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We have a lot in common with Vict ers.

We both live in a leisure-knitting boom. In an

age when even the Queen knit, these newly
middle-class women were among the first to knit
bychoice, not by necessity.

The boom was fashion-driven and fueled by

printed patterns, not limited to oral tradition.

They lived in a time of innovation—in equipment

(quality needles became available, not just pieces of
wire from the smithy), in color (aniline dyes provided
yarns in an exciting range of intense, affordable, and
fast color), and in the media (steam-driven printing
presses provided afforbable booksinquantity).

It’s through those books that Jane Sowerby connected

with this little-known and seminal period in our
knitting past. And it’s through Victorian Lace TODAY
that she brings itto life for you.
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 a publication of MHC 200s

Victorian
LACE
OU

xx Inc. XRX BOOKS, KNITTER'S MAGAZINE, & STITCHES EVENTS

ywerby, Jane.
ctorian lace today, /

2 WUTHDRAN
30521
01/30/07
 PUBLISHER DIRECTOR, PUBLISHING SERVICES
Alexis Yiorgos Xenakis David Xenakis
EDITOR TECHNICAL ILLUSTRATOR
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Jennifer Dyke Everett Baker
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PHOTOGRAPHER MIS
Alexis Yiorgos Xenakis Jason Bittner
SECOND PHOTOGRAPHER
Mike Winkleman
PHOTO STYLIST
Rick Mondragon

FIRST PUBLISHED IN USA IN 2006 BY XRX, INC.

COPYRIGHT © 2006 XRX, INC.

All rights reserved.

No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by
any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission ofthe
\ copyright holder.

We give permission to readers to photocopy the instructions and graphics for personal use only.

ISBN 1-933064-07-2
Produced in Sioux Falls, South Dakota, by XRX, Inc.,
PO Box 1525, Sioux Falls, SD 57101-1525 USA 605.338.2450

et

a publication of MH B00Ks
visit us online - knittinguniverse.com
This book is dedicated
to the pioneering
Victorian women
who wrote the first
knitting books and
to the even more
adventurous women
who knit from them.

Ii
EDEE
POR

——

#
AM opal events
gimin
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ay

Wheri |saw ry first Shetland shawl, the softness, delicacy, and beauty of the
lace patterns had me hooked. |knew |had to try lace knitting. One day, while
wandering round an antique shop, |found a Victorian lace pattern in a dusty box of
ephemera, and it began a new train of thought.
Why had Inot heard more about Victorian lace knitting?
Why does Shetland dominate the scene today?
When did Victorian knitting start, and what was the catalyst?
Was it a leisure activity or did people sell this work?
Who knitted-the wealthy with time on their hands, the
poor out of necessity, or both?
~ What yarns were available to the Victorians, and what colors would
have been used at the time?
How did knitting relate to their contemporary fashion, politics,
and history?
|gradually built up a considerable collection of Weldon’s Practical Knitter and
other Victorian knitting and crochet publications, and it became apparent that
to say there was a great deal of knitting in Victorian England was a massive
understatement, Furthermore, much of it,especially towards the end of the
century, was quite advanced —equal to the Shetland work, but of different style
and construction
One day, |found two books that made more sense of what |had found in
Weldon’s, Jane Gaugain’s The Lady's Assistant, printed in 1840/41, and Miss
Lambert's My Knitting Book, original printed in 1843, seemed to represent the
origins of writing about hand knitting in England and Scotland. The works of these
two ladies enabled me to see just how simple the beginnings of early written
patterns were, and how rapidly hand knitting developed between 1840 and 1890.
Three otter writers who made a significant contribution to knitting at this time
were Miss Watts, Cornelia Mee (who produced many books over a thirty-year
period, mainly on crochet), and Mile. Riego de la Branchardiére, who produced
the First Iilustrated Knitting Book in 1847, and won a Gold Medal for crochet at
Foreword
the Great Exhibition in 1851. In addition to those mentioned, numerous small
publications abounded, often reminding the knitter how much her character
would be improved by persevering in her art: busy hands kept a woman from idle
or frivolous thoughts.
Unfortunately many of these old patterns, possibly from oral tradition, are
muddled, inaccurate, and often in a style incomprehensible to the modern knitter.
Some of the old knitting abbreviations need decoding. Weldon’s in particular
(especially the earlier editions) is full of inaccuracies and totally un-knittable
patterns. |have spent many hours trying to make sense of these patterns by
working them out on graph paper and making swatches. Sometimes |concluded
that either they had never been knitted before printing, or that the printers had not
checked the proofs.
This is such a vast subject that |have limited my explorations to lace knitting
of shawls, scarves, etc. In order to answer my questions |had to investigate the
beginnings of knitting which led to the epidemic of Victorian hand knitting; a
little (but not too much) social and political history; Victorian fashion, especially
the use of lace; dyes, colors, and yarns available in the nineteenth century; and the
very earliest and simplest Victorian patterns; through to the stunningly advanced
developments of the end ofthe century.
This book traces the development of lace knitting in England through the work
ofa
few pioneering ladies. Many more were involved in what became a huge industry,
but |hope the works ofthe early knitters in their simplicity will inspire modern
non-lace knitters to begin at the beginning and feel inspired to progress along
with their Victorian predecessors.
 THE LADYS Wo
rk BOOK.
XIV PYRE
Foundation, NEES KNIT SCARE
six vandykes
the white of blue;
and blue fo 94 Tows of
The Scarf jg rm 2 wave white, and
about two ya stripe; the stitch Fe 20 of blue
and rd s sembles rows alternately,
attaching a and a half
fassel theret iong; finish of chain wo
o, It ed by drawin rk.
Work with {w requires 2% g up a both
o pins of No, oz. of €ach ends
9. Cast on, wi of the Wools,
th blue Berlin
Ite Row wool, 125 loop
s,
2nd Row P3 Plain
edge,
3rd Row B3 O,7 Tr, P15, TO
edge ,P
P2 edge.
4th Row P3 edge’ BO Bis Lr O Bo
5th Row. B3 edge, 07,1, 0, 7 pry OT B2 edge
OP
6th Row. P3 edge B, OL, O,4, B25 P2 edge
0,4, O, B2,
°, Ti, O, Ti, 0, 7 pr B2 edge
7th Row. B3
edge, , 7 OoTOT0P
8th Row, P3 edge
B, O7.3, OL, O,7, B5
, hr, O, Lr
P2 edge.
, O, Ti, O, Ti, O, Lt, O, RQ,
O, Ti, O, Th, B2 edge.
Sth P3, TOT
Row, B3 edge,
B,
O; T, OF, OR
10th
O, Ey O.
L, O12 P2 edge,
Row, P3 edge Oy, B, Lr, O,
, O, sume} LaSO De Q, AP O7
* The edge sti : Ti, O, Ti, O, WL: oO
B2,
tches are neve Ar, O, T ONT BQ edge
,
r repeated; th Gp HO ME TE
ey are merely po edge,
worked at the
This finishes beginning and
the vandyke; end of each ro
bl
ue, and 20 continue re w.
with white, peating the
receipt, begi till the Scarf two last ro
nning on a is the Proper ws 24 time
front row: —_ length; then s with
knit as foll
owing
Ith Row, P3 edge
, P26, AGATO)
12th Row, B3 Ti, O, Ti, O,
Ar O, T, O.'T
edge, B3, O,1, O7 , O, EO: P3
,
13th Row P3 ed ,1, O,1, B, rr P2 edge,
ge , O, Lr
O,Lr, O, B4,
| P4,0,T,0, 7,0, B2 edge,
4th Row, B3 edge As O, T 0,7, 0,
, Ps,
15th Row, P3
BS, OL, OT;
Brn O, Lr, O, P2 edge.
edge,
P6, O, EO,
B6,
B2 edge.
A pattern from 7
16th Row, Ar O, T, 0. P7
B3 edge, The Ladies Knitting,
17th Row, P3 B?7, O7n7, B Lr P2 edge,
, O,7 BS,
edge, Netting and Crochet Book
18th Row, B3 P8, O, Ar, O, P9 B2 edge,
edge, , by Jane Gaugain.
19th Row, Pearl row, P2 edge,
As the first knitting author
Cast off B2 edge.
3
to use abbreviations, it appears
This scarf js ve
ry handsome she would have embraced
Explanation Y when done with glover
Terms, —O, ’s silk
loops together
from back pa
make a Stitch
, Tk today’s charted patterns.
rt of loops, take in, reve
which rsed, by knit
throws the ta ting two
ke-in stitch
the reverse

the left wire)

over it; lift
again, I back the stitch
witake in, as
described that was pearled on #0
in index, An the right: wire
take. jp thr ee, ag Per index.

Vil
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mans

During the Victorian era everything and anything could be knitted, from fruit bowls
to petticoats. Manuals contain patterns for every conceivable garment, from leggings
(very practical in winter) to caps and bags. Antimacassars, tea cosies, cake covers,
cushions and toys were all produced by the busy needles. Despite her apparent fragility,
the Victorian woman clearly had a mania for productivity, and there was not a scrap of
waste in the Victorian household.

The instructions for a Knitted Moss Border, 1886 demonstrate this all too clearly:
‘This may be used for a variety of articles, border for toilet & lamp mats,
cushions etc. The odds & ends of one’s workbasket may be used up in this
way for a pretty foot mat for placing before the bed. Knit any variety of
pieces together&sew onto a foundation after steaming.

Cast on enough stitches for double the width required, say 20, and knit
very tightly in plain knitting, row by row, until a sufficient length has been
obtained. Cast off & place the strip on a sieve over a basin of boiling water
& cover it over to keep in the steam. When it has absorbed the steam, &
while wet, iron it with a hot iron, placing an old handkerchief over it to
save discolouring the wool, cut the strip down the centre & ravel the wool
on each side. The curling of the wool gives it a resemblance to moss which
is very pretty!”
—Weldon’s Practical Knitter, Thirty-Eight Useful Articles for Ladies & Gentlemen, 1886

Real lace from France or Belgium had been highly prized for centuries as a luxury item and
an indication of wealth and status, so its transition into knitting was a logical progression.
The mesh ground of lace work closely resembles faggoting stitch (yo, k2tog), which isthe
basis of lace knitting, and from here it is possible to trace the beginning of lace shawls.
Unfortunately, due to the fact that knitted shawls were practical items and therefore
literally worn to death, few examples from previous centuries survive.
From the mid-eighteenth century onwards, the expansion of the factory system caused
tremendous upheaval in the lives of the working classes. Large chunks of the population
moved rapidly from rural to urban areas, cottage industries disappeared as mass-
production took hold, and many had no choice but to seek workin the new mills and
factories. Owners of mills and factories, along with traders and merchants, grew incredibly
®
eee
.ee
ae
;
wealthy, especially considering their often-lowly roots, but there remained a chasm
between the rich and poor.

Many industrialists came from Puritanical, Methodist, or Quaker backgrounds, all creeds
emphasizing simplicity of lifestyle, diligence, toil, and fear of God. Many had only basic
education, and held firm views about the respective places of women and men in society.

At this time a new middle class woman began to emerge. She almost never worked in
paid employment, had at least a couple of servants (domestic labor was very cheap),
and large amounts of time on her hands. Often the wife of a factory owner, trader, or
merchant, she needed a productive, respectable hobby in order to clothe herself and
the family, furnish the home, and engage in charity work.

Sewing and needlework were the ideal practical and quiet occupations for the new lady
and suitable reading matter centred on fashion, needlework, and light fiction. Numerous
periodicals began catering to this new market by answering questions on etiquette.

From 1836 several wornen began to write and import knitting patterns, and knitting for
j

Hy
pleasure grew in popularity at an amazing rate. Queen Victoria herself was a knitter; Albert
read to her whilst she spun yarn, and in her old age the Queen knitted and crocheted cot
covers for her grandchildren. Royal and aristocratic patronage helped the publication and sale
fz

of the new knitting books as there was no history of written patterns—these had previously - “east
bes
ama
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SER,
seas
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se
eon
Seer
Aare
(ind.
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been handed down orally by the (illiterate) rural knitters, a” a oo eee|
3
 Middle and upper class women began to knit, often for charitable purposes, such as
for the poor or for soldiers during times of war. Patterns were published in women’s
magazines, and the new popular pastime provided a great deal of pleasure while posing
no greater challenge than the choice of colors! By the end of the century, the most simple,
basic designs had developed into works of art.

Queen Victoria was never a trendsetter in fashion, partly because she produced seven
£.

children in the first ten years of her marriage, but she did have a weakness for lace, and
her wedding dress and veil were lavishly decorated with handmade Honiton (Devon)
lace. She was keen to promote home industries, despite the temptation of exquisite
expensive laces from France and Belgium .

As the new machine-made laces came available more women were able to add these
hitherto expensive luxuries to their clothing, and entire dresses could now be made in
lace. By mid-century itwas everywhere, especially knitted lace. Expensive yarns such as
silk were used for lace edgings knitted on ultra-fine needles, cotton yarns for trimming
household furnishings and wool or Alpaca yarns for shawls, using larger needles.

The Queen's advice to her son was

\
Affect not the extreme mode—it is the index of a little mind—but
let
elegance and simplicity be ever the prominent character of your dress.

Itis safe to say that the London Society ladies who devoured fine French lace and could
not live without their dressmakers did not share this admirably restrained view. However
the Queen's views were reinforced in etiquette books and lasted until the 1960's!

Shawls grew larger as the century progressed, mainly due to the ever-increasingly
wide skirts, and in March 1881 The Girls’ Own Paper addressed its readers
against the crinoline...It is the duty of us all as individuals to make a
resolute stand, and prevent a foolish and atrociously ugly fashion from
enslaving us again...happily for us of late we English women have become
much emancipated from the control of French fashions, and we are not so
much afraid of displaying a little individuality in our dress.

Shortly after this the crinoline did give way to simpler skirts which allowed women
to lead a more active lifestyle, but shawls were still loved for their warmth, drape and
elegance, and probably will continue to be loved, even though shapes, sizes, colors and
yarns may alter with changing fashions. ot
 <
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 Photography by
Alexis Xenakis
 Table of Contents
OG gue

Miss Wattsand Mrs.HopeBy,a

Mrs, Jane Gaugain 10

MissLambert aoe os
~ Cornelia Mee and ag ee
~ Mile. Branchdiére 62:

~ Wide- bordered Scarves 74 | oe

‘Weldon’ S Practical|
Knitter 108

seemaca® sen ae “Techniques,Tos,sailTalk 164

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Bice IIO
 In 1837 The Ladies’ Knitting and Netting Book, the first of its kind, appeared in
London. Itwas “respectfully dedicated to Mrs. Annesley,” but the compiler was Miss
Watts who remained anonymous until 1842. Itcontained a very basic and practical
set of patterns, and the modest list of patrons might have been family friends.

The earliest Vandyke edgings

Miss Watts’ pattern for a Vandyke edging is the perfect place for an overview of
Victorian lace knitting to begin. Itforms the basis ofallknitted lace edgings which
were to develop as the century progressed. At this stage there were no holes or
pattern motifs; just alternated plain and purled (stockinette and garter stitch)
knitting in the shape ofapointed collar such as those worn in portraits by the
seventeenth-century Flemish painter Sir Anthony Vandyke.

Miss Watts’ edging, 1837

Cast on 2 sts and knit them.
Purl 1 row. Next row: Increase one stitch and knit the row. Continue
this until there are 19 stitches. Next, rib 16, knit 3, and knit the next row.
Continue until the piece is long enough and then decrease from a point.
Chart A shows my adaptation of this edging. The edging could be any size, or could
chart 5, ors, Hope’ Vandyhe edging begin with more stitches. In fact, itcould go on forever.
Chart A, Miss Watts’ edging 28 2 Z\O|Z/O|Z\O| 4/0/74 29
° YA
L_] KonRs 64
[3] Konws 62
Ol/4|7
gecocoeocesaae onestage further
Taking knitted edgings
2 “r(7fol lolz [ol 7117 [| 23 Mrs. Hope,
p lace Vandyke
ne edging
edging for a cushion, 1847
[o] Yo 60 2 4\7

[A] K2tog 58 aes

Ol|4|7 20 ERE arto 3 This formsauseful lace for any purpose where astrong edging is required.
56 EERE
54
Ol|7\|7
zs Ga ‘ deucat aCIEALIeLIEA "7 Two knitting pins, No. 18, and rather coarse sewing cotton. Caston
TAZ
52
° Fg
14 f fete i eleven stitches, slip the first stitch, knit one, bring the cotton forward,
o|7/o[Z/o| 7/0 13
50 f ss ea a 5 i 3 *
48 O;|4|7 a WT TT tet totets an knit two together, bring the cotton forward, knit two together, bring
10 E | 1 rs ; :
o}zfol/tol/}o t 9 the cotton forward, knit two together, bring the cotton forward, and
LO|4|7 =
46 |
O77 z |
is ee 3 knit the rest plain; knitaplain row. Continue repeating these two rows
8 ase 7|O|Z)0 7 9 g
44 eS
Ol|4|74
42
40
I PAPAmEl
i : aM PACIPALIV o 3 until you get eighteen stitches on your pin. Then knit two rows plain.
Ol4\|7
38 Ol] 7
tal ea ‘ Next row, knit seven stitches plain, take two together, bring the cotton
36 g a
34
Ol7|7 “hg
j
if
forward and take two together at the end of the row, knitting the
32 fF EE a SW BS [| last stitch plain. A plain row. Next row, knit six, take two together,
30 a 5 Aba
ON
28 5
| bring the cotton forward, take two together, bring cotton &c,, to
[oO
26
i)
[ the end of the row. A plain row; repeat the last two rows until
24 a] Lf ial
° you reduce the number on your pin to eleven stitches; begin
2 ae aa
°
20 [E again by knitting two rows plain. Always slip the first stitch.
18S | my This pattern makes also a very pretty cuff.
16 [F
14 a4
o
RE '
ban
In 1847, Mrs. Hope published The Knitter's Friend. Itconsisted
10 Sa iees
[ec eaa esselea) of simple stitches such as Feather and Fan, and basic patterns
8
°
6 for doilies, purses, and shawls, many of which appeared in Miss Watts’
°
Repeat Rows2-65 4 8 earlier book. Her Vandyke edging “for a cushion or a pretty cuff” is the template
for edging. 2 a
°
2
for a classic lace Vandyke with faggoting (yo-k2tog holes). It looks complicated but
is really only Miss Watts’ edging partially filled in with faqgoting. All the early authors gave
variants of faggoting for a number of uses, including the center patterns of shawls, possibly
because it was simple and quick to knit and emulated the ground of real lace, which was so
fashionable at the time. |have used this for The Cap Shawl on page 26 and The Maltese Shaw!
on page 160.
The two edgings by Miss Watts and Mrs. Hope are given notjust for the curiosity of the original
instructions, but so that beginners to lace knitting can see how lace is constructed. More
experienced lace knitters can use them as a basis for their own original borders (see page 165
Make Your Own Wide Border). Many of the later and more elaborate edgings consisted of either
Miss Watts’ basic edging with a motif inserted, or Mrs. Hope's version with width added by
inserting more patterns (called insertions).
By referring to these edgings as Miss Watts’ and Mrs. Hope’s, |do not mean that the authors
invented the edgings; rather that they passed the patterns down. The early knitting writers
called their patterns receipts, which means literally that they were received from someone.
The use of finer needles and wool to provide automatic shaping was a real surprise. Italso works
very well with lace, especially since reducing stitch numbers in the middle of a pattern is to be
avoided ifat all possible.
Miss Watts’ Spotted Shawl uses what must have been an old favorite stitch (yarnover, slip
1, knit 2, pass slipped stitch over) which reappeared throughout the century with different
names (open knit stitch, Jane Gaugain; shawl pattern, Cornelia Mee; star pattern, Miss Lambert;
Dutch stitch, Weldon’s). We learn that “...a back row means a ribbed one.” (A purl row in our
terminology.) She took for granted the fact that her readers already had a basic understanding
of knitting.
In 1845/6 The Illustrated Knitting Netting and Crochet Book appeared, price one shilling. This set
of patterns included a knitted apron with a straight border in a simple leaf design—a classic
Victorian favorite, a development of the old diamond pattern, and a palm pattern for a sofa
quard. Miss Watts also includes a pattern for Gloucester boots, suggesting that they be soled by
a shoemaker!

The language of knitting evolves

One problem with all the early knitting authors isthat they left a great deal to the knitter. Sens
Sa WaySian.

Explanations and instructions were sparse, to say the least. Even Mrs. Hope explains that her work
...Was originally projected, not alone with a view to competition with other works
of its kind, but from a belief that some improvements might be made, first in the
descriptive phraseology, by avoiding at all times the use of two distinct terms to
convey the same idea— a mode of expression which, however indifferent to those
who, accustomed to knitting, have incidentally learned, that whether they ‘purl,’
‘rib,’ ‘seam,’or ‘back stitch,’ the action is the same, is enough to drive the novice
nearly to despair; and secondly by entering more completely into details connected
with making up the articles when knitted.

The cover of Mrs. Hope’s book bears the words: “Patience, Perseverance, Application, Industry,”
and the Victorian knitter certainly needed an abundance of all these attributes. 4 x

Miss Watts used different knitting terms from those of her contemporaries: a turn is two rns,
fo narrow is to “ake small as ifshaping a stocking” (we would say decrease), to knit two into
ane is to k2tog. To take under is to insert the needle purlwise, and to increase or make a double
stitch is to knit twice into the same stitch. Itis interesting to note that what we in England now
call plain knitting (garter stitch in the U.S.) is referred to as common knitting.

An innovative pattern for a cape reads:

Knit a strip of double knitting two yards and a half long and about 40 stitches wide
with coarse lambs wool on large needles. When you have finished this take finer
needles and pick up all the stitches along one side, then continue with finest lambs
wool putting the wool twice round the needle & 4 plain sts at each end for border.
When 3% yard deep, take even smaller needles & knit 1 row twice round (yo2) to run
the ribbon in, then take up 3 stitches in every 1 stitch, and continue in plain knitting
until the collar is long enough.
 A wide triangle
Using Miss Watts’ knit edging
EASY LACE

Notes
7 See Techniques, page 166, for yarn-overs. 2 Itisessential to use light-weight beads.

Picot Cast on 2 stitches, bind off2stitches.

Picot with bead Cast on 2 stitches, place bead, bind off 2 stitches.

TRIANGLE
String beads onto yarn. Cast on 2 stitches.

Note The first half of the triangle is shaped by a yarn-over increase worked at the beginning of each
wrong-side row.
Row 1 and all RS rows Knit.
Increase row2 Picot with bead, yo, knit to end—1 stitch increased.
Increase row4 Picot, yo, knit to end—1 stitch increased.
Increase row 6 Repeat Increase row 4.
19"x 54" Repeat Increase rows 2—7 thirty-two times (32 beads placed), or to center of triangle.

a
10cm/4"
Note The stitch count remains the same over the next6rows. To maintain the yarn-over edge but not
add a stitch, one decrease is worked after the yarn-over on each wrong-side row.
20
° over garter stitch Center row2 Picot with bead, yo, k2tog, knit to end.
(knit all rows) Center rows 4, 6 Picot, yo, k2tog, knit to end.

BAG 456 Note the second half of the triangle isshaped by a pair of k2tog decreases. One decrease
each wrong-side row maintains the count, and the second decrease shapes the shawl. Decrease rows
* Fine weight
265 yds Decrease row2 Picot with bead, yo, (k2tog) 2 times, knit to end—1 stitch decreased. 72
Decrease row4 Picot, yo, (k2tog) 2 times, knit to end—1 stitch decreased.
Decrease row 6 Repeat Decrease row 4. Repeat decrease rows
2—7 until 3 stitches remain.
AS Next WS row Picot with bead, yo, k3tog. |
3.75mm/US 5, or size to obtain gauge Bind off.

Continue as established until 32

Be Block to measurements.
beads placed + 5 rows = 193 rows.
Work 6 center rows with no increase.
* stitch markers
* blunt needle Kon RS pe
Kon WS 6 Center rows 4 ¢bp aa 4
* 64 light-weight wooden beads
[oe] Yo 6 O RIA aes
to fit yarn
[AZ] K2tog sgenan
[A] K3tog 9
HABU Tsumugi 1 cone © Picot i
in 35 Whiskey @ Picot with bead
]3
1
2
Increase rows
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if
In submitting this Fourth and enlarged Edition of the following Work to
the public, itaffords me much pleasure in being able to state, that the
flattering reception it has met with has exceeded my most sanguine
expectations; and itis no slight gratification to me to find that my labours
have been so highly appreciated, the result of the publication sufficiently
indicating this. The method of explaining the receipts, though novel, and
the only one occurring to me, has been found to answer the purpose
completely, viz.that of giving a clear and simple explanation of them by
means of letters and figures...
The Lady's Assistant—useful and fancy designs in knitting, netting and crochet,
1840/1, Preface to the fourth Edition
A total of sixteen books containing knitting patterns were published by Jane Gaugain
between 1837 and 1854, and her final volume of The Lady’s Assistant, for“. . . knitting
shawls, scarfs [sic], edgings and fringes. ..” (the 22nd edition) was published in 1876,
after her death: “... rearranged and improved by the Proprietor {I.J. Gaugain] ... and
sold by all Booksellers and Berlin warehouses.”
In 1837, a year after printing what may well have been a trial run of her Three Receipts
for Friends, Mrs. Gaugain produced her first Small Work on Fancy Knitting, and in 1840,
The Lady’s Assistant appeared, followed in 1846 by The People’s Book. The latter, of
which 23,000 copies were printed, appeared as a collection of “useful and saleable
articles” for “females whose pecuniary means are limited, but whose minds and
products are well regulated and directed,” is evidence that ordinary people, as well as
elderly ladies and the well-to-do, were beginning to knit for pleasure. In 1847 Jane
_—)
Gaugain’s work had already reached the U.S.: a Handbook of Needlework was published
in New York (now at Cornell University), and a supplement to this (now at Oberlin
College, Ohio) under thejoint authorship of Mrs. Jane Gaugain and Mrs. J.B. Gore.
The Pyrenees & Shetland Knit Shawl & Scarf Book was published in 1847, and for
the first time one has a glimpse of what was to develop later on in the century.
Real knitted lace, prettier designs and, though still practical, definitely not
utilitarian articles in the strict sense. No doubt increased travel and Mrs. Gaugain’s
import business were partly responsible, but an evolution in lace knitting was
beginning to take place. By 1854 Jane Gaugain had produced sixteen books of
knitting patterns. She had made a very significant contribution to the beginning of
Victorian knitting.
My copy of The Laay’s Assistant was published in 1841. Itwas already in its fourth
edition, and priced at five shillings and sixpence—quite an expensive knitting book
at the time. The first edition was published in 1840, and since this copy is the
fourth Edition, itwould appear that Mrs. Gaugain’s business and reputation were
expanding rapidly. My copy is cloth-bound, measures 61 x 4/4 inches, and runs to
250 pages. The last four and a half pages contain an impressive list of patronesses
and subscribers, (around 600) mainly Scottish ladies, listed in descending order
of title, from Her Majesty the Queen Dowager, through Duchesses, Countesses,
Viscountesses, and Rt. Hon. Ladies, to Mrs. and Miss. Her literary style is both practical
and respectful, and |suspect that she was one of the upwardly mobile middle-class
ladies of that time. By 1846 Volume 3 had appeared, and many ladies were clearly
developing an interest in knitting.
Mrs. Gaugain’s books do not reveal anything of a personal nature, but my daughter
Helen discovered some fascinating evidence which gives added interest to her
background. A certain John Jarnes Gaugain married Jane Alison (a common Scottish
surname) on November 16, 1823, in the Parish of Edinburgh. They had three children.
We do not know when Jane died, but her last book appeared posthumously in 1876,
published “by the Proprietor” (of the warehouse).
The Scottish Trade Book Index lists “Gaugain, J(ohn) J(ames)" as “stationer and depot
of materials for ladies’ fancy works” at 63, North Bridge, Edinburgh, Scotland in 1823.
Then, |.J. Gaugain, North Bridge 1824, 2 George St. 1825, “French blond and flower
maker,” 58 George St. 1826, “importer of French blond lace, manufacturer of flowers
and braids” at the same address, 1827-8.
Blondes were a type of light, airy lace that was all the rage from 1816. Light,
lustrous lace, such as silk blondes, were popular as trimmings for dresses, the lace
caps that were worn indoors, or hats and bonnets. They were usually ivory or
cream, but could also be black, so blande is not necessarily descriptive of color, but
of lightness.
“Blonde usually made [by the lacemakers] in the summer months
[in France] in the open air, in winter in lofts over their cowhouses,
warmed by the heat of their animals they dispensed with fire and its
accompanying smoke."—History of Lace, Mrs. Palliser, 1869
The Gaugains made further moves to 39, Frederick St. in 1827, 43 Frederick St. in 1832, and
63 George St. in 1837, where they stayed until 1852. Their six changes of address between
1823 and 1837 indicate an upwardly mobile family with increasing amounts of money. Also,
according to the Scottish Trade Index, printed advertisements in The Edinburgh Directory
of 1824 and 1835 show that Mr. Gaugain appears to have been a bookseller. His wife, Mrs.
Jane Gaugain, ran the Berlin wool and other fancywork side ofthe business, and published a
number of manuals on knitting and other craft work from 1840 onwards.
The most intriguing puzzle ofall was the surname, Gaugain, seemingly French in origin.
(Jane Gaugain was referred to as Madarne Gaugain in an article on double knitting in The
Girls’ Own Paper of 1880). However, here is the story which we believe is probably true. In
1694 Thomas Gaugain came to England from France as a Huguenot (Protestant) refugee
and was naturalized as an English citizen on 8th June 1694. He later became one of the
Examiners of the Tellers Vouchers in the Exchequer—a Taxman!—and was probably the
great grandfather of John James Gaugain who married Jane.
Now the Romantic story. Itseems likely that there was a double wedding in Soho
in 1787, for his grandsons Thomas and Peter married Marianne and Jane le Cointe.
Jane Gaugain’s husband was almost certainly the issue of one of these marriages.
The le Cointes were also of Huguenot descent. Their family had been registered as
Jewellers and Silk Merchants in Threadneedle Street—an area in which Huguenots
had traditionally settled because of their trade—so the Gaugain’s ownership of
Warehouses selling lace, blondes, flowers, etc, would have been a natural progression.
The term warehouse implied a rather more superior establishment than a shop and
probably carried a much greater variety of stock.
In the preface to the fourth Edition, Jane Gaugain explains that she was the first person
to invent “letters and fiqures—to give a clear and simple explanation of receipts,” in other
words, the first to use knitting abbreviations. She refers to stitches as oops, B back (purl),
P plain (knit), 7take in (knit two together), F yarn forward (and when inverted, yarn
back), A SK2P (and when inverted, indicates SP2P), etc. These abbreviations are quite
easy to learn, and the author was obviously proud of them, though other writers never
used them. Weldon’s Practical Needlework invented the system currently in use in 1906.
The patterns |have chosen from The Lady's Assistant represent some of the earliest
examples of recreational knitting in 19th century Britain. Some are extremely
simple, and consist of garter stitch and purl, eyelets and faggoting. Mrs. Gaugain
generally used “knit two together” regardless of the direction of the stitches. Ifshe
did pay attention to the slant of increases and decreases she suggested some very
cumbersome ways of producing SKP or SK2P.
Take in 3 loops into one (laying reversed to be taken in three) by knitting
the first two off from the back part of the loops; slip itonto the left wire, lift
it over the loop that was taken in then slip the take in loop onto the right
wire again.
The first two patterns that |have chosen to reproduce seem to be typical of the early lace
patterns for amateur knitters—a sort of stage one on the progress chart. Some patterns
were so simple that |almost dismissed them, until discovering that, with the right yarn and
needles the result can be delightful. In order to bring these patterns into the 21st century |
experimented with needle sizes and yarns, as the results obtained from original “receipts”
must have been very close in texture—perhaps to keep out the cold. The answer for today’s
transformation seems to be using greatly increased needle sizes and a fine fluffy yarn such
as a kid mohair blend.
13
One of the greatest delights of
Victorian shawls is the simplicity
of their construction. At first, they
consisted of garter stitch with
fringed edging, or simple yarn-
over patterns known as faggoting.
Sometimes border patterns were
added. As the century progressed
these borders became wider and
more elaborate, and the faggoting
began to form a frame between a
center pattern and the border.
 EASY LACE
Scarforshaw
with a center pattern

Mrs. Gaugain gives several extremely simple patterns for shawls. This one is in
faggoting—the basis of all lace knitting. The rectangle could be as big as you
like—just cast on more stitches (after reading Note 2, below).

Work 4 Single Joins (SJ), 1 Double Join (DJ)—1 repeat of Chart B.

Work 2 DJ on long side, 1 DJ on short side—1 repeat of Chart B.
Work 2 DJ, 2SJ—1 repeat of Chart B.

Corner B
Work 2 SJ, 2 DJ—1 repeat of Chart B.
Work 1 DJ on short side, 2 DJ on long side—1 repeat of Chart B.
20"x 58"
Work 1 DJ, 4 SJ—1 repeat of Chart B.
10cm/4"

26 Notes
18 7 See Techniques, page 166, for lace cast-ons, yarn-overs, knitted-on border (including
° over stockinette stitch
(knit on RS, purl on WS)
Single Join and Double Join), grafting, and blocking. 2 To lengthen (shorten), add
(subtract) 6 repeats of Chart A for each Border repeat on long sides. To widen (or
narrow), add (or subtract) two repeats of Chart A for each Border repeat on short sides.
1B 45 6

* Fine weight CENTER PANEL

500 yds
<a,
4.5mm/US 7, or size to obtain
gauge, 60cm (24") or longer
Note Slip first stitch of each row purlwise with yarn at wrong side (sl 1).
Using a lace cast-on, cast on 59 stitches (multiple of 3 + 2) onto circular needle. Knit 1
row. Purl 1 row.
Work 2-row repeat of Chart A, marking last stitch of Row 1 of seventh repeat and
working chart a total of 132 repeats.

BE Next row Knit 2 together, knit to end of row—58 stitches. Purl 1 row. Leave stitches
on circular needle. Cut yarn.
Two 4mm/US 6
BORDER
Work knitted-on border Using a lace cast-on, cast on 7 stitches onto double-pointed
& needle (dpn). Beginning at marked slip stitch at left edge of center panel, * work 12-
* stitch markers
* blunt needle row repeat of Chart B 20 times, working 6 Single Joins for each repeat.
* small amount smooth yarn for
Continue working Chart B,joining border to center panel as follows: Work Corner A.
cast-on
[Work 6 Single Joins—1 repeat of Chart B] 8 times. Work Corner B. Repeat from *,
ROWAN Kidsilk Haze placing 58 loops from cast-on edge onto circular needle before starting Corner A.
3 balls in 605 Smoke Place loops from border cast-on edge onto free dpn. Cut yarn and graft ends together.

Block piece to measurements.

16 of
How to count 2-row
repeats of faggoting
When knitting-on the border, it’s
important to have knit the correct
number of repeats of the center
pattern. With a repeat 0 only 2
f ater. Although lace looks complicated, it is really about being aware of the slant of stitches, (to the right or to the left), and the position of yarn-
rows, that will be a big n umber;
but counting is easy with most lace
patterns. As t e chart shows, each
He row repeat of Chart A contains 2
Understanding lace
fyou are new to lace knitting you could use this pattern as a starting point; it is repetitive and will enable you to observe the formation of
the stitches. First knit a small swatch of the faqgoting pattern (Chart A). On Row 2, notice that the purl-1 after purl-2-together is purled into
the yarn-over of the previous row. Also, the first stitch of a knit-2-together or purl-2-together group is always a little looser than the one that
follows, and it slants to the left. Ifyou learn to recognize the stitches in this way, it will help with more difficult patterns which you will tackle
overs. Ifyou understand the formation of a stitch pattern, you can recognize when itgoes wrong and learn to put it right. The most common
mistake is the omission of a yarn-over. Ifthis occurs, pick up the thread between the two adjacent stitches to provide the missing stitch.

yarn-overs. Since they a € offset, ChartA,Faggoting Chart B, Border |] Kon RS, pon WS
a0) unt the yarn-overs that align 2 4e}4] =| 12 TTS NPA Kon WS

ver tically to check the number of

PiZtolv 1 wo Fale — bees —ocoommeaeel*' [6] [0] Yo
repeat Alois Zjolo|zjololztol "hs Z| K2tog on RS, p2tog on WS
repeats you have knit. 19 times Rarer 47 [7] K2tog on WS
OMelat eae els V1 Slip st purlwise with yarn at WS
4 eS Se ae : | Slip st purlwise with yarn at RS
21s a Ol? (Q) K bordersttb! tog with 1 center panel st
£ 6 eae l & Bind off 1 st

Ha
|/
Fone AmEtOne Sek AC LR |he On) DP GA: ty
When young Queen Victoria ascended the
throne in 1837, women began to follow her
lead in dress and manner. The middle-class
virtues of steady, God-fearing respectability
that she embodied influenced fashion. Skirts
lengthened, décolletage retreated, and feet
disappeared under yards of petticoats and
ever-wider skirts; women rapidly began to
look very demure. By the 1830's, bonnet
veils were one yard square and completely
obscured the face, with a patterned border
on three sides and a ribbon drawstring on
the fourth. Not only did a shawl provide
warmth, it was a modest cover-up for
décolleté dresses. Mrs. Gaugain suggested
that a shawl should be “for throwing over
the shoulders indoors, or for very young
ladies wearing out-of-doors.”

It is interesting to compare this simple

border with some of the wide and elaborate
borders which appear towards the end ofthe
century, and later in this book.
 EASY LACE
Large rectangle
with center diamond pattern
—»>

|have chosen the diamond pattern partly for its simplicity and partly because it is
one of the earliest Victorian lace patterns.

Corner A
Work4Single Joins (SJ), 1 Double Join (DJ) —1 repeat ofChart B.
Work 2 DJ on long side, 1 DJ on short side—1 repeat of Chart B.
Work 1 DJ, 4 SJ—1 repeat of Chart B.

Corner B
Work 4 SJ, 1DJ—1 repeat of Chart B.
Work 1 DJon short side, 2 DJ on long side—1 repeat of Chart B.
<— Work 1 DJ, 4SJ—1 repeat of Chart B.
22"x 78"
Note
10cm/4"
See Techniques, page 166, for lace cast-ons, yarn-overs, SSK, SK2P, knitted-on
26
18
border (including Single Join and Double Join), grafting, and blocking.
* over stockinette stitch
(knit on RS, purl on WS)
CENTER PANEL
Note Slip first stitch of each row purlwise with yarn at wrong side (sl 1).
1B 456 Using a lace cast-on, cast on 67 stitches (multiple of 9 + 4) onto circular needle.
* Fine weight Knit 1row, purl 1 row.
750 yds Work 10-row repeat of Chart A, marking last stitch of Row 3 of second repeat and
working chart a total of 36 repeats.
cme Next row Knit 2 together, knit to end of row—66 stitches. Purl 1 row. Leave
4.5mm/US 7, or size to obtain stitches on circular needle. Cut yarn.
gauge, 60cm (24") or longer
BORDER
Work knitted-on border Using a lace cast-on, cast on 7 stitches onto double-
SE pointed needle (dpn).
Two 4mm/US 6 Beginning at marked slip stitch at left edge of center panel, * work 12-row repeat
of Chart B 28 times, working 6 Single Joins for each repeat.
Continue working Chart B,joining bordertocenter panel as follows: Work Corner
& A. [Work 6 Single Joins—1 repeat of Chart B] 9 times. Work Corner B. Repeat
* stitch markers
* blunt needle from *, placing 66 loops from cast-on edge onto circular needle before starting
* small amount smooth yarn for Corner A.
cast-on
Place loops from border cast-on edge onto free dpn. Cut yarn and graft ends together.
ROWAN Kidsilk Haze
4 balls in 595 Liqueur Block piece to measurements.

2)
 ChartA,Center Panel

= Silo}
mo TAs]
____ 9-st repeat ——!
7 times

L_] KonRS, ponWS

[) Konws
fO}Lo] Yo
(7) K2tog
[N] SSK
(SJ SK2P
LV] Slip st purlwise with yarn at WS
[4] Slip st purlwise with yarn at RS
(©) K border st tb/ tog with 1 center panel st
co Bind off 1st

Historic note
In the appendix at the end of The Lady’s Assistant, there
is a collection of stitches for various purposes. |have
chosen what the author described as “a very pretty close
diamond surrounded by open stitch” and “a knit edging
for collarets, cuffs, petticoats & c.” (Iused the same
edging to border the shawls on pages 14, 48, and 56.) In
my copy, rows 7 and 8 have been added to this border
pattern in ink by an unknown knitter, making the pattern
twelve rows long instead of ten. |tried knitting both
versions and preferred the longer one, not realizing that
this was actually the same border as that given by Miss
Lambert, Mrs. Gaugain’s contemporary and possibly her
rival. Could Mrs. Gaugain have borrowed Miss Lambert's
pattern and deleted two rows to avoid plagiarism, or did
Miss Lambert add two rows and a more upmarket title?
We may never know, but competition was certain in the
fast-moving world of knitting.

Understanding lace
The original diamond pattern only uses k2tog regardless
of direction. Where appropriate, |have changed itto SSK.
Since |find k3tog difficult to manage unless the tension
is quite loose, |have also changed k3tog to SK2P. The
Original pattern suggested knitting the even-numbered
rows (for garter-based lace), but |purled them (for
stockinette-based lace).

HME s00xs
Many of the early knitting books were
divided into three sections: knitting,
netting, and crochet. Netting appears to
have been quite trendy as it resembled
the ground of real lace and thus lightness,
elegance, and luxury. Mrs. Gaugain’s
book contains three similar patterns:
Spider Pattern, Spider Net, and A Kind of
Spider Net. Spiders must have featured
prominently among the list of residents in
draughty Victorian houses!

Mrs. Gaugain’s very pretty (and simple)

shawl pattern appeared much later in
Weldon’s as a pattern for A Square Shawl
with Spider Pattern Border and Insertion.
Using Mrs. Gaugain’s Spider Pattern with
the later border (now knitted-on instead of
sewn-on), |chose a rectangular shape for
this new shawl.
 Large rectangle
in spider net
INTERMEDIATE LACE

CornerA
Work 2 Single Joins (SJ), 6 Double Joins (DJ), 4 Triple Joins (TJ) on long
side (Rows 30 and 32 offirst Border repeat plus Row 2 of next Border
repeat form first TJ), 2 TJ on short side—2 repeats of Chart B.
Work 1 1J, 3 DJ, 7 SJ—1 repeat of Chart B.
CornerB
Work 7 SJ, 3 DJ, 1—1 repeat of Chart B.
Work 2 TJ on short side, 4 TJ on long side (Row 32 of one border repeat
plus Rows 2 and 4 of next repeat form last TJ), 6 DJ, 2 SJ—2 repeats of
Chart B.
Note
See Techniques, page 166, for lace cast-ons, SSK, SKP, knitted-on border
+
(including Single Join, Double Join, and Triple Join), grafting, and blocking.
33"x8 "
Next row (RS) K2tog, knit to end of row—/4 stitches. Knit3rows.
Work 8-row repeat of Chart A, marking last stitch of Row 5 of third
repeat and working chart a total of 57 repeats. Knit 4 rows, Leave
stitches on circular needle. Cut yarn.
BORDER
Work knitted-on border Using a lace cast-on, cast on 25 stitches onto
double-pointed needle (dpn).
Beginning at marked slip stitch at left edge of center panel, * work 32-
row repeat of Chart B 13 times, working 16 SJ for each repeat.
Continue working Chart B,joining border to center panel as follows:
Work Corner A. [Work 16 SJ—1 repeat of Chart B] 3 times. Work
Corner B. Repeat from *, placing 74 loops from cast-on edge onto
circular needle before starting Corner A.

Place loops from border cast-on edge on free dpn. Cut yarn and graft
10cm/4" CENTER PANEL ends together.
26 Note Slip first stitch of each row purlwise with yarn at wrong side (sl 1).
18 Using a lace cast-on, cast on 75 stitches (multiple of 6+ 9) onto Block piece to measurements.
* over stockinette stitch
(knit on RS, purl on WS)
circular needle.

1b 456

+ Fine weight Chart B, Wide border in spider pattern

ChartA,Shawl
1280 yds Vv
o [so]

iis
v
ol7|_|XTo
Kl ut
K/O |O|7
INO
yo

ry
Co
HD
> <
NTol [ols I<
|<
<U
4.5mm/US 7, or size to obtain wns
=

\_ 6-st repeat —!
gauge, 60cm (24") or longer
11 times

SE (_] Kon RS, pon WS

1 Kon Ws
Two 4mm/US 6 ©} Yo
A K2tog on RS, p2tog on WS
(1) K2tog; or SSK for directional decrease
& IN] 55K
[7]
ay P2tog on RS, k2tog on WS eae
* stitch markers K2P
wn
OINJOINJOINJOIN/OIN/OINJO|NJOINJO|N/O/N/O/N'O.
* blunt needle < Slip st purlwise with yarn at WS
«small amount smooth yarn for
|7
4\{<]
Slip st purlwise with yarn at RS
cast-on (Q) K bordersttb/ tog with 1 center panel st OINJOINJOINJOINJO|INJOINJOINJOINIOINJOINJO|INJO|NJOINJOINJO|INJOI

KNIT ONE, CROCHET TOO Douceur

et Soie 6 balls in 8248 Velvet Rose

24
 prone
- aa 2 ESF,

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Dus yi ¥

Historic note Understanding lace

This shaw! uses a wide border and insertion in the same stitch from around the time of Queen Notice that despite the apparent intricacy of the wide border there are still no directional
Victoria's death; for an optional narrow border see number 13 from The Lady's Assistantforshawls, decreases. Also, see how faggoting both extends the pattern and divides itfor clarity. Red
scarfs, edgings and fringes by Jane Gaugain (1876; published posthumously), on page 183. symbols on the chart indicate decreases to change for directional decreases, ifyou prefer.

HH 200s Veal ShCoeny CMOMM ERC MI & CANN (Meee Vet = xT ho Di | ANY
In The Lady’s Assistant, there is a pattern for a
baby’s knit cap, described as “very beautiful.”
A circle forms the crown of the cap as a nine-
pointed star, and the garment was originally .
worked with very fine cotton and No. 23 pins
(approximately 0.559mm). When knit with —
larger yarn and needles, it makes the perfect
center for a circular shawl.
 The cap shawl

This shawl began as a pattern for the crown of a baby’s cap by Mrs. Gaugain
INTERMEDIATE LACE (1840), was extended to a shawl by Weldon’s (1886), and is now reproduced
with a similar (not identical) border by Mrs. Hope (1847).

Notes
7 See Jechniques, page 166, for circle cast-on, lace cast-ons, knitted-on border
(including Single Join), grafting, and blocking. 2 Begin with double-pointed
needles (dpn); change to 16" circular, then to longer circulars as number of
Stitches increases. 3 Place markers between each section of shawl.

SHAWL
Using circle cast-on, caston9 stitches (1 for each section of shawl) onto 3
74"diameter double-pointed needles (dpn). Join and begin working in rounds.
10cm/4" Work Chart A, Rounds 1-38 —180 stitches.
26 HEE Rounds 39-84 Work as established, working an additional eyelet (yo, k2tog)
18 every 4 rounds—387 stitches.
See is eaten Work Chart B, Rounds 85~172—738 stitches. Leave stitches on circular needle.
Cut yarn.
1 B: 456 BORDER
ewe Work knitted-on border Using a lace cast-on, cast on 11 stitches onto dpn.
1700 yds Work 30-row repeat of Chart C, working 15 Single Joins for each repeat EXCEPT
at 3 points distributed around shawl, attach borderto2 shawl stitches. When ChartA,Shawl
CS you reach the point on the shawl where the border began, pick up stitches from
4.5mm/US 7, or size to obtain border cast-on edge on free dpn. Cut yarn and graft ends together.
gauge, 40—100cm (16—40") long Block piece to measurements.
as stitch number increases

SX
One 4.5mm/US 7

&
* stitch markers
* blunt needle

ROWAN Kidsilk Haze

8 balls in 606 Candy Girl

1 —>20- st repeat

28
9 times
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IZle
[cao eee Zlol 17 ol_| | lol#lo |Zlo ZI ©] 107 [-] KonRs, pon WS
EH aaa: Zo |Z \0 Zaire olZlo |Z lo\7lo |7 0 |7lo |7Jo |_| aca Z Het i apew 77a ©! 105 [4 PonRs, kon WS
Zlol|ZlolZlolz Zo{zaiztattelZtol7to}v lolzte lol {7lolI7T |Tol lolZlolzlo 44 [ts 103 ©] Yo
Z Zlo|zlolzlol/lolzlols
lolz lolZ jolZ lo |Z |o |Z |o |4 |o | Zot ZL olZlo|7 Io |
fo} | lo} 101 < K2tog : 2
|
Sane:Zlolzlol| [ as [ =oO} 99 [¥] Slip st purlwise with yarn at RS
ZlolZlol|ZiolzlolZiolZ ZlolZ\lolzlo Z\0 olZiolZlo lo = 5
IE sttb/tog with 7 center panel st
(2) K border
27 Z\Ol7 7.9|Z19] lolZlolZlolZlolZlolZlolZlol7 lo! Z 7A a{z{eiztot fe Zlo! 97
eee dc sis olZ[siz/917|8|71e|7 40/7/0|710 7\0 O|7lo|7[o| [710] 95
Zz ese olzlolzlo|Z\o} olzfolztolctotztatz Z\o| Z\9 lolzlolzlo| |Zzlo}93
oe olZlolZlo |Z lo |7 lo|7 lo|7 lo[7lo[7lo|Z lo[7 Zio |Z lol Zlol |Z lo |Z lo 1
Zel7e\7 iz lel lel7lel7lel7 lolzlolzjo|7ei tol7tol fej7fol7 to7 te 70 ©] 89
22coaacIcuceaicuceaeauaEaEdEGEaEaEauanas [lo] 87 Chart C Border :
ZlolZlolZ oO} 85 30; ee
Z[0| ee
_trtelytolvlol7folzlol lol Zlol lol lol zlolzlolzlol7lol folio!
| as 7/0] Z|O|
Suan Be aoe Z|a0]. 29
43 —> 82-st repeat
9 times 2 a 27
var 25
° 23
. ° Z 21
Historic note i
As |began knitting the crown of the original baby’s cap in The Lady's Assistant, |remembered a shawl pattern (no illustration)
in the 1886 edition of Weldon’s Practical Knitter and compared the two patterns. The latter was almost an exact reproduction H
of the crown of Mrs. Gaugain’s baby’s knit cap, except that the nine-pointed star had been extended by thirty or so rows.
To me this was proof that at least some of Mrs. Gaugain’s patterns were improved and adapted as the century progressed.
10
The cap also appeared as a doily at the end of the century. But where did Mrs. Gaugain’s pattern come from? This is a circular
pattern, suggesting it could have been adapted from a stocking pattern, possibly going back to the oral tradition. Since the tb
tbtb
tbc
cb
jp
tb
sb
Weldon’s version of the cap shaw! was knit on double-pointed needles, |suspect that few knitters would have attempted it,
despite being familiar with stocking knitting.

29
HH 00s Vie emer en OR IS SAN iL ORE
 “At the request of many ladies, who were
doubtful of succeeding in forming a shawl
from the cushion receipt in the accompaniment
to the Second Volume of my work, |have
been induced again to present that beautiful
specimen of knitting, extended for the above
purpose. It can be worked all white; or white
centre and coloured shaded border; say twelve
shades of gold colour, commencing at the
lightest .... To a person of taste, there is great
scope for variety .... The beauty of this is the
simplicity—alternating stripes of graduated
colour and white—seven shades of pink
embroidery wool....” Jane Gaugain

30
 OF
NUE
SUPETEPFEERE

0466806
UG, SESS
c
 INTERMEDIATE LACE Notes
7 See Techniques, page 166, for crochet bind-off and blocking. 2 Place markers at beginning and end of pattern
repeats and at center of shawl.

SHAWL
Cast on 4 stitches: 2 for each half of the shawl.
Work Chart A, Rows 1-120.
* Rows 121-166 Work as Rows 29—74 EXCEPT there are five 20-stitch repeats of the lace pattern.
Rows 167-212 Work as Rows 75-120 EXCEPT there are seven 20-stitch repeats of the lace pattern.
82"x43" Note To make a larger shawl or to use a finer yarn, continue to alternate Rows 75—120 with Rows 29-74, work-
ing each 46-row repeat with two more 20-stitch repeats of the lace pattern.

de
10cm/4"
Do not cut yarn.
18
Bind off with a crochet hook: * Chain (ch) 8,single crochet (sc) in next shawl stitch, ch 4, sc in next stitch; repeat from *.
* over stockinette stitch
(knit on RS, purl on WS
Block piece to measurements.
1 2B 5 6

+ Light weight
950 yds

a
5mm/US 8, or size to obtain
gauge, 72cm (29") or longer

5mm/H

+ stitch markers

Shown in hand-dyed silk

Alternate yarns: COLINETTE Tao,
FIESTA La Luz, SKACEL Seta Bella

oA
MN
eS)
 > 20st repeat 1 r 20-st repeat 1 f 20-st repeat ———————_,
(1 a) [o[7_ 6 a REVS ryt jOT7]
i. ZO ol | Z 7 {| jor |7fo
oO CS ia ZAZh aleil toy | jol7
PAC) [o Pd PAK}
o|7 I] T fol7
4,19 4\9
% o|7 olf
710 VAC)
[io oO7
7\o = Zio!
ol7 oly
Z\0 Z|0)
ol7
4.90
[o|7|
PAC)
> ol7 _jof7
> 7io |7{e
C) oy r Jol]
° 7\0 Zo
|. |e SO
° 7\0 PAC)
o [017 oly
D| 710 lor t-
o|7 jolA [o|7
7 of | 7,0 7\0
vA |o “Tol7| _lot7
7
co
[o|
Zio}
o|7
“|Z\ooO
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Zio,
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Zio
20
° 4.90 49°
Ac tol7 Tle17
74 aE 10.
fol Z\o|—
ol|A
7\0oF
7
: jo
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Zor
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Z\91
fol7]
af 7 Zo°o Alor
of
{7eoO
O|. 70] 79
4 0|7]
3 [Zjor
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: ° 7\0) {Aor
4 of
5 710 710 Z{o!
| 7 °
| (0)2 P Zo
jolA
[o| FAC)
° mCIZ,
° 79
a Ol7
Q oO}
lol; °
ac) °
jol7
-19.
fot | °
° |
J oy |
jol7
oO,
of
of
lol7
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jolA
Z\0\"
o7 ?
roy '
| jol7
ac
olay
[0
jo
°

Kon RS, pon WS

[I Pons
©] Yo
7) K2tog on RS, p2tog on WS
¥] Kin F&B of st on RS,
pin F&B of ston WS

Chart note
The chart shows half of the shawl. Read each
row (RS and WS) as follows: read row from
right to left for half of shawl, then from left to
right for remainder of stitches.

Understanding lace
The shawl begins with one pattern repeat at each side of the center of the hypotenuse. As stitches are gradually increased, new pattern repeats are
formed. The triangle grows in this way and can be any size you wish. Just carry on knitting until you run out of yarn! Once the 4-row sequence is under-
stood, it is quite fun to knit. When the shawl is large enough, finish with a crochet bind-off, with Mrs. Gaugain’s knitted border (page 21), or Bell ruffle
(page 178). Do not bind off in the normal way or the edge will be too tight.

Historic note
Mrs. Gaugain says: “Some ladies may think it immaterial whether they work backwards from the centre, or repeat again from the beginning of the row,
but it is most material to work as |have described in this row, as the end and beginning of many rows are different, consequently, ifrepeated again from
the beginning of the row, itwould make the pattern wrong.”

HH 200s Vee a tOw ih. ll ALCON REAR 3Ca CE if ey Hoel Ney 33

 This scarf pattern, dated 1847, was °
one of the most delightful surprises
|encountered in my voyage of
discovery. Most patterns from this
period are far less elaborate. While
extra concentration is required
in knitting this piece initially, it
is not difficult once the layout is
understood. This fascinating border
is true knitted lace, as every row of
at
of
the repeat is patterned.
et
st
oF
jeer
%
fe
a,

%,yatta ® ha,
BAS Tsk
Pre=
‘>
 Alpine knit scart
with double rose leaf center pattern and diamond border

EXPERIENCED LACE “This very beautiful and light Scarf is composed of a border of diamonds Center section
all round; and the center isstripes of the double rose leaf.—Jane Gaugain Continue right and left borders with rose leaf center, next row
Work Row 9 of Chart A for right border; work Row 1 of Chart B across
Note center stitches as follows: work first 5 stitches, place marker, work four
See Techniques, page 166, for k2tog, p2tog, SSK, SK2P, k3tog, 17>15-stitch repeats, placing marker after each, work last 5 stitches;
suspended bind-off, and blocking. work Row 9 of Chart A for left border —120 stitches, 70 center stitches.
Continue working in patterns as established for thirty-seven 8-row
repeats of Chart B; because the diamond repeat is 16 rows and the
SHAWL
double rose leaf-repeat is 8 rows, the latter is knit twice for every 16-row
Loosely cast on 121 stitches (multiple of 18 + 13). Next8rows Slip
repeat of diamonds. Note The stitch count in each rose-leaf repeat
1 purlwise with yarn at wrong side (sl 1), knit to end of row.
decreases from 17 to 15 stitches in Row 1 and increases again to 17 in
Lower border Row 7—128 >120>128 stitches, 78>70>78 center stitches.
Work 16-row repeat of Chart A 3 times.
Transition
Transition Next row Continue borders; knit center stitches, decreasing 7 stitches
Establish right and left borders and garter-stitch center,
18"x 65" evenly across (k2tog)—121 stitches.
next row (Row 1 of Chart A) Work first 25 stitches of chart,
Next 7 rows Work borders and 71-stitch garter-stitch center.

2
10cm/4" ending k2tog instead of SK2P (right border, place marker); knit
7\ (place marker); work last 25 stitches of chart, beginning k2tog
22
instead of SK2P (left border).
Top border
° over stockinette stitch
Next6rows Work right and left border as established, and knit 71 Work three 16-row repeats of Chart A, as at beginning of shawl.
(knit on RS, purl on WS)
center stitches for 4 ridges of garter stitch. Next 8 rows S| 1, knit to end of row.
Next row Work as established, EXCEPT increase 7 stitches evenly Bind off loosely using suspended bind-off.
B23 456
spaced across garter-stitch center-—128 stitches, 78 center stitches.
» Super Fine weight Block piece to measurements. On both ends, pin only the points of
850 yds
diamonds to form scallops.

FS
Straight or circular Chart A, Diamond border
Right Border :
3.5mm/US 4, or size Left Border
to obtain gauge °
O|7

&
* stitch markers
+ blunt needle vt

Shown in PATON’S Baby Merino

2-ply wool, white (______________ ]8-st repeat. ——________
Lower and Upper Borders - 5 times
Alternate yarn: LORNA’S LACES
Helen’s Lace

36
 Chart B, Rose leaf center pattern Historic note
Me Kon RS, pon WS The border appeared as “an open diamond (lace) pattern for stockings,
on RS, kon WS
Yo
shawls, etc.” in Mrs. Gaugain’s book of 1840/1. She advises, “before
K2tog on RS, p2tog on WS working the plain part {transition} pick up a stitch from the row below
SSK as you require itwhen the centre pattern begins,” with no mention of
|
_____]7 > 45ie 17-st repeat ————J SK2P how many stitches were needed!
mes K3tog
WIN
KIN
fe Slip st purlwise with yarn at WS The double rose leaf appears to be a development of the single leaf
[! 5K2P for lower and upper borders, K2tog pattern of the same time.
for right and left borders

3/
HM 2001s Cs ie doer)
 ~ Miss Lambert
Spider’s-web shawls a.
Miss Lambert's Shetland pattéfn4g B ne a i

Large rectangle in leaf and trellis y)

Two sampler shawls 56

Dy Sed omc eaemtpears
2 ie ia
 “The examples of knitting contained
in the following pages have been selected
with the greatest care-many are original-and the whole
are so arranged as to render them comprehensible to a novice in the
art. Knitting being so often sought as an evening amusement, both by
the aged and by invalids, a large and distinct type has been adopted, as
affording an additional facility.”
—Miss Frances Lambert, My Knitting Book 1845/6
The second important author ofknitting books was Miss Frances Lambert, who first
published her Handbook of Needlework in 1842. My Knitting Book first appeared in
1843, but the copy used in my research (one of 32,000) is listed as the first series,
with a publication date of 1846 by John Murray of Albermarle Street, London, price
one shilling and six pence. It is probable that this is the one described in the preface
as “having undergone a thorough revision in ordertorectify inaccuracies.”
Miss Lambert's Handbook of Needlework was also published in New York by Wiley
and Putnam in 1842, and is “the earliest American pattern book” in the collection of
http://www. librarycompany.org. The library catalogue describes “The English woman
Frances Lambert” as “the most popular Needlework writer in 19th century America”.
She also wrote [he Laaies’ Complete Guide to Needlework and Embroidery, My Crochet
Sampler, Instructions for making Miss. Lambert's Registered Crochet Flowers, Practical
AQ
Hints on Decorative Needlework, and Church Needlework With
Practical Remarks on its Arrangement and Preparation. She was
not only very knowledgeable and “a Lady of hertime”, but quite
an astute businesswoman. At the beginning of her Handbook of
Needlework she acknowledges the help and encouragement of her husband in the
production of that work, so we know that she was, in fact, a married woman who
preferred to retain a certain amount of anonymity.
Miss Lambert described herselfas“Embroideress to the Queen”, though
according to The Royal Archives, G. Dalmaine and N. Lewis were the holders of
that office from 1837-1851. However, on 22nd November 1837, Miss Lambert
was given a warrant as “embroiderer in general” and “needlework woman in
ordinary” to Her Majesty. This indicates that she was neither the only, nor the
most senior embroideress to the Queen, but the title was no doubt a great help
to her books and trade in fancy goods, just as royal warrants are in England
today. Miss Lambert had already written several up-market books on embroidery
by the time Jane Gaugain’s first books appeared. With her royal connections
and seemingly greater reputation, she writes confidently, and the materials she
recommends are fine cottons, silk, and Berlin wool—expensive, imported yarns,
suitable for upper-class women, or even royalty.
Comparing Miss Lambert and Jane Gaugain
The numerous piracies committed on her [Miss Lambert's] Handbook of
Needlework, mainly led to the publication of this little treatise; yet, in more
than one instance, the Authoress has been again compelled to claim, and
successfully, the protection of the law against similar attempts to invade her
copyright of the present volume, as also that of My Crochet Sampler.
“When the stitch next after a purl stitch, is to be knitted, itis obvious that the
thread must be passed back UNDER the needle, before this can be done—in
like manner, when a stitch is to be purled, after a knitted one, the thread must
be brought in front UNDER the needle:-—processes, however, very different
from those of passing the thread over, and bringing the thread forward, both of
which are for the purpose of MAKING a stitch, and are done ABOVE the needle.”

Miss Lambert's suggestion that other writers were pirating her designs may have been To complete the section on terms used in knitting, Miss Lambert states that the sizes
partly true, but it is more likely that the patterns were circulating widely via the oral of the needles are given according to her Standard Filiére. This represented a real
tradition. Miss Lambert complains of piracy, while Mrs. Gaugain’s pattern for knitted breakthrough into knitting as we know ittoday, for patterns could now be reproduced
edging is identical to Miss Lambert’s Vandyke border, except the latter has two extra with confidence—or at least more confidence.
rows in the middle. Who is copying whom? However, Miss Lambert's Star pattern
Shawl, her Vandyke Pattern and her Russian Shawl in Brioche Stitch closely resemble
similarly named patterns in Jane Gaugain’s book, so one might reasonably suppose
that either both ladies were drawing from the same sources of material or that they
themselves were guilty of piracy!

Without alluding to numerous petty piracies, the writer cannot refrain from 14 MISS LAMBERT’S [rinst
noticing the reprint of this treatise in America dedicated to the ladies of the
United States—a circumstance which she is fain to accept as a compliment, as
there is no redress for the substantial wrong. To imitators at home, it may be
as well to hint that all the designs in this volume are copyright.
—Advertisement to the Second Edition, February, 1843

Both ladies were guilty of gross inaccuracies in their patterns, though it could have been
the printer's fault. However, in stating “This Edition has again undergone a thorough
revision ...,” Miss Lambert does comment on“... how difficult it is to be accurate in a
work of this kind...” Perhaps it was especially difficult to write down details of patterns
previously handed down in the oral tradition. And a possible lack of mathematical
education could have made the logical side of pattern planning difficult. There was no
chart paper in those days, so |can visualize puzzled knitters getting together to gossip [THE STANDARD FILIERE.]
and try to sort out some of the nonsense in these patterns.
It is necessary, in giving or following direc-
tions for knitting, to caution knitters to observe
Miss Lambert has a much more confident style of writing than Mrs. Gaugain, possibly
a medium in their work—not knitting either
because she came from a slightly higher level of society. Certainly the colors she suggests too loosely or too tightly.
in her knitting patterns are subtler than those in The Lady's Assistant. The address given at
this time was 3, New Burlington St., off Regent St. in London, but |have found no trace of Siberian Cuffs.
its use as a residence at this time. Itwas most likely a shared workshop/fitting room for Nine shades of German wool, used double,
seamstresses in quite an expensive area. will be required.—Needles, No. 8.

Unlike Jane Gaugain, Miss Lambert does not use a system of knitting abbreviations,
but explains the terms used in knitting. Sometimes, economy of language would
be something of a relief; here she describes how to knit and purl alternately in the
same row:

4]
These shawls can be knitted as
either a hexagon (six sides), or as
a half-hexagon. Miss Lambert's
Barége pattern issuch fun to knit
that |had to find a stunning way
of displaying it.

abet
La

ia
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ee

=
=
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fe
t

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r
s

ox!
<224

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<&
 INTERMEDIATE LACE
Half hexagon 84"x 36"
Full hexagon 72"
Fichu (half hexagon, center only)
42"x20"
10cm/4"
26
18
* over stockinette stitch
(knit on RS, purl on WS)
using 4.5mm/US 7 needle
1A 456
* Fine weight
Half hexagon 900 yds
Full hexagon 1800 yds
Fichu 600 yds
Sie
4.5mm/US 7, 5mm/US 8, 5.5mm/
US 9, and 6mm/US 10, or size to
obtain gauge, 60cm (24) or longer
Four (two), 4.5mm/US 7
——S—_
5.5mm/|
& ends the same; the only difference is the number of
* stitch markers
* For fichu: 79 glass beads to fit yarn
Shown in handspun Polworth/Kid
ROWAN Kidsilk haze
8 balls in 595 Liqueur
JAEGER Alpaca 4-ply
3 balls in 395 Damson
Alternate yarns: JADE SAPPHIRE
Cashmere 2-ply
or
TWISTED SISTERS Petite Voodoo
a
Spider's-web shawls
Notes
7 See Techniques, page 166, for crochet cast-on, circle
cast-on, SSK, SK2P, S2KP2, knitted-on border, and
blocking. 2 Mark stitch that separates sections (pink stitch
on chart).
HALF HEXAGON
Notes 7 Begin and end each row ofshawl with 2 garter
Stitches. These stitches are not included in charts or stitch
counts. 2 Stitch counts in the pattern are given for one
section of shawl only.
Using 4.5mm/US 7, 24" circular needle, cast on 6stitches.
Work chart patterns as follows Work Chart A, Rows
1-68—46/ stitches.
Rows 69-84 Work 16-row repeat, working each 8-stitch
repeat 2 times—83 stitches.
Rows 85-100 Work 16-row repeat, working each 8-
Stitch repeat 3 times—299 stitches.
Change to 5mm/US 8 needle and work Chart B, Rows
101-117-117 stitches.
Next row (WS) K2, purl to last 2 stitches, increasing 1 stitch
at beginning of each section, k2—118 stitches each section.
Change to 5.5mm/US 9 needle and work Chart C, Rows
1-14—132 stitches.
Note Every 12-row repeat for each section begins and
6-stitch repeats. Every 12 rows, 12 stitches are increased,
adding 2 additional repeats.
Change to 6mm/US 10 needle and work 4 more 12-
row repeats—180 stitches.
Bind off with crochet hook: * chain (ch) 8,single crochet (sc)
in next shawl stitch, ch 4, sc in next stitch; repeat from *.
Block piece to measurements.
FULL HEXAGON
Note Begin with double-painted needles (dpn); change to 16"
circular, then to longer circulars as number of stitches increases.
Circle cast-on 6 stitches onto dpn (1 for each section; 2 on
each of 3 needles). Join and begin working in rounds.
Work chart patterns as follows {Work row of chart to
next marker] 6 times.
Work chart-row sequence as for half hexagon through Chart B,
Row 117, changing needle sizes as indicated.
Next round Knit, increasing 1 stitch at beginning of each
section—118 stitches each section.
Work chart-row sequence as for half hexagon beginning
with Chart C. Bind off with crochet hook as for half hexagon.
Block piece to measurements.
FICHU
Work as half hexagon through Row 100.
Note Following instructions and stitch counts are for entire
fichu, including 4 garter-stitch edge stitches.
Next row (RS) K2,* (yo, k1) 2 times, (yo, k2tog) 48 times,
yo, k1, yo, knit marked stitch. Repeat from * 2 more times,
ending yo, k2A—314 stitches.
Next row Knit.
Leave stitches on circular needle. Cut yarn. Work border.
BORDER
Note String beads onto yarn before beginning border.
Work knitted-on border Slipfirst stitch from needle onto _
crochet hook and crochet cast-on 7 stitches. Work 4-row repeat
of Chart D as knitted-on border AND add a bead to outside
edge every other Row 4: cast on 2 stitches, pull up bead, bind
off 4 stitches, k3, yo, k2tog, k1.
Block piece to measurements.
 Rows 85 - 100 (3 times) Rows 85 - 100 (3 times)
Rows 69 - 84 (2 times) Rows 69 - 84 (2 times)
Chart A, Center -—— 8-st repeat —— -—— 8-st repeat —

(e) a fe) O° 2)
Z ° IE fe) uwoO
16
repeat
row
-

Kon RS, pon WS

Kon WS

Ss<
SK2P
[oO]
IN|
[4]
[>]
[7]
|] Slip st purlwise with yarn at RS
{@) K border st tlb tog with 1 center section st
Bind off 1st
HB Stockinette st between sections:
Always work this st for full hexagon; for
half hexagon, do not work at end of RS rows
and beginning of WS rows.

Chart Bietoe aver Chart D, Border 14 Chart C, Barege pattern

ol7to r 2 115 piel2 wa
SE forzaNCSL
| IR |
0] 113 olel7lo ¥/1 3
oO} 111 a =
>
o} 109 s

107
105
os fe}

_ 6-st repeat—!
1—>/-st repeat

Historic note
Victorian houses were undoubtedly full ofspiders, and unlike today, people probably saw them as French printed Barége shawls (two yards square and named after a village in the Pyrenees)
a help to reducing the fly population. The concept ofa spider’s web shawl evolved froma pattern Were very popular. Itis possible that Miss Lambert's Barege pattern had come from France but
around the end of the century, but |did not find the original design particularly attractive, partly just as likely that she was trying to emulate a current fashion as knitting.
because it began as a hexagon and ended as a circle. Although the full hexagon would probably
not have been knitted in 1846, the half hexagon would have been possible on long needles.
The principle of ray shaping was used to shape the nine-pointed star in Jane Gaugain’s pattern
for ababy’s cap (page 26).

HMM 200s Cima eo fh AEN Ravan, 6 Sie Tp OD AE WY

Shetland shawls became popular in
England after 1840 (the sea route to
Shetland had opened in 1836), and
by the end of the century the annual
trade was worth £25,000. Miss
Lambert gives a rather pretty lacy
pattern for a Shetland shawl, which
is very simple and quick to knit, no
doubt reflecting the recent fashion
for Shetland shawls in London.
 GS besih
ee

AEN ANINN
 INTERMEDIATE LACE
Miss Lambert's
Shetland pattern for a shawl

CornerA Work 8-row repeat of Chart A marking last stitch of Row 3 of second
Work 2 Single Joins (SJ), 2 Double Joins (DJ)—1 repeat of Chart B. repeat and working chart a total of 48 times. Leave stitches on circular
Work 2 DJ on long side, 1 DJ on short side—1 repeat of Chart B. needle. Cut yarn.
Work 2 DJ, 2 SJ—1 repeat of Chart B.
BORDER
Corner B Work knitted-on border Using a lace cast-on, cast on 7stitches onto
Work 2 SJ, 2 DJ—1 repeat of Chart B. double-pointed needle (dpn).
Work 1 DJ on short side, 2 DJ on long side—1 repeat ofChart B. Beginning at marked slip stitch at left edge of center panel, * work 12-
Work 2 DJ, 2 SJ—1 repeat of Chart B. row repeat of Chart B 30 times, working 6 Single Joins for each repeat.
Continue working Chart B,joining border to center panel as follows: Work
Note . Corner A. [Work 6 Single Joins—1 repeat of Chart B} 10 times. Work
19"x 60" See Techniques, page 166, for lace cast-ons, S2KP2, knitted-on border Corner B. Repeat from *, placing 70 loops from cast-on edge onto circular
(including Single Join and Double Join), grafting, and blocking. needle before starting Corner A.

ee
10cm/4"
Place loops from border cast-on edge onto free dpn. Cut yarn and graft
22 CENTER PANEL ends together.
* over stockinette stitch Using a lace cast-on, cast on 71 stitches (multiple of 6+ 5) onto circular
(knit on RS, purl on WS)
needle. Next row Slip 1 purlwise with yarn at wrong side (sl 1), knit 2 Block piece to measurements.
together, knit to end—/0 stitches.
B23 456

* Super Fine weight

700 yds
Chart A, Shetland pattern Chart B, Border [| Kon RS, pon WS
nS olal_[vl7 12 ae . Kon WS
5 ° ° Vv 10 ar: a
3.5mm/US 4, or size to obtain 4|V ° 4 z re2 7\|2) K2tog
BO o| |Vv)3 seal? AJ S2KP2
gauge, 60cm (24") or longer Al_fol [ol |vl1 ¥/5 [(M] Slip st purlwise with yarn at WS
_ 6-st repeat —!
aMists Rt 7 {2tel 3 | Slip st purlwise with yarn at RS
SE O17 18 -
C7 \
Q) K border sttbltog with 1 center panel st
Bind off 1 st
Two 3.5mm/US 4

&
* stitch markers
* blunt needle
Shown in handspun gray merino
Alternate yarns: LORNA’S LACES
Helen’s Lace
JADE SAPPHIRE Cashmere 2-Ply or
KARABELLA Light-weight Cashmere
Historic note
This Shetland pattern would probably have been
used for the center of a square shawl with a wavy
border in garter stitch stripes, as used on the
‘cottage shawls’ worn by the Shetlanders. Pattern
names varied according to locality: Miss Lambert's
Shell Pattern (Shetland) was later corrupted to Old
Shale (intended as pattern in sand left by waves)
and also called Feather Pattern by Jane Gaugain.
|have made a large rectangular shawl and added
Miss Lambert's only border, almost identical to
Mrs. Gaugain’s (see Historic note, page 21). My
Knitting Book contains the two extra rows, added
by an unknown knitter to my copy of The Lady’s
Assistant. Could it be that Miss Lambert had added
these two rows to Mrs. Gaugain’s Knit Edging, and
renamed it Vandyke Border Pattern to avoid
accusations of plagiarism? Miss Lambert does
seem to have been very sensitive about this issue,
since she complains of piracy with regard to her
own patterns. Here, the term Vandyke describes
lace edging with deep triangular points, similar to
the lace collars in sixteenth-century portraits by Sir
Anthony Vandyke. ;

50
yee ee: MeleChee
 :
»

ee :
-
ee Conentet

the leavesiscarried symmetrically

~ upwards.” Intrigued, |tried it out, and
found itto be Miss Lambert's

2
Lith
ds
ia
4i

? Pr

ion. How exciting to see the wif

lc

volution ofsuch a lovel

€

sp

air
@%:

eS
 Large rectangle
INTERMEDIATE LACE
in leaf and trellis pattern with trellis border
eb

Corner A 9 of second repeat and working chart A a total of 30 times.

Work 5 Single Joins (SJ), 2 Double Joins (DJ) —1 repeat of Chart B. Next row S| 1, k2tog, knit to end—93:stitches.
Work 3 DJ, 1 Triple Join (TJ) —1 repeat of Chart B. Cut yarn.
Work 2 TJ on long side, 1 TJ on short side—1 repeat of Chart B.
Work 4 DJ, 1 SJ—1 repeat of Chart B. BORDER
Work knitted-on border Using a lace cast-on, cast on 20 stitches onto
Corner B double-pointed needle (dpn).
Work 1 SJ, 4DJ-—1 repeat of Chart B. Beginning at marked slip stitch at left edge of center panel, * work 18-row
.
Work 1 TJ on short side, 2 TJ on long side—1 repeat of Chart B. repeat of Chart B 24 times, working 9 Single Joins for each repeat.
27"x 74" Work 1 TJ, 3 DJ—1 repeat of Chart B. Continue working Chart B,joining bordertocenter panel as follows:
Work 2 DJ,5 SJ—1 repeat of Chart B. Work Corner A. [Work 9 Single Joins—1 repeat of Chart B] 9 times.

a
10cm/4"
Note Work Corner B. Repeat from *, placing 93 loops from cast-on edge onto
See Jechniques, page 166, for lace cast-ons, SSK, SK2P, knitted-on border circular needle before starting Corner A.
18
* over stockinette stitch (including Single Join, Double Join, and Triple Join), grafting, and blocking. Pick up loops from border cast-on edge onto free dpn. Cut yarn and graft
(knit on RS, purl on WS)
ends together.
CENTER PANEL
BAG 456 Using a lace cast-on, cast on 94 stitches (multiple of 43 + 8) onto Block piece to measurements.
* Fine weight circular needle.
1200 yds
Next row Slip 1 purlwise with yarn at WS (sl 1), knit to end of row.

<P
Work Chart A, Rows 1-18. Repeat Rows 3-18, marking last stitch in row

4.5mm/US 7, or size to obtain Chart

A, Body
gauge, 60cm (24") or longer 18 [Vi
W Y) 17
16 aE
lV} 15

os
14 |W
IV} 13 s
a Vv! 11 S
Two 4mm/US 6 vi9 §&
8 S
; +Na

& 2
a: |
|
Vv} 5
Vv} 3

* stitch markers v}1

43-st repeat
- blunt needle
2 times
* small amount of smooth yarn for
Chart B, Border
cast-on
er ACPACAWAIe KR ole 17 : | Kon RS, pon WS
16 es [yoy7 ta) | Kon WS
Shown in Handspun merino/ 7\o|7\o[7/o| [S| |o | IN O[7o| |_|) 15 Y, »
cashmere
ue
12 .
Z\|O|Z/O/Z/0
|
iS
Lt
° |
[
: O|7|0 oe
o[7 a
13
[7] [A] K2tog
=e
wa i

Z(o|/|O|7\[0 IN ° o|7l[o 11 NJ SSK

Alternate yarns: NEEDFUL/LANA 10
ol7lol7|o
|
IN
|
3 AE
Ol7|a
ane ¥] 9 SJ SK2P
GATTO Mohair Royal or JADE Se ie O17 16 {4 | SE OI ot 7 V1 |v] Slip st purlwise
with yarn at WS
SAPPHIRE Cahsmere 2-Ply 6 [of a B ih | Slip st purlwise with yarn at RS
olZlol/iol o|s[ [ol7lo 4) 5 ,
4 SEG 2 | = L aM oz A (4)K border sttb!tog with 1 center panel st
2 e El a a a 22edo
O|Z|O|4/|0 OIN|N O|7|o ale

54
(020
o
Very large shawls were popular by the 1840's, partly
because they needed to be worn over increasingly wide
skirts. The thick knitted shawl of the working class woman
provided warmth and protection against the elements; the
upper-class woman’s Kashmiri shawl was a chic accessory
and welcome protection against the draughty rooms of her
house. Some knitted shawls were lined for extra warmth.
At the Great Exhibition of 1851, over two dozen countries
exhibited shawls, showing the level of demand for, and
production of, these items.

In the course of a rummage in an antique shop, |came

upon a truly magnificent handspun shawl constructed in
the Shetland manner and measuring about six feet by four
feet. At first glance it looked incredibly complicated, but
on closer examination it was shown to consist of different
patterns in horizontal strips, with an all-round border
added on afterwards. |decided to design a sampler shaw!
in order to display some of the work of Jane Gaugain and
Frances Lambert, using their methods of construction.
Its many patterns produce a record of their time and give
those new to lace knitting a learning experience.
wt
 INTERMEDIATE LACE
EXPERIENCED LACE

Two sampler shawls

An 1840 heirloom
CornerA Work Corner B. Repeat from *, placing 144 loops from cast-on edge
Work 4Single Joins (SJ), 1 Double Join (DJ)—1 repeat ofChartJ. onto circular needle before starting Corner A.
Work 2 DJ on long side, 1 DJ on short side—1 repeat of Chart J. Place loops from border cast-on edge onto free dpn. Cut yarn and
Work 1 DJ, 4SJ—1 repeat of ChartJ. graft ends together.
Corner B
Block piece to measurements.
Work 4 SJ,-1DJ—1 repeat of ChartJ.
Work 1 DJ on short side, 2 DJ on long side—1 repeat ofChartJ.
Work 1 DJ, 4 SJ—1 repeat of ChartJ.
CREAM SAMPLER, CENTER PANEL
Note Using a lace cast-on, cast on 211 stitches onto circular needle.
Beginner sampler
71See Techniques, page 166, for lace cast-ons, k3tog, SK2P, SSK, SSP, Next 8 rows Slip] purlwise with yarn at WS (sl 1), knit to end.
25° X75:
Framed sampler knitted-on border (including Single Join, Double Join, and Triple Work 16-row repeat of Chart K, Diamond border, 2 times, marking
36 " xX 9 Li
Join), and blocking. last stitch of Row 9 of first repeat.
10cm/4"
Work Chart L, Rows 1-6.
PINK SAMPLER, CENTER PANEL Place markers (pm) between bracketed sections of chart: 6 garter
32
24
Using a lace cast-on, cast on 145 stitches onto circular needle. stitches, pm, 37 diamond border stitches, pm, 125 center stitches,
* over stockinette stitch Next row Slip 1 purlwise with yarn at WS (sl 1), k2tog, knit to pm, 37 diamond border stitches, pm, 6 garter stitches.
(knit on RS, purl on WS)
end—144 stitches. Maintain established garter/diamond patterns on first and last 43
Next 7 rows S| 1, knit to end. stitches by completing Rows 7—16 of Chart L,then repeating Row
B23 456 Work Chart A, Rows 1-8—145 stitches. 1—16, while working Center Pattern Sequence (see page 60).
* Super Fine weight Place markers (pm) between bracketed sections of chart: 6 garter Notes Center pattern rows and side border rows do not share row
Beginner Sampler 1650 yds stitches, pm, 4 faggoting stitches, pm, 125 center stitches, pm, 4 numbers. Remember to keep a note of the row numbers of both patterns,
Framed Sampler 2850 yds
faggoting stitches, pm, 6 garter stitches. OF Use a Separate magnet board for each lace. (|find ituseful to pencil a
Maintain established garter/faggoting patterns on first and last 10 line under the last row knitted when |take a break.) End by working 16-
we
stitches while working Center Pattern Sequence (see page 60) over row repeat of Chart K 2 times.
3.25mm/US 3, or size to obtain
gauge, 60cm (24") or longer center 125 stitches, marking last stitch of Row 1 of Chart B. Next 7 rows S| 1, knit to end.
End by working Chart A, Rows 5—8, then Rows 1—4. Next row S| 1, k2tog, knit to end—210 stitches.
SX Next 7rows S| 1, knit to end.
Next row S| 1, k2tog, knit to end—144 stitches.
Leave stitches on circular needle. Cut yarn.
Two 3.25mm/US 2
Leave stitches on circular needle. Cut yarn. Cream Sampler Border
Work as pink sampler EXCEPT long sides have 60 border repeats
& BORDER between corners, and top and bottom have 33 border repeats
* stitch markers
+ blunt needle
Work knitted-on border Using a lace cast-on, cast on 7 stitches between corners (placing 210 loops from cast-on edge onto circular
onto double-pointed needle (dpn). Beginning at marked slip stitch at needle before starting second Corner A).
JADE SAPPHIRE Lacey Lamb left edge of center panel, * work 12-row repeat of Chart J 50 times,
2 balls in 20 soft pink working 6 Single Joins for each repeat. Block piece to measurements.
Framed sampler shown in 20/2 silk Continue working Chart J,joining bordertocenter panel as follows:
Alternate yarn: LORNA’S LACES Work CornerA. [Work 6 Single Joins—1 repeat of Chart B] 22 times.
Helen’s Lace

58
 4, Ay;
Weis Were estar:
¥ oe

4.Out
u de
BY LS 4
4
A\\)a aM
| ae
Kh]
iy aaV /@r
Be \ “444 * }

+ TNVgy-t A a ”

Kon RS, pon WS

Kon WS
©] Yo
[4] K2tog
[) SK2P Mii
VY] [VY] Slip st purlwise with yarn at WS r os
34] Slip st purlwise with yarn at RS Se:
(3) K border st tbl tog with 7 center panel st
& Bind off 1st

Chart
A, Frame
r 6 sts 4595 —— = 125sis —— 4 Sis — 6 sts ;
st | a PAIL O[7[ [7
em [Zlol[z[o 7\O/[ 7/90 ViI7
6 |v | Ol7/Ol[7 Ol7[o|7
| YZCHPAL) 7[O/7/O VI5
4\Vv OlZlolZlol7fol7fol[Zjo| |

BREE deuaa
7lol7lol7lol7lo[7lol7lo Vv 3

v 1
te =

2-st repeat
61 times

ChartJ,Vandyke border Se
120 Aaya
oo ov | 7/2)
amir, ° i! 11
10 A o[ 7/2)
Z\OLO|ZIO;\O/Z\/O/O|7\0 [| 9
8 v 15 0/ 7/2)
7|0 |7
6 [Jo] 7)
Z\O/O|Z/O}O/ 7/90 5
4 [Aol 7 (a
7\0 |) 3
2 [0 Jol 7a
Z\O/O|Z/O0 11
(07

ChartK,Diamond border, Gaugain

Ol7 7101 Liv] 15 Asin the original,
this wonderful ‘real lace’ pattern
ol7T TT [7fo ° ASE ae
ol7] O|S|O ° VI 13 (every row patterned), has no directional decreases.
Z O77, |7fo Z VaR cites
ol ° vi 11 When worked with directional decreases, it no longer
Ol7 Za 7\o ° [ | ar
° 4 o|NJO 7/0 vl 9 looks ‘old’.
[ 7\0 7\_| v| 7
[7 Z {Ol [OlZ ° [ ee
7\0 : - 2 ° 7 2 7 vi 5
70
| [7lo Ol7 aK [ Vvi| 3
) 1218 Ol7 io)
7\0 [ ol7 ol7 vi 1
|____________ ]8-st repeat ————____
10 times

Chart L, Side borders

6sts I 37 sts I 125 sts 37 sts \-— 6sts ——
EE aa 1 i | EES
; Ol|7 Ol7 7\0 aoe Ez SECHEA ts jo St61 + IV|
Begin Center Pattern Sequence AA ae Zio ae Z porete ae a 13
HAL oy Ales Ale) ZO Z [orzl (7por PAK! aE
O|7 O|7 7\90 PACE O|7 O|7 7\0! 7\90 Vv
[olZ OF 7{[O 7lOