCARF
Designed by ALANA
DAKOS. PAGE 124.
YARN: Rowan Kid Silk
Haze, distributed by
Westminster Fibers.

LADY RUSSELL SHAWL
Designed by JOY GERHARDT.
PAGE 126.YARN: Fyberspates Ethereal.

wear, the idea seems more appealing to Stitch Guide
wear over a dress, a blouse, or top and Slip Stitch: (multiple of 4 sts + 3)
depending on the yarn used, could add Row 1: K1, sl 1 st kwise wyb, *k3, sl 1 st
chunky fun or soft elegance to an outfit. kwise wyb; rep from * to last st, k1.
Rows 2: Purl.
FINISHED SIZES 33½ (35¼, 37, Rep Rows 1–2 for patt.
39½, 40¾, 43¾, 45¾)". Chemisette
shown measures 33½". Collar Pattern: (multiple of 9 sts)
Note: When slipping sts, sl kwise wyb.
Town
YARN Fyberspates Scrumptious (45%

silk, 55% Merino; 241 yd [220 m]/ Row 1: K4, sl 1, k4, *yo, k4, sl 1, k4; rep
3½ oz [100 g]): #102 olive, 2 (2, 3, 3, from * to end.
FANNY’S 3, 3, 3) skeins. Distributed by Lantern Row 2 and all WS rows: Purl.
CHEMISETTE Moon. Row 3: K2, k2tog, sl 1, k2tog, k2, *yo,
NEEDLES Body—size US 7 k1, yo, k2, k2tog, sl 1, k2tog, k2; rep
Deborah Adams
(4.5 mm); Collar—size US 8 (5 mm). from * to end.
Adjust needle sizes if necessary to Row 5: K1, k2tog, sl 1, k2tog, k1, *yo,
M y inspiration for this piece was

the chemisettes worn in Jane
Austen’s day for added warmth and for
obtain the correct gauge.
NOTIONS Stitch holders; stitch
k1, sl 1, k1, yo, k1, k2tog, sl 1, k2tog,
k1; rep from * to end of row.
marker (m); tapestry needle; size C/2 Row 7: K2tog, sl 1, k2tog, *yo, k2, yo,
modesty. Made of a lightweight cloth, a
(2.75 mm) crochet hook; 1½ yd of 7⁄8" sl 1, yo, k2, yo, k2tog, sl 1, k2tog; rep
chemisette would be worn under a
ribbon, one 7⁄8" button. from * to end.
dress from the neck to the bustline
GAUGE 22½ sts and 29 rows = 4" Row 9: K3tog, *yo, k3, yo, k1, sl 1, k1,
without adding bulk over the shoulders
in Slip Stitch pattern with smaller yo, k3, yo, k3tog; rep from * to end.
and under the arms. For modern-day
needles. Row 11: Sl 1, *yo, k4, yo, k2, sl 1, k2, yo,
k4, yo, sl 1; rep from * to end.
Row 12: Purl.
NOTE
Tere is no trim worked around the
armhole edges. To prevent a stair-step
look to the bound-off stitches, on the
row prior to the bound-off sts slip the
last stitch purlwise with yarn in back on
right side, with yarn in front on wrong
side; on the bind-off row, slip the first 2
stitches for the first bind-off st.
BACK
With smaller needles, CO 87 (91, 99,
107, 111, 119, 123) sts. Casing: Work
in St st until piece measures 1", ending
with a WS row. Turning row: (RS) Purl.
Work St st until piece measures 1" from
turning row, ending with a WS row.
Next row: (RS) Purl. Next row: (WS)
Purl. Work in Slip Stitch patt (see
Stitch Guide) until piece measures 5
(5, 5, 5½, 5½, 6, 6)" from turning row,
ending with a WS row.
Shape armholes: BO 4 (4, 6, 6, 6, 7, 8)
sts at beg of next 2 rows, then 2 (2, 2,
4, 4, 5, 5) sts at beg of next 2 rows—75
(79, 83, 87, 91, 95, 97) sts rem. Dec row:
(RS) K2tog, work in Slip Stitch patt
to last 2 sts, ssk—2 sts dec’d. Next row:

(WS) Purl. Rep the last 2 rows 0 (1, 2,
2, 2, 3, 3) more time(s)—73 (75, 77, 81,
85, 87, 89) sts rem. Work in Slip Stitch
patt until armhole measures 7 (7, 7½, 8,
8, 8½, 9)", ending with a WS row.
Shape right neck: (RS) Keeping in Slip
Stitch patt, work 24 (24, 24, 25, 26, 26,
26) sts, pm, turn and cont on only these
sts. Dec row: (WS) P3, p2tog, purl to
end—1 st dec’d. Dec row: (RS) Work in
patt to last 5 sts, k2tog, k3—1 st dec’d.
Rep the last 2 rows 2 more times—18
(18, 18, 19, 20, 20, 20) sts rem. Next
row: Purl. Put rem sts on st holder and
cut yarn.
Shape left neck: (RS) Sl center 25 (27,
29, 31, 33, 35, 37) sts to a holder. Join
yarn to rem 24 (24, 24, 25, 26, 26, 26)
sts, and keeping in Slip Stitch pattern,
work to end. Dec row: (WS) Purl to last
5 sts, ssp (see Glossary), p3—1 st dec’d. Collar Key
Dec row: (RS) K3, ssk, work in patt to
knit on RS; purl on WS
end—1 st dec’d. Rep the last 2 rows 2 11
more times—18 (18, 18, 19, 20, 20, 20) sl 1 kwise wyb
sts rem. Next row: Purl. Put rem sts on 9
yo
st holder and cut yarn. 7
k2tog
LEF T FRONT 5
k3tog
With smaller needles, CO 51 (53, 55, 3
57, 59, 63, 67) sts. Casing: Work St st no stitch
until piece measures 1", ending with a 1
pattern rep
WS row. Turning row: (RS) Purl. Work
in St st until piece measures 1" from 3¼ (3¼, 3¼, 3¼, 3½, 3½, 3½)"
5½ (5¾, 6¼, 6½, 7, 7¼, 7¾)"
turning row, ending with a WS row. 14 (14.5, 16, 16.5, 18, 18.5, 19.5) cm 8.5 (8.5, 8.5, 8.5, 9, 9, 9) cm
Next row: (RS) Purl. Next row: (WS)
Purl. Establish Slip Stitch patt: (RS)
20.5, (20.5, 21.5, 23, 23, 24, 25.5) cm

K0 (2, 0, 2, 0, 0, 0), work to end in Slip
Stitch patt. Next row: Purl. Rep the last
8 (8, 8½, 9, 9, 9½, 10)"
2 rows until piece measures 5 (5, 5, 5½,

5½, 6, 6)" from turning row, ending
12.5 (12.5, 12.5, 14, 14, 15, 15) cm
with a WS row.
Shape armhole: (RS) BO 4 (4, 6, 6, 6, 7,
5 (5, 5, 5½, 5½, 6, 6)"
8) sts, work in Slip Stitch patt to end of

row—47 (49, 49, 51, 53, 56, 59) sts rem.
Next row: Purl. Next row: (RS) BO 2
(2, 2, 4, 4, 5, 5) sts, work in Slip Stitch
2.5 cm
1"
patt to end of row—45 (47, 47, 47, 49,

51, 54) sts rem. Next row: Purl. Dec
row: (RS) K2tog, work in Slip Stitch
patt to end of row—1 st dec’d. Rep 9 (9½, 9¾, 10¼, 10½, 11¼, 12)"
the last 2 rows 0 (1, 2, 2, 2, 3, 3) more 23 (24, 25, 26, 26.5, 28.5, 30.5) cm
time(s)—44 (45, 44, 44, 46, 47, 50)
sts rem. Work in Slip Stitch patt until
armhole measures 5 (5, 5½, 6, 6, 6½,
15½ (16¼, 17½, 19, 19¾, 21¼, 21¾)"
7)", ending with a WS row. 39.5 (41.5, 44.5, 48.5, 50, 54, 55) cm

Stitch patt to last 2 sts, ssk—1 st dec’d. sew CO edge to WS of fabric. Tread
Next row: Purl. Rep the last 2 rows 0 (1, ribbon through casing and cinch as
2, 2, 2, 3, 3) more time(s)—44 (45, 44, desired.
44, 46, 47, 50) sts rem. Work in Slip
Stitch patt until armhole measures 5 Deborah Adams is an artist who works
(5, 5½, 6, 6, 6½, 7)", ending with a WS mainly in oils and pastels and believes
row. that knitting is just as much an artistic
Shape neck: (RS) Work 14 (15, 14, 13, expression as her painting. She loves
Town
14, 15, 18) sts in patt, put on st holder, Regency-era fashion and would like to
cont in Slip Stitch patt to end of row— incorporate them into her everyday wear.
30 (30, 30, 31, 32, 32, 32) sts rem. Next She lives in upstate New York with her
row: Purl. Dec row: (RS) K3, ssk, work daughter and cat.
in patt to end of row—1 st dec’d. Dec
row: (WS) Purl to last 5 sts, ssp, p3—1
st dec’d. Rep the last 2 rows 5 more
times—18 (18, 18, 19, 20, 20, 20) sts.
Work in Slip Stitch patt until armhole
measures 8 (8, 8½, 9, 9, 9½, 10)". Put
rem sts on st holder and cut yarn.
Shape neck: (RS) Work in Slip Stitch FINISHING

patt for 30 (30, 30, 31, 32, 32, 32) sts, Block pieces to measurements. Join
turn and put rem 14 (15, 14, 13, 14, 15, front and back shoulders using three-
18) sts on a st holder. Next row: Purl. needle BO (see Glossary).
Dec row: (RS) Work in patt to last 5 sts, Collar: With larger needle and WS
k2tog, k3—1 st dec’d. Dec row: (WS) facing, beg at left front neck edge,
P3, p2tog, purl to end—1 st dec’d. Rep return 14 (15, 14, 13, 14, 15, 18) held MANSFIELD PARK
the last 2 rows 5 more times—18 (18, left front sts onto larger cir and knit WR APS—THE
18, 19, 20, 20, 20) sts rem. Work in across, pick up and knit 23 (26, 26, 26, MISSES BERTR AM
Slip Stitch patt until armhole measures 24, 22, 22) sts along neck edge to held AND THE MISSES
8 (8, 8½, 9, 9, 9½, 10)", ending with a back neck sts, return 25 (27, 29, 31, 33, PR ICE
WS row. Put rem sts on st holder and 35, 37) held back neck sts to empty end Catherine Salter Bayar
cut yarn. of needle and knit across, pick up and
knit 23 (25, 25, 25, 23, 21, 22) sts along “We have all a better guide in ourselves,
RIGHT FRONT neck edge, return 14 (15, 14, 13, 14, 15, if we would attend to it, than any other
With smaller needles, CO 51 (53, 55, 18) held right front sts to empty end of person can be.”
57, 59, 63, 67) sts. Casing: Work St st needle and knit across—99 (108, 108, —Fanny Price, Mansfield Park
until piece measures 1", ending with a 108, 108, 108, 117) sts. Do not join;
WS row. Turning row: (RS) Purl. Work work back and forth in rows. Note:
in St st until piece measures 1" from
turning row, ending with a WS row.
Because the collar is folded, the WS of
the body is now the RS of the collar. Te
T he dual nature of Mansfield Park
and the lives of its inhabitants
prompted me to design two wraps
Next row: (RS) Purl. Next row: (WS) following row is a WS row. using similar elements, yet with
Purl. Establish Slip Stitch patt: (RS) Next row: (WS) Purl. Work Rows 1–12 different characters. Increasing and
Work in Slip Stitch patt to last 0 (2, 0, of Collar patt. BO all sts pwise. decreasing needle and hook sizes
2, 0, 0, 0) sts, k0 (2, 0, 2, 0, 0, 0). Next Tack down collar about a quarter inch shapes both wraps, knit sideways
row: Purl. Rep the last 2 rows until piece from turned edge. Sew button to right around the body. Similar construction
measures 5 (5, 5, 5½, 5½, 6, 6)" from front neck edge, on top of collar. and stitches can be combined for quite
turning row, ending with a RS row. Button loop: With crochet hook, make different fits and effect.
Shape armhole: (WS) BO 4 (4, 6, 6, 6, a chain length (see Glossary) of 2". The version for the Misses Bertram
7, 8) sts, purl to end of row—47 (49, 49, Hold ends together to form a loop and is an elegant tubular round-the-
51, 53, 56, 59) sts rem. Next row: (RS) secure firmly with needle and thread to shoulder wrap, eased to a cabled
Work in Slip Stitch patt. Next row: left front, under collar. center motif, and trimmed with a lacy
(WS) BO 2 (2, 2, 4, 4, 5, 5) sts, purl to With yarn threaded on a tapestry leaf bottom edge and top crocheted
end of row—45 (47, 47, 47, 49, 51, 54) needle, sew side seams to armhole edge. bobbles.
sts rem. Dec row: (RS) Work in Slip Turn casing under at turning row and The version for the Misses Price

is an empire-waist vest also worked
from a center cable motif, worn off the
shoulder but close to the body thanks
to armholes slit into the sides. Novelty
buttons and a crocheted bottom floral
edge finish this piece.
THE MISSES
BERTR AM
FINISHED SIZE 36 (39¼, 42½)"
circumference, 6½" tall at center, 13½"
tall at sides and back. Wrap shown
measures 36".
YARN Handmaiden Flaxen (65% silk,
35% linen; 273 yd [250 m]/3½ oz
[100 g]): #4 pumpkin, 2 skeins.
NEEDLES Sizes 0 (2 mm), 1
(2.25 mm), 2 (2.75 mm), 4 (3.5 mm),
and 6 (4 mm). Adjust needle size if
NOTIONS Cable needle (cn);
tapestry needle; sizes C/2 (2.75 mm)
and D/3 (3.25 mm) crochet hooks.
GAUGE 18 sts and 24 rows = 4" in NOTES size 6 needles. Work Row 20 of chart,
body patt on size 6 needles. • Te wrap is worked sideways around then work Rows 1–20 five (six, seven)
the body from center to center. It is times, then work Rows 1–19 once
shaped by increasing then decreasing more. Change to size 4 needles and
needle size. Te pattern’s squares are work 10 rows in patt; Row 9 of chart
easy reminders of when to change is complete. Change to size 2 needles
needle size. and work 10 rows in patt; Row 19 of
• Te bottom edging is worked on the chart is complete. Change to size 1
left side along with the body. After needles and work 10 rows in patt; Row
the body is bound off, the edging 9 of chart is complete. Change to size
stitches are continued in pattern. 0 needles and work 10 rows in patt;
Tis edging section is later sewn Row 19 of chart is complete. With RS
below the center motif. facing, BO 44 sts pwise—11 sts rem
for edging. Beg first rep with 2nd st of
CENTER MOTIF chart, work Rows 1–10 of Edging chart
With size 1 needles, CO 35 sts. Work 3 times. BO all sts.
Rows 1–35 of Family Tree chart. With
WS facing, BO all sts. FINISHING
Sew BO edge of body to right edge
BODY of center motif, easing and matching
With size 0 needles and RS facing, pick placement to balance left edge. Sew
up (but do not knit) 36 sts along left body edging extension to bottom of
edge of center motif. With RS facing, center motif. Sew BO edge of edging
work set-up row of Body chart—55 sts. to CO edge of body. Bobble crochet
Work through Row 9 of chart. Change trim: With larger hook and beg just
to size 1 needles and work through off-center along upper back edge (see
Row 19 of chart. Change to size 2 Glossary for crochet instructions), join
needles and work 10 rows in patt; Row yarn with sl st, *ch 2, working into
9 of chart is complete. Change to size same st, [yo, insert hook into st and
4 needles and work 10 rows in patt; draw up a lp, yo and draw through 2
Row 19 of chart is complete. Change to lps] 3 times—4 lps on hook, yo and

Key
k on RS; p on WS
p on RS; k on WS
yo
k2tog on RS; p2tog on WS

Town
ssk
p2tog
ssp
B (k1, p1, k1, p1, k1) in same st, turn; p5,

turn; pass 2nd, 3rd, 4th, and 5th sts
over first st, k1tbl
Family Tree
cast on 1 st
35
33 bind off 1 st
31
st on needle after BO
B 29
B B 27 sl 1 st onto cn, hold in back, k1, p1 from cn
B 25 sl 1 st onto cn, hold in front, p1, k1 from cn
B 23
sl 1 st onto cn, hold in back, k1, k1 from cn
B 21
sl 1 st onto cn, hold in front, k1, k1 from cn
B B 19
B 17
B 15 Edging
B 13
9
B B 11
7
B 9
5
B 7
3
5
1
3
1
Body
20
18
16
14
12
10
8
6
4
2
set-up

draw through all 4 lps, sl st in same st, NOTIONS Tapestry needle; CENTER MOTIF (MAKE 2)
sl st in next st, sl st in foll st; rep from removable markers (m); sizes D/3 With size 4 needles, CO 18 sts. Work
* around, changing to smaller hook (3.25 mm) and E/4 (3.5 mm) crochet Rows 1–8 of Wrapped Cable chart 9
at front of wrap, then to larger hook hooks; 9 (9, 9, 10, 10, 10, 11) faceted (9, 9, 10, 10, 10, 11) times. BO all sts
at back. Join with sl st to beg sl st. buttons, ¼"–5⁄8" in diameter (preferably kwise.
Weave in loose ends. Block garment to with shank).
measurements. GAUGE 18 sts and 28 rows = 4" in BODY
body patt on size 8 needles. With size 2 needles and RS facing, pick
THE MISSES PR ICE up (but do not knit) 74 (74, 74, 90, 90,
NOTES 90, 106) sts along left edge of a center
FINISHED SIZE 27¾ (30¾, 33¼, • Te wrap is worked sideways around motif. Beg with a RS row, work Rows
36, 39, 42, 44½)" circumference. Wrap the body from center to center. It is 1–10 of Twists and Seeds chart. Change
shown measures 27¾". shaped by increasing then decreasing to size 4 needles and work Rows 11–20
YARN Te Fibre Company Road to needle size. Te pattern’s squares are of chart. Change to size 6 needles and
China Light (65% baby alpaca, 15% silk, easy reminders of when to change work 10 (10, 20, 20, 20, 20, 30) rows in
10% cashmere, 10% camel; 159 yd [145 m] needle size. patt. Change to size 7 needles and work
/1¾ oz [50 g]): #8 blue tourmaline, 4 (4, • Armholes are inserted into the 10 (10, 10, 10, 20, 20, 20) rows in patt;
4, 6, 6, 6, 8) skeins. Yarn distributed by body by binding off then casting on Row 20 (20, 10, 10, 20, 20, 10) of chart
Kelbourne Woolens. stitches. is complete. Shape armhole: Work 17
NEEDLES Sizes 2 (2.75 mm), 4 • Te crocheted edging is shaped by sts in patt, BO 32 (32, 32, 40, 40, 40,
(3.5 mm), 6 (4 mm), 7 (4.5 mm), and 8 changing hook size and length of 48) sts, work to end of row—42 (42,
(5 mm). Adjust needle size if necessary pattern. 42, 50, 50, 50, 58) sts rem. Change to
to obtain the correct gauge. size 8 needles. Next row: (WS) Work 25
(25, 25, 33, 33, 33, 41) sts in patt, very
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loosely CO 32 (32, 32, 40, 40, 40, 48)
sts, work to end of row—74 (74, 74, 90,
90, 90, 106) sts. Work 86 (106, 106,
126, 126, 146, 146) rows in patt; Row 8
(8, 18, 18, 8, 8, 18) of chart is complete.
Shape armhole: Work 17 sts in patt, BO
32 (32, 32, 40, 40, 40, 48) sts, work to
end of row—42 (42, 42, 50, 50, 50, 58)
Town
sts rem. Change to size 7 needles. Next

row: (WS) Work 25 (25, 25, 33, 33, 33,
41) sts in patt, very loosely CO 32 (32,
32, 40, 40, 40, 48) sts, work to end of
row—74 (74, 74, 90, 90, 90, 106) sts.
Work 10 (10, 10, 10, 20, 20, 20) rows
in patt; Row 20 (20, 10, 10, 10, 10, 20)
of chart is complete. Change to size 6
needles and work 10 (10, 20, 20, 20,
20, 30) rows in patt; Row 10 of chart is
complete. Change to size 4 needles and
work 10 rows in patt. Change to size 2
needles and work 10 rows in patt. BO
all sts pwise.
23 (23, 23, 25.5, 25.5, 25.5, 28) cm

18 (18, 18, 23, 23, 23, 27.5) cm
7 (7, 7, 9, 9, 9, 10¾)"
9 (9, 9, 10, 10, 10, 11)"

Wrapped Cable 3¾"
9.5 cm
body
7
14 (14, 14, 18.5, 18.5, 18.5, 23) cm
5
5½ (5½, 5½, 7¼, 7¼, 7¼, 9)"
3 7½ (7½, 8¾, 8¾, 10¼, 10¼, 11½)"

19 (19, 22, 22, 26, 26, 29) cm
1
12¾ (15¾, 15¾, 18½, 18½, 21½, 21½)"
32.5 (40, 40, 47, 47, 54.5, 54.5) cm
Key
Twists and Seeds
k on RS; p on WS
19
p on RS; k on WS
17
yo
15
k2tog
13
11 ssk
9 pattern repeat
7
k2tog but do not drop sts from
5 left needle, knit first st again,
drop both sts from left needle
3
sl 3 pwise wyb, k1f&b, k2, p3sso
1

FINISHING same st] 4 times (2 rep worked under Button loops: Mark placement for 9 (9,
Sew BO edge of body to right edge of center motif), *sl st in each st to center 9, 10, 10, 10, 11) button loops evenly
2nd center motif. Fronts and top edging: of square formed by body patt, [ch 12, spaced along right front edge. With
With smaller hook, RS facing, and beg sl st in same st] 4 times; rep from * 3 smaller hook and RS facing, sl st at
at right front lower edge (see Glossary (3, 4, 4, 5, 5, 6) more times, change to first m to join, *ch 8 (or long enough
for crochet instructions), join yarn with larger hook for back, **sl st in each st to to accommodate button), sl st in same
sl st, *ch 2, working into same st, [yo, center of square formed by body patt, st, sl st in each st (behind bobbles) to
insert hook into st and draw up a lp, [ch 14, sl st in same st] 4 times; rep next m; rep from * to last m, ch 8 (or
yo and draw through 2 lps] 3 times—4 from ** 8 (10, 10, 12, 12, 14, 14) more as needed), sl st in same st. Fasten off.
lps on hook, yo and draw through all times, change to smaller hook for front, Weave in loose ends. Sew buttons to
4 lps, sl st in same st, sl st in next st, sl *** sl st in each st to center of square left front opposite button loops. Block
st in foll st; rep from * up right front, formed by body patt, [ch 12, sl st in garment to measurements.
around top/neck edge to left front, then same st] 4 times; rep from *** 3 (3, 4,
down left front to lower edge, changing 4, 5, 5, 6) more times, ****sl st in next 5 California native Catherine Salter Bayar
to larger hook when working back of sts, [ch 10, sl st in same st] 4 times; rep is a clothing, interiors, and knitwear
wrap and smaller hook for front neck from **** once more. Fasten off. designer who relocated to Turkey in
and center. Fasten off. Armhole edging: Row 2: With smaller hook and RS 1999 to pursue her love of handmade
With larger hook, RS facing, and beg facing, join with sl st just before first lp textiles and fiber arts. Bazaar Bayar is
at bottom of armhole, work edging as of first motif at left front lower edge, a handcrafts workshop she founded in
for fronts and top, using same-size hook *(sc, hdc, 3 dc, ch 1) in each of next 4 Istanbul to provide work to local artisans
throughout. Lower edging: lps, skip 2 sl sts, dc in next sl st; rep and to teach visiting women about Turkish
Row 1: With smaller hook, RS facing, from * around, changing to larger hook handcrafts—both traditional and modern.
and beg at left front lower edge, sl st at underarm for back, then changing Learn more at www.bazaarbayar.com.
in first 5 sts, [ch 10, sl st in same st] 4 to smaller hook at 2nd underarm for
times, sl st in next 5 sts, [ch 10, sl st in front. Fasten off.

Town
AUSTENSIBLE
CAPELET
Valerie Thibodaux
T his capelet is a tribute to the many

sides of Jane Austen: as a writer
and a reader; both enduring and
endearing, she belonged to her era and
yet still belongs in ours.
Wear this capelet with the lace side
turned out for an elegant evening on
the town, then turn to the warm, rustic
simplicity of the ribbed side for cozy
hours with your favorite book.
FINISHED SIZE S/M (L) about

53 (53)" at lower edge, 14¾ (17¾)" long
at center back. Capelet shown in size
S/M. Size S/M fits most; for a longer
capelet, use instructions for size L.
YARN Rowan Kidsilk Haze (70%
superkid mohair, 30% silk; 229 yd
[210 m]/7⁄8 oz [25 g]): #00589 Majestic
(MC), 3 (4) skeins. Distributed by
Westminster Fibers. Madelinetosh
Tosh Merino (100% superwash
Merino; 210 yd [192 m]/3½ oz [100 g]):
Magnolia Leaf (CC), 3 (3) skeins.
NEEDLES Sizes US 5 (3.75 mm),
7 (4.5 mm), 9 (5.5 mm): 24" circular NOTES • Te lace piece will be slightly
(cir). Adjust needle sizes if necessary to • Te capelet is two layers, worked gathered at the neck when attached
obtain correct gauge. separately and joined in the finishing to the wool, giving it the fullness
NOTIONS Markers (m); tapestry shown in the sample.
process.
needle; clips or pins for finishing; size E • Shaping is achieved by changing • For ease of counting while casting on
(3.5 mm) crochet hook; 36" silk ribbon needle sizes; the ribbed piece each piece, place markers after every
(or desired length). Sample shown with in particular will look almost 30 sts. When working the lace piece,
1" wide hand-dyed silk ribbon from rectangular before it is steamed and switch the markers to every two or
Hanah Silks. blocked into shape. three pattern repeats (16 or 24 sts);
GAUGE Lace layer: 19 sts and 23 because of the unusual nature of the
• Because of the unusual silhouette,
rows = 4" in Fishtail lace pattern with size S/M will fit most body types; lace, the markers will have to be moved
MC and largest needles, unblocked. make the L size if you want the piece on every right side row to remain at
Ribbed layer: 12 sts and 27 rows = 4" in to hang lower over both the bust and the end of each repeat, but they will
Mistake-Stitch Rib patt with CC and the back. make it much easier to catch mistakes.
largest needles, blocked.

• If the stitches are tight and do
44" both sizes
112 cm both sizes not move easily on the needle, try
switching to plastic or another
slippery needle; if you have trouble
11½ (14½)"
with dropped stitches, try switching
29 (37) cm
to something like bamboo.
Lace Layer • To understand how the garment is
shaped and constructed, refer also to
the Finishing section and schematics.
63" both sizes Stitch Guide

160 cm both sizes Fishtail Lace (multiple of 8 + 1)
29" both sizes Row 1: (RS) K1, *yo, k2, sl 1, k2tog,
73.5 cm both sizes psso, k2, yo, k1; rep from * to end.
Row 2: Purl.
Row 3: K2, *yo, k1, sl 1, k2tog, psso, k1,
13½ (16½)"
34.5 (42) cm
yo, k3; rep from * to last 7 sts, yo, k1, sl
1, k2tog, psso, k1, yo, k2.
Ribbed Layer Row 4: Purl.
Row 5: K3, *yo, sl 1, k2tog, psso, yo, k5;
rep from * to last 6 sts, yo, sl 1, k2tog,
psso, yo, k3.
Row 6: Purl.
53" both sizes
134.5 cm both sizes Rep Rows 1–6 for patt.
Mistake-Stitch Rib (multiple of 4 + 1)

Row 1: *K2, p2; rep from * to last st, k1.
Rep Row 1 for patt.
L ACE L AYER
With MC and largest needles, loosely
CO 297 sts. Purl 1 WS row. Work in
Fishtail Lace patt (see Stitch Guide),
until piece measures 6½ (9½)". Change
to middle-size needles and cont in patt
for 3". Change to smallest needles and
cont in patt until piece measures 11½
(14½)" from CO edge, ending with a
RS row. BO pwise on WS row. Weave
in ends. Do not block lace.
RIBBED L AYER
With CC and largest needles, CO
161 sts. Work in Mistake-Stitch Rib
patt (see Stitch Guide) for 8½ (11½)".
Change to middle-size needles and cont
in patt until piece measures 13½ (16½)"
from CO edge. Next row: (WS) *Work
10 sts in patt, p2tog; rep from * to last 5
sts, work 5 sts in patt—148 sts rem. BO
loosely. Weave in ends.
FINISHING
Steaming/blocking: Using schematics
as reference for fan shape and size,

Town
NETHERFIELD
EVENING BAG
Anna Cole
I nspired by the ball scene in Pride

and Prejudice, this reticule is
designed to reflect the delicate, ornate
style of Regency-era evening wear.
Leafy vine and wave patterns contrast
with blockier design elements
steam ribbed layer, blocking piece both pieces, picking up 1 st in each st of
reminiscent of the Regency era’s
open completely at lower edge to create the ribbed layer and easing in any extra
neoclassical architecture and interior
curve. Without flattening rib, cont fullness on the lace layer. Ten pick up
design styles. This elegant accessory is
steaming piece from lower to upper 2 sts at corner as for first corner—150
ideal for a ball, but it also makes a
edge, tapering shape through middle, sts on needle. Do not cut yarn.
handy cell-phone bag. This design
and gathering slightly in at upper/neck Crochet trim, second side: Cont to
incorporates some stitch patterns that
edge. Cont steaming and shaping until work sc along left edge, working
were originally recorded in the sewing
desired shape and size are achieved. through both layers, shown in green on
book The Young Ladies’ Journal
Lay piece flat and allow to cool and dry schematic, then work sc along ribbed
Complete Guide to the Work-table (E.
completely. layer only to end of left edge, shown in
Harrison, 1884) and is a great way to
Place lace and ribbed layers wrong red on schematic. Break yarn. Weave
practice lace knitting. Make a larger
sides together and pin together along in ends.
bag by using heavier woolen yarns and
BO edges. Pin bottom corner of lace Neckband/eyelets: With ribbed layer
larger needles to make a tote.
layer to ribbing 2" from bottom edge of facing, attach CC and knit across
ribbed layer. picked-up sts along top edge. Knit 2
FINISHED SIZE About 8" wide and
Crochet trim, first side: With crochet rows. Eyelet row: (RS) K2, [yo, k2tog,
9" tall.
hook and CC, beg at bottom right k5] twice, yo, k2tog, knit to last 18 sts,
YARN Louisa Harding Mulberry
corner of ribbed layer, work single [yo, k2tog, k5] twice, yo, k2tog, k2.
(100% silk; 136 yd [124 m]/1½ oz
crochet (sc; see Glossary) along side Knit 3 rows. BO all sts pwise on RS.
[50 g]): #36 golden, 2 skeins.
of ribbed layer for 2", shown in red on Weave in ends. Lightly steam edges
Distributed by Knitting Fever.
schematic, then working through both and neckband, if desired. Lace the silk
NEEDLES Size 1 (2.25 mm).
ribbed layer and lace layer, cont sc along ribbon through eyelets as desired.
NOTIONS Tapestry needle; safety
right edge, stopping just short of the
pin; 9" × 13" piece of fabric for lining,
corner st, shown in green on schematic. Valerie Thibodaux is a first-time designer
preferably of a natural fiber such
Do not cut yarn. with broad taste in literature and very
as linen or silk, in a contrasting or
Pick up sts on neck edge: To create determined taste in knitwear. She
coordinating color (optional); sewing
reversible edge, pick up sts for neckband marvels at Jane Austen’s brilliance
needle (optional), sewing thread
as foll: Beg at corner, *insert crochet each time she returns to her novels.
(optional), small glass beads (optional).
hook through both layers as close to She currently lives in Portland, Oregon,
edge as possible, yo, pull yarn through, contemplating the recklessness of having
Double Leaf Lace patt.
yo, pull through loop on hook (slip st). both a precocious cat and luxury yarn.
Place this loop on middle-size needle.
NOTE
Rep from * once more in same corner
Because of the open nature of this
st, then rep from * across top edge of
fabric, I suggest sewing a lining to the

inside of the bag as a finishing touch. Key Wave
Instructions for lining are included in
Finishing section. k on RS; p on WS 9
7
p on RS; k on WS
Stitch Guide 5
Rib Stitch yo 3
Row 1: P1, k1, p2, *k5, p2, k1, p2; rep
1
from * to last 9 sts, k5, p2, k1, p1. k2tog
Row 2: K1, p1, k2, *p5, k2, p1, k2; rep
from * to last 9 sts, p5, k2, p1, k1. ssk
Rep Rows 1–2 for patt. Double Leaf Lace
sl 1, k2tog, psso
Garter Edging 7
sl 1, p2tog, psso
Row 1: K11, k2tog (1 st from edging tog 5
with 1 st from body of the piece). no stitch 3
Row 2: K1, pass 1 st from body of piece 1
over st just knit, k11. pattern repeat
Rep Rows 1–2 for patt.
Stockinette Edging Rep Rows 1–2 for patt. chart once. Knit 4 rows. Work in Rib
Row 1: P11, p2tog (1 st from edging tog FRONT st (see Stitch Guide) for 4 rows. Knit
with 1 st from body of the piece). CO 63 sts. Work in garter st (knit 5 rows. Purl 1 row. Work Rows 1–8 of
Row 2: K1, pass 1 st from body of piece every row) for 5 rows, ending with a Double Leaf Lace chart 6 times.
over st just knit, k11. WS row. Work Rows 1–10 of Wave Next row: (RS) K1, M1, knit to last
14 Years
of your favorite traditional
needlework magazine now on
PieceWork 1998 convenient Collection CDs.
Collection CD
Now Available

Stitch small glass beads to the points
hanging down at the bottom of the bag
if desired.
Anna Cole learned how to sew when she

was six years old and has been interested
in various fiber arts ever since. From
Town
designing fabric prints to draping original

clothing patterns to participating in the
hyperbolic crochet coral reef exhibits,
her interests in historical fashion and
theatrical costume design often overlaps
with her interest in historical re-enacting
and dancing. She learned to knit from a
1968 book featuring mod-style knitting
patterns, but the oldest patterns in her
collection date back to the 1860s. She
currently resides in upstate New York.
st, M1, k1—65 sts. Using the knitted prevent it from raveling.
method (see Glossary), CO 12 sts. Note: Readymade cords may also be used. PLEATED NECK
Work 6 rows in Garter Edging SCARF
(see Stitch Guide), then 14 rows in FINISHING Alana Dakos
Stockinette Edging (see Stitch Guide). Fold the edging at the top in half and
Rep last 20 rows 2 more times, then whipstitch it down on both pieces,
work 5 rows in Garter Edging—all
body sts have been worked. BO all sts.
leaving the ends open to create a casing
for the drawstring. Whipstitch around
T his sweet little accessory is
reminiscent of the ruffled collars
commonly worn in the Regency era.
Note: Te sections of garter sts line up the sides and bottom of the bag, being The light and airy pleats offer an
with the ribbed areas of the double leaf careful to match up the edges. Sew a ethereal feminine quality that is so
lace patt below. running stitch between the wave st patt fitting for a Jane Austen–inspired
at the bottom and the ribbing section wardrobe. The crocheted flower button
BACK above it. With a safety pin, run the closure adds the final feminine touch.
Work as for front. cords through the casing and stitch the This piece knits up quickly on a size
ends together to create the drawstrings. 9 needle and offers the knitter a
C ORD (MAKE 2) If desired, slip the cord ends inside the chance to practice picking up stitches
Cut 3 pieces of yarn 57" long. Working casing so that they don’t show. to create the pleats. Two colors of yarn
with all 3 strands as one piece, either add interest and the illusion of depth
anchor one end to a stationary object or To make a lining, cut a rectangle of while making it easier to create the
have someone else hold one end for you. fabric 13" × 9". Fold in half; sew a French pleated fabric because the stitches are
Twist, then fold it in half so it twists seam on each side. Fold the open side picked up right at the color-change
around itself to make a cord. Cord will down 1⁄8", then another 1⁄8"; handstitch line.
measure about 23". Tie off the end to lining into bag, easing if necessary.

FINISHED SIZE 7" wide and 25" Pleat row: (RS) With CC, insert right Buttonhole row: (WS) P13, BO 4, purl
long. needle through first st as if to knit to end. Next row: (RS) Knit to BO sts,
YARN Rowan Kid Silk Haze (70% and then pick up first st from WS of use the knitted method (see Glossary)
superkid mohair, 30% silk; 229 yd marked row (right on the color change). to CO 4 sts, k13. Next row: (WS) Purl.
[210 m]/7⁄8 oz [25 g]): #00590 pearl Knit picked up st tog with first st on the Work MC section and pleat row.
(MC), 1 skein; #000589 majestic (CC) needle. Cont across row in this manner Rep CC section, MC section and pleat
1 skein. Distributed by Westminster knitting sts tog with corresponding sts row 2 times, ending last pleat row by
Fibers. on marked row (see Notes). picking up and knitting sts tog while
NEEDLES Size 9 (5.5 mm). Adjust Rep CC section, MC section and pleat BO at the same time—28 pleats total.
needle sizes if necessary to obtain the row 23 more times—25 pleats total.
correct gauge.
NOTIONS Removable stitch marker
(m); tapestry needle; size I-9 (5.5 mm)
crochet hook; one ½" vintage button for
center of flower (optional).
St st.
NOTES
* To create pleats, stitches are picked
up at the color-change line. Pick up
and knit contrast color loops together
on the wrong side with the stitches
on the needle. It may be helpful to
place these loops from the color-
change line on a separate needle
ahead of time in anticipation of
knitting them together later.
* Yarn is not cut with each color
change but rather carried up the side
of your work.
SCARF
With MC, CO 30 sts. Beg with a RS
row, work 12 rows in St st, ending with
a WS row.
First pleat row: (RS) Without cutting

the MC, change to CC and insert right
needle through first st as if to knit
and then pick up first st on CO edge.
Wrap yarn around needle and pull
yarn through the CO loop and first st
on the needle, knitting them tog. Cont
across row in this manner, knitting sts
tog with corresponding loops from CO
edge.
CC section: (WS) With CC, work 3

rows in St st, ending with a WS row.
Place a removable marker into fabric at
one end of needle to mark the last row.
MC section: (RS) Change to MC, work
12 rows in St st, ending with a WS row.

FLOWER BUT TON
With 2 strands of CC held tog and
crochet hook (see Glossary for crochet
L ady Russell, Anne Elliot’s close
friend in Persuasion, is a proper
and practical noble lady. She has only
instructions), ch 4, sl st into first ch to good intentions when she advises Anne
form a ring. to marry for wealth and status rather
Rnd 1: Ch 1, [sc in ring, ch 6] 5 times, sl than love, however misguided those
st into first sc to join—5 ch-6 loops. intentions were.
Rnd 2: Ch 1, [sc, tr 10, sc] in each ch-6 This unusually shaped shawl is a
Town
loop around, sl st into first sc to join—5 fusion of elegance and practicality. As

outer petals. a hybrid between a half-circle shawl
Rnd 3: Ch 1, working in front of outer and a stole, it can be easily draped
petals, sc around first sc on rnd 1, ch 4, LADY RUSSELL over the arms.
*sc around next sc on rnd 1, ch 4; rep SHAWL Knitted like a regular half-circle
from * 3 more times, sl st into first sc to shawl until the edge of the semicircle,
Joy Gerhardt
join—5 ch-4 loops. the majority of the stitches are bound
Rnd 4: Ch 1, [sc, dc 6, sc] in each ch-4
loop around, sl st into first sc to join—5
inner petals.
Rnd 5: Ch 1, working in front of inner
petals, sc around first sc on rnd 1, ch 2,
*sc around next sc on rnd 1, ch 2; rep
from * 3 more times, sl st into first sc to
join—5 ch-2 loops.
Fasten off. Break yarns leaving a 6"
tail. Pull yarn tails to the WS. Sew
small button in the middle of flower
(optional).
FINISHING
Weave in loose ends on the WS.
Wet-block scarf to measurements
while smoothing half of the pleats in
one direction and half in the other.
With tapestry needle and yarn tails
remaining from the flower, sew
flower in between third and fourth
pleat on the end of the scarf opposite
buttonhole. Pull flower through
buttonhole to keep scarf fastened tog
around the neck.
Alana Dakos designs knitwear from her

home on the sunny central coast of
California. Her pattern line under the
name of Never Not Knitting as well as her
recently published book, Coastal Knits,
is available in yarn stores worldwide. As
a busy mother of two little ones by day,
Alana enjoys knitting while watching her
favorite Jane Austen movies by night.
Follow Alana’s design process on her blog
at www.nevernotknitting.com.

off, and the wing stitches are placed on
a holder. Each of the wings is knit back
and forth separately, with short-row
shaping to keep them straight.
Afterward, stitches are picked up along
the entire bottom edge of the shawl to
form a sweet, feminine ruffled edge.
FINISHED SIZE About 23" deep

and 74" long.
YARN Fyberspates Ethereal (60%
silk, 40% cashmere; 437 yd [400 m]/3½
oz [100 g]): teal, 2 skeins.
NEEDLES Body—size 6 (4 mm):
circular (cir) 32" or longer. Ruffle—
size 7 (4.5 mm) cir 32" or longer. Adjust
needle size if necessary to obtain the
correct gauge.
holders or waste yarn; tapestry needle;
blocking pins.
GAUGE (not critical) 23 sts and 24
rows = 4" in St st on larger needles;
18 sts and 24 rows = 4" in patt st on
smaller needles.
NOTES
• Less than 2 grams of yarn remained
after knitting the sample shawl—
to ensure you have enough yarn
to complete the project, consider
purchasing an extra skein.
• Charts show right-side rows only.
Work wrong-side rows as given in
instructions.
Next RS row: Knit. Next short-row: Sl 1, k38, wrap next st,
BODY Rep last 4 rows 3 more times—47 sts. turn, purl to end.
With smaller needles, using a Beg working Chart A as foll: Next short-row: Sl 1, k33, wrap next st,
provisional method (see Glossary), CO Next row: (RS) K3, [work next row of turn, purl to end.
3 sts. Knit 11 rows, do not turn after Chart A, sl m, k1] twice, work next row Next short-row: Sl 1, k28, wrap next st,
last row. Rotate work and pick up and of Chart A, k3—6 sts inc’d. turn, purl to end.
knit 5 sts down selvedge (1 st from each Next row: (WS) K3, purl to last 3 sts, Next short-row: Sl 1, k23, wrap next st,
garter ridge), then remove waste yarn k3. turn, purl to end.
from provisional CO and place 3 sts on Rep last 2 rows 71 more times—3 rep Next short-row: Sl 1, k18, wrap next st,
left-hand needle, k3—11 sts. of Chart A worked; 281 sts. turn, purl to end.
Next row and all WS rows: K3, purl to Next row: (RS) K56 sts and place Next short-row: Sl 1, k13, wrap next st,
last 3 sts, k3. them on st holder, loosely BO 169 sts, turn, purl to end.
Next RS row: (RS) K3, [yo, k1] five removing m as you go, knit to end—56
times, yo, k3—17 sts. sts on each side of middle. Beg working Chart B as foll:
Next RS row: K3, yo, k3, yo, pm, k1, yo, Next row: (RS) Sl 1, work Chart B over
k3, yo, pm, k1, yo, k3, yo, k3—23 sts. WINGS next 52 sts, k3.
Next RS row: Knit. Next row: (WS) K3, purl to end. Next row: (WS) K3, purl to end.
Next RS row: K3, yo, [k to m, yo, sl m, Short rows: Rep last 2 rows 39 more times—5 rep
k1, yo] twice, knit to last 3 sts, yo, k3— Next short-row: (RS) Sl 1, k43, wrap of Chart B. Knit 5 rows. BO all sts.
29 sts. next st, turn, purl to end.

Chart A
47
45
43
41
39
37
35
33
31
29
27
25
Town
23
21
19
17
15
13
11
9
7
5
Key 3
1
knit
k2tog Chart B
15
13
ssk 11
9
7
yo 5
3
1
pattern repeat
Place 56 held sts on smaller needles. pick up and knit 76 sts along side edge FINISHING
Attach yarn to work RS row. of wing, place marker (pm), pick up Weave in all ends. To block, soak in
Next row: (RS) Knit. and knit 169 sts from BO edge, pm, warm water and lay flat, pinning out
Short-rows: pick up and knit 76 sts along side of the lace to schematic measurements.
Next short-row: (WS) Sl 1, p43, wrap other wing—321 sts. Change to larger
next st, turn, knit to end. needles. Joy Gerhardt is an American living in
Next short-row: Sl 1, p38, wrap next st, Next row and all WS rows: Sl 1, purl to Reading, England: the town where Jane
turn, knit to end. end. and her sister Cassandra attended
Next short-row: Sl 1, p33, wrap next st, Next row: Sl 1, M1, *[k2, M1] to 3 sts school. Joy loves working with unusual
turn, knit to end. before m, k3, sl m; rep from * once yet practical shapes and seamless
Next short-row: Sl 1, p28, wrap next st, more, k3, M1, [k2, M1] to last st, k1— constructions. She documents her knitting
turn, knit to end. 478 sts. adventures at http://blog.joyuna.com.
Next short-row: Sl 1, p23, wrap next st, Next RS row: Sl 1, M1, [k3, M1] to 4
turn, knit to end. sts before m, k4, sl m, [k3, M1] to 3 sts
Next short-row: Sl 1, p18, wrap next st, before next m, k3, sl m, k4, M1, [k3,
turn, knit to end. M1] to last st, k1—635 sts.
Next short-row: Sl 1, p13, wrap next st, Work in St st until ruffle measures 2".
turn, knit to end. BO all sts loosely.
Beg working Chart B as foll: 74"

188 cm
Next row: (WS) Sl 1, purl to last 3 sts,
k3.
Next row: (RS) K3, work Chart B over
11"
next 52 sts, k1. 28 cm
Rep last 2 rows 39 more times—5 rep 23"
of Chart B. Knit 5 rows. BO all sts. 58.5 cm
17"
43 cm
RUFFLE
With RS facing and smaller needles,

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GLOSSARY
ABBREVIATIONS 2 (3, 4, 5) Stitch One-Row Buttonhole

beg beginning; begin; begins Work to where you want the buttonhole to begin, bring yarn to front, slip one purlwise, bring yarn
bet between to back (Figure 1). *Slip one purlwise, pass first slipped stitch over second; repeat from * one (two,
BO bind off
CC contrasting color three, four) more time(s). Place last stitch back on left needle (Figure 2), turn. Cast on three (four,
ch chain five, six) stitches as follows: *Insert right needle between the first and second stitches on left needle,
cm centimeter(s) draw up a loop, and place it on the left needle (Figure 3); repeat from * two (three, four, five) more
cn cable needle
CO cast on times, turn. Bring yarn to back, slip first stitch of left needle onto right needle and pass last cast-on
cont continue(s); continuing stitch over it (Figure 4), work to end of row.
dc double crochet
dec(s) decrease(s); decreasing
dpn double-pointed needle(s)
foll following; follows
g gram(s)
inc increase(s); increasing
k knit Figure 1 Figure 3
k1f&b knit into front and back of same st
k2tog knit two stitches together
k3tog knit three stitches together
kwise knitwise Figure 2 Figure 4
m(s) marker(s)
M1 make one (increase)
MC main color Cable Cast-On
mm millimeter(s)
p purl Begin with a slipknot and one knitted cast-on stitch if there are no established stitches. Insert
p1f&b purl into front and back of same st right needle between first two stitches on left needle (Figure 1). Wrap yarn as if to knit. Draw yarn
p2tog purl two stitches together through to complete stitch (Figure 2) and slip this new stitch to left needle as shown (Figure 3).
patt(s) pattern(s)
pm place marker
psso pass slipped stitch over
p2sso pass two slipped stitches over
pwise purlwise
rem remain(s); remaining
rep repeat; repeating Figure 1 Figure 2 Figure 3
rev St st reverse stockinette stitch (purl on
RS, knit on WS)
rib ribbing Backward-Loop Cast-On
rnd(s) round(s)
RS right side *Loop working yarn and place it on needle backward so that it
sc single crochet doesn’t unwind. Repeat from *.
sk skip
Sk2p slip 1 st kwise, k2tog, pass sl st
over—2 sts dec’d
sl slip Kitchener Stitch
sl st slip stitch (sl 1 st pwise unless oth- Step 1: Bring threaded needle through front stitch as
erwise indicated)
sp space if to purl and leave stitch on needle.
ssk slip 1 kwise, slip 1 kwise, k2 sl sts Step 2: Bring threaded needle through back stitch as
tog tbl (decrease) if to knit and leave stitch on needle.
ssp slip 1 kwise, slip 1 kwise, p2 sl sts
tog tbl (decrease) Step 3: Bring threaded needle through first front
sssk slip 3 sts kwise individually, then stitch as if to knit and slip this stitch off needle. Bring
knit them tog tbl—2 sts dec’d threaded needle through next front stitch as if to purl
st(s) stitch(es)
St st stockinette stitch (knit on RS, purl and leave stitch on needle.
on WS) Step 4: Bring threaded needle through first back
tbl through back loop stitch as if to purl (as illustrated), slip this stitch off,
tog together
WS wrong side bring needle through next back stitch as if to knit,
wyb with yarn in back leave this stitch on needle.
wyf with yarn in front Repeat Steps 3 and 4 until no stitches remain on needles.
yo yarn over
* repeat starting point (i.e., repeat
from *) Chain Stitch Embroidery
** repeat all instructions between Bring threaded needle out from back to front at center of a knitted stitch. Form
asterisks
() alternate measurements and/or a short loop and insert needle back where it came out. Keeping the loop under
instructions the needle, bring needle back out in center of next stitch to the right.
[] instructions that are to be worked
as a group a specified number of times
—continued on page 134

GLOSSARY (continued from page 133)
Judy’s Magic Cast-On I-Cord

Note: Judy’s magic CO was invented by Judy Becker as a CO for toe- With double-pointed needle, cast on desired
up socks. The technique made its debut in the Spring 2006 issue of number of stitches. *Without turning the
Knitty magazine and her detailed tutorial can be found at www.knitty needle, slide the stitches to other end of the
.com. The technique is modified here so that it uses a half-twist rather needle, pull the yarn around the back, and
than a slipknot. knit the stitches as usual; repeat from * for
Step 1: Hold one needle tip horizontally and drape the yarn over it with desired length.
the tail toward you and the yarn going to the ball (working yarn) away
from you. Give the yarn a half twist below the needle so that the tail is
now away from you and the working yarn is toward you (the reverse Whipstitch
of long-tail CO). With right side of work facing and working one
Step 2: Hold another needle tip just below the needle with the yarn stitch in from the edge, bring threaded needle out
loop already on it. The yarn loop will be the first st CO to the top from back to front along edge of knitted piece.
needle. Tent the yarn strands over the thumb and index finger of your
left hand as if doing a long-tail CO. The tail will rest on your index
finger and the working yarn will rest on your thumb.
Step 3: Cast the first st onto the bottom needle by bringing both
needles up and around the yarn tail on your index finger, scooping up Crochet Chain (ch)
the yarn using a clockwise motion with your right hand. The yarn will Make a slipknot on hook. Yarn over hook and draw
wrap around the bottom of the empty bottom needle from back to it through loop of slipknot. Repeat, drawing yarn
front as for a yarnover. Sl the yarn tail between the needles to complete through the last loop formed.
the loop around the bottom needle. There is now one st CO to each
needle. Be sure to pull these first sts tight to avoid loose sts at the edge
of the CO row.
Double Crochet (dc)
Step 4: Cast the next st onto the top needle by bringing both needles
down and around the working yarn on your thumb, scooping up the *Yarn over hook, insert hook into a stitch, yarn over hook and draw a
yarn using a counterclockwise motion with your right hand. The yarn loop through stitch (three loops on hook; Figure 1), yarn over hook
will wrap around the top of the top needle from back to front. Sl the and draw it through two loops (Figure 2), yarn over hook and draw it
working yarn between the needles to complete the loop around the through the remaining two loops (Figure 3). Repeat from *.
top needle.
Step 5: Cast the next st onto the bottom needle as in Step 3. Rep Steps Figure 1 Figure 2
4–5 until there are the desired number of sts on each needle. Rotate
needles so that the yarn tail and working yarn are on your right. The
working yarn should be coming off the bottom needle and the yarn Figure 3
tail off the top needle. You will begin working across the sts on the top
needle. Make sure to capture the yarn tail by placing it between the
top needle and the working yarn as you start knitting across the sts
on the top needle. You can pull the yarn tail to firm up any looseness
Lifted Increase
at the beginning of this rnd. Note: When working the sts on the second
(bottom) needle, you will need to knit them through the back loops to avoid Right (RLI)
twisting them. Knit into the back of stitch (in the “purl
bump”) in the row directly below the stitch
on the left needle.
Emily Ocker’s Circular
Beginning
This technique comes from Figure 1 Purl (RLPI)
Eliz abeth Zimmermann’s Figure 2
Purl into the stitch in the row directly below the stitch on the left needle.
Knitter’s Almanac (Dover, 1981). Left (LLI)
Make a simple loop of yarn with
the short end hanging down
(Figure 1). With a crochet hook,
Figure 3
*draw a loop through main loop,
then draw another loop through this loop (Figure 2). Repeat from * for
each stitch to be cast on (Figure 3). After several inches have been worked, Insert left needle into back of the Knit this stitch.
pull on the short end (shown by arrow) to tighten the loop and close the stitch below stitch just knitted.
circle. Purl (LLPI)
Purl into the stitch below the stitch just purled.
134 Jane Austen Knits • janeaustenknits.com —continued on page 136

GLOSSARY (continued from page 134)
Knitted Cast-On Short-Rows: Wrapping a Stitch

Place slipknot on left needle if there are no established stitches. *With Work to turn point, slip next stitch purlwise
right needle, knit into first stitch (or slipknot) on left needle (Figure 1) to right needle. Bring yarn to front (Figure 1).
and place new stitch onto left needle (Figure 2). Repeat from *, always Slip same stitch back to left needle (Figure 2).
knitting into last stitch made. Turn work and bring yarn in position for next
Figure 1 stitch, wrapping the stitch as you do so. Note:
Hide wraps in a knit stitch when right side
of piece is worked in a knit stitch. Leave wrap
if the purl stitch shows on right side. Hide
wraps as follows: Knit stitch: On right side,
Figure 1 Figure 2
work to just before wrapped stitch. Insert
Figure 2 right needle from front, under the wrap from
bottom up, and then into wrapped stitch as usual. Knit them together,
Make One Increases
making sure new stitch comes out under wrap. Purl stitch: On wrong
Make one right (M1R): Insert left needle from back to front under
side, work to just before wrapped stitch. Insert right needle from back,
strand of yarn running between last stitch on left needle and first stitch
under wrap from bottom up, and put on left needle. Purl them together.
on right needle, then knit the lifted strand through its front loop—one
stitch increased.
Make one left (M1L): Insert left needle from front to back under strand
of yarn running between last stitch on left needle and first stitch on Single Crochet (sc)
right needle, then knit the lifted strand through its back loop—one
stitch increased.
Make one purl (M1P): Insert left needle from back to front under
strand of yarn running between last stitch on left needle and first stitch Figure 2
Figure 1
on right needle, then purl the lifted strand through its front loop—one
stitch increased. Insert hook into an edge stitch, yarn over hook and draw a loop through
stitch, yarn over hook (Figure 1) and draw it through both loops on
Mattress-Stitch Seam hook (Figure 2).
With RS of knitting facing, use
threaded needle to pick up one
Figure 1 Figure 2 bar between first two stitches
on one piece (Figure 1), then Three-Needle Bind-Off
corresponding bar plus the bar Place stitches to be joined onto two separate
above it on other piece (Figure needles. Hold them with right sides of knit-
2). *Pick up next two bars on ting facing together. Insert a third needle into
first piece, then next two bars first stitch on each of the other two needles
on other (Figure 3). Repeat and knit them together as one stitch. *Knit
Figure 3
from * to end of seam, finishing next stitch on each needle the same way. Pass
by picking up last bar (or pair first stitch over second stitch. Repeat from * until one stitch remains on
of bars) at the top of first piece. third needle. Cut yarn and pull tail through last stitch.
Provisional Cast-On
French Knot
Place a loose slipknot
on needle held in your Bring needle out of knitted background from back
right hand. Hold waste to front, wrap yarn around needle one to three
yarn next to slipknot and times, and use thumb to hold in place while pull-
around left thumb; hold ing needle through wraps into background a short
Figure 1 Figure 2
working yarn over left distance from where it came out.
index finger. *Bring needle forward under waste yarn, over working
yarn, grab a loop of working yarn (Figure 1), then bring needle to the
front, over both yarns, and grab a second loop (Figure 2). Repeat from
*. When you’re ready to work in the opposite direction, pick out waste Find our full glossary online @ knittingdaily.com.
yarn to expose live stitches.

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YARN SOURCES
Contact these companies if you don’t know of a local retailer or mail-order source for the yarns used in this issue.
United States Yarn Sources Knitting Fever/Louisa Harding, (516) 546-3600; www.knittingfever.com.
Madelinetosh, (817) 249-3066; www.madelinetosh.com.
Alchemy Yarns, (707) 823-3276; www.alchemyyarns.com.
Berroco, (401) 769-1212; www.berroco.com. O-Wool, (888) 673-0260; http://shop.o-wool.com.
Blue Sky Alpacas/Spud & Chloë, (763) 753-5815; www Schaefer Yarn, (607) 532-9452; www.schaeferyarn.com.
.spudandchloe.com. Skacel/Schoeller Stahl, (800) 255-1278; www.skacelknitting.com.
Brown Sheep Company, (308) 635-2143; www.brownsheep.com. Shibui Knits, (503) 595-5898; http://shibuiknits.com.
Cascade Yarns, www.cascadeyarns.com. Simply Shetland/Jamieson, www.simplyshetland.net.
Classic Elite Yarns, (978) 328-5014; www.classiceliteyarns.com. Swans Island, (888) 526-9526; www.swansislandblankets.com.
Crystal Palace Yarns, www.straw.com. Tahki-Stacy Charles Inc./Filatura Di Crosa, (718) 326-4433;
Fairmount Fibers/Manos del Uruguay, www.fairmountfibers.com. www.tahkistacycharles.com.
Handy Hands/Lizbeth, (217) 379-3802; www.hhtatting.com. Westminster Fibers/Rowan, (800) 445-9276; www.westminster
Hazel Knits, www.hazelknits.com. fibers.com.
Kelbourne Woolens/Te Fibre Company, (484) 368-3666; www Yarn Love, www.shopyarnlove.com.
.kelbournewoolens.com.
Lantern Moon/Fyberspates Scrumptious, (800) 530-4170; www International Yarn Sources
.lanternmoon.com. Fyberspates, www.fyberspates.com.
Lorna’s Laces, (773) 935-3803; www.lornaslaces.net. Handmaiden, http://handmaiden.ca.
Louet North America, www.louet.com.
Alchemy Yarns of Transformation Silk Purse; (80, 86) 100% silk; 163 Lorna’s Laces Shepherd Sock; (59, 76) 80% superwash Merino, 20% nylon;
yd [149 m]/1¾ oz [50 g]; singles. 435 yd [398 m]/3½ oz [100 g]; 4-ply.
Berroco Blackstone Tweed; (85, 104) 65% wool, 25% superkid mohair, 10% Louisa Harding Mulberry (Knitting Fever); (109, 122) 100% silk; 136
angora; 130 yd [119 m]/1¾ oz [50 g]; 2-ply. yd [124 m]/1¾ oz [50 g]; multi-ply.
Brown Sheep Company Lamb’s Pride Worsted; (32, 38) 85% wool, 15% Madelinetosh Tosh Merino; (108, 120) 100% superwash Merino; 210 yd [192
mohair; 190 yd [173 m]/4 oz [113 g]; singles. m]/3½ oz [100 g]; singles.
Cascade Yarns 220 Superwash; (80, 86) 100% superwash wool; 220 yd [201 Madelinetosh Tosh DK; (34, 42) 100% superwash Merino; 225 yd [206
m]/3½ oz [100 g]; 4-ply. m]/3½ oz [100 g]; 4-ply.
Classic Elite Yarns Soft Linen; (55, 62) 35% wool, 35% linen, 30% baby Manos del Uruguay Silk Blend (Fairmount Fibers); (33, 40) 70%
alpaca; 137 yd [125 m]/1¾ oz [50 g]; 4-ply. Merino, 30% silk; 150 yd [137 m]/1¾ oz [50 g]; singles.
Crystal Palace Yarns Mini Solid; (81, 92) 80% Merino, 20% nylon; 195 yd O-Wool Classic Worsted; (59, 75) 100% certified organic Merino; 99 yd [90
[178 m]/1¾ oz [50 g]; singles. m]/1¾ oz [50 g]; 4-ply.
Te Fibre Company Road to China Light (Kelbourne Woolens); (107, Rowan Alpaca Cotton (Westminster Fibers); (84, 101) 72% alpaca, 28%
117) 65% baby alpaca, 15% silk, 10% cashmere, 10% camel; 159 yd [145 m]/1¾ oz [50 g]; 3-ply. cotton; 148 yd [135 m]/1¾ oz [50 g]; multi-ply.
Filatura Di Crosa Zarina (Tahki-Stacy Charles Inc.); (56, 66) 100% Rowan Cashsoft DK (Westminster Fibers); (36, 46) 57% extrafine
superwash Merino; 180 yd [165 m]/1¾ oz [50 g]; multi-ply. Merino, 33% acrylic microfiber, 10% cashmere; 126 yd [115 m]/1¾ oz [50 g]; 4-ply.
Fyberspates Ethereal; (111, 126) 60% silk, 40% cashmere; 437 yd [400 m]/3½ Rowan Kid Silk Haze (Westminster Fibers); (108, 110, 120, 124) 70%
oz [100 g]; 4-ply. superkid mohair, 30% silk; 229 yd [210 m]/7⁄8 oz [25 g]; multi-ply.
Fyberspates Scrumptious DK/Worsted (Lantern Moon); (106, Rowan Lima (Westminster Fibers); (84, 101) 84% baby alpaca, 8% Merino,
112) 45% silk, 55% Merino; 241 yd [220 m]/3½ oz [100 g]; singles. 8% nylon; 120 yd [110 m]/1¾ oz [50 g]; multi-ply.
Handmaiden Flaxen; (107, 115) 65% silk, 35% linen; 273 yd [250 m]/3½ oz [100 g]; 2-ply. Schaefer Yarn Miss Priss; (35, 44) 100% Merino; 280 yd [256 m]/4 oz [113 g]; 2-ply.
Hazel Knits DK Lively; (83, 97) 90% superwash Merino, 10% nylon; 275 yd Schoeller Stahl Fortissima Socka 100 (Skacel); (56, 68) 75% superwash
[251 m]/3½ oz [100 g]; 4-ply. wool, 25% polyamide; 458 yd [420 m]/3½ oz [100 g]; 4-ply.
Jamieson’s Shetland Heather Aran (Simply Shetland); (81, 90) 100% Shibui Knits Sock; (36, 51) 100% superwash Merino; 191 yd [175 m]/1¾ oz [50 g]; 2-ply.
Shetland; 101 yd [92 m]/1¾ oz [50 g]; 2-ply.
Spud & Chloë Fine (Blue Sky Alpacas); (58, 72) 80% superwash wool,
Jamieson’s Shetland Spindrift (Simply Shetland); (37, 52) 100% 20% silk; 248 yd [227 m]/2¼ oz [65 g]; multi-ply.
Shetland; 115 yd [105 m]/7⁄8 oz [25 g]; 2-ply.
Swans Island, Natural Colors Collection; (54, 60) 100% organic Merino;
Lizbeth thread size 20 (Handy Hands); (30) 100% Egyptian cotton; 210 525 yd [480 m]/3½ oz [100 g]; 3-ply.
yd [192 m]/7⁄8 oz [25 g]; muli-ply.
Yarn Love Elizabeth Bennet; (36, 49) 65% superwash Merino, 20% bamboo,
Louet Euroflax Sport; (57, 70) 100% linen; 270 yd [247 m]/3½ oz [100 g]; 4-ply. 15% silk; 195 yd [178 m]/1¾ oz [50 g]; 4-ply.
Lorna’s Laces Lion & Lamb; (82, 94) 50% silk, 50% wool; 205 yd [187 m]/3½
oz [100 g]; singles.
PROJECT INDEX
Country
A Sensible Shawl Longbourn Mitts Delaford Wrap Walking to Meryton Bonnet

pages 32, 38 pages 33, 40 pages 34, 42 pages 35, 44
Manor
Bonnet and Wristlets for

Emma’s Overdress Kellynch Tunic Regency Bolero Baby Emma
Garden
Hussars Spencer Kentish Toque Betwixt and Between Gloves

pages 80, 86 pages 81, 90 pages 81, 92
Town
Mansfield Park Wraps: The Misses Price and The

Fanny’s Chemisette Misses Bertram
pages 106, 112 pages 107, 114

PROJECT INDEX
Mistress of Donwell Abbey Prettyish Wilderness

Maiden Fair Blouse Socks Socks Sweetheart Bag
Lydia’s Tunic Henry Tilney’s Vest Mr. Knightley’s Tea Cozy Tilney Socks
Soutache Spencer Bierdermier Stole Elinor’s Day Coat Northanger Abbey Mittens
Austensible Capelet Netherfield Evening Bag Pleated Neck Scarf Lady Russell Shawl

From an 1824 reprint of the 1811 Book of English Trades, depicting
a young woman being fit for a pattern while wearing a corset with
short stays popular during the Regency era.
type of corset, which strongly affected the drape of the

cloth and the fit of clothing. Te way a person sat, stood,
rode a horse, or simply lounged around a drawing room
was impacted by the way the corset changed how she was
able to breathe and bend. Te purpose of the corset
was to shape the silhouette, and it impacted the appear-
ance of the garment as much as the cut of the clothing
did. When re-creating a period garment, it’s important to
WWW.WIKIPEDIA.COM
bear in mind the activity level of the modern wearer. A

loosely draped fichu may stay put when worn by a wom-
an whose most taxing activity is pouring tea. To be com-
fortably and sensibly worn by a modern woman, however,
that same light shawl may have to be shaped differently so
FROM it stays put during a more active day.
Costume
Spend some time thinking about the fabric in the in-
spiration piece and what fabric you’ll create with your de-
sign. Working up a modern version of the satin gown
using a velvet-type yarn may lead to unexpected conse-
TO CLOTHING quences. Te final result would drape differently, per-
Annie Modesitt haps too heavily, and would be much different from the
original inspiration. Careful swatching is vital in creating
I
am a knitwear designer who draws endless inspira- knitted fabric that moves in the same manner as woven
tion from historical textiles, and take it from me that fabric in a period garment. As a society, we’ve grown used
reinterpreting a period piece as modern wear can be to the availability of lightweight fabrics with less volume
tricky. It’s easy to chase the brass ring of historic accuracy, compared to what was available in past eras. Consider
polishing the small details until a finished sweater more that in Jane Austen’s time, millspun yarn and machine-
closely resembles a costume than modern clothing. made fabric were just emerging and weren’t readily avail-
Creating a garment that reflects a certain period air able yet. Chemical dyes were just beginning to make an
but doesn’t slightly embarrass the wearer is a hard tight- appearance as well—almost all colors in textiles were
rope to walk. Doing it with yarn is especially challenging, achieved by using natural dyes. In an inch-to-inch com-
but as this publication proves, it can be done. parison, woven fabric is usually lighter, crisper, and less
Intentionally or not, every garment says something elastic than knitted fabric. Our modern love for light fab-
about the wearer. To create a successful historical update, rics must be carefully considered when a heavily draped
a designer must glean the essence of a period garment, the period garment is being re-created as knitwear.
tiny seed that makes the piece interesting and compelling, It’s easy when researching historical textiles to drift
then reinterpret this nugget with modern sensibilities. into daydreaming about an idealized past era that bears
To deconstruct a period garment, there are several factors little resemblance to reality. But it’s important to keep one
that must be considered. foot firmly planted in the present (and one eye turned to-
Garments from the past are often cut differently com- ward a garment’s functionality) to update a period piece
pared to our own modern clothing. Seams are in unusual into a successful garment that is wearable today.
places, armholes can feel terribly tight, and the overall tai-
loring of a garment can seem incomprehensible to our eyes. Annie Modesitt lives in Saint Paul, Minnesota, with her husband,
When you’re considering adapting a style of cloth- children, pets, and many, many books. She agrees with Henry
ing worn in the past for modern wear, remember that in Tilney that Òthe person, be it gentleman or lady, who has not
many past eras of fashion, women (and men) wore some pleasure in a good novel, must be intolerably stupid.Ó

a day in the life
in her new book, Kristeen Griffin-Grimes gives you an encore of signature

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_b]hhYXUWWYggcf]Yg]bgd]fYXVmj]bhU[YUbXfcaUbh]WZUg\]cbXYhU]`g"
French Girl Knits Accessories: Modern Designs for a Beautiful Life

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PieceWork Presents 148
pages of knitting history!
Te Fall 2012 issue of
Knitting Traditions has
arrived with more than
30 patterns for sweaters,
bags, hats, socks, wraps,
and more. Indulge in a
world of knitting with a
variety of techniques and
abounding history
866.949.1646

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KNIT

SAT AT WORK: REGENCY

REGENCY AND EMPIRE:

FASHION PLATES FROM THE

UNDER THE CORSET: THE

Country Manor Garden

Interweave Press LLC

2 Jane Austen Knits • janeaustenknits.com

CREATIVE DIRECTOR Linda Ligon

DESIGNERS Jason Reid, Kit Kinseth

Jane Austen Knits is a special issue of Spin.Oﬀ

Projects and information are for inspiration

Spin.Oﬀ ® magazine does not recommend,

Special Issue Fall 2012 • Jane Austen Knits 3

Te Jane Austen Romance Print

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INTRODUCTION TO Lady Jane

5 knit in Majestic Tweed

5 Favorite Shawl Patterns eBook

Special Issue Fall 2012 • Jane Austen Knits 5

You can proudly proclaim your

Jane Austen’s Henry Tilney professes

Perhaps you’d like to take a break from knitting and

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Special Issue Fall 2012 • Jane Austen Knits 7

HANDS by Stephenie Gaustad

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An 1860 engraving of a spinning jenny machine.

Special Issue Fall 2012 • Jane Austen Knits 9

The spinning-room in Shadwell Rope Works.

century, from The Tales of the

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Wrap your delicates

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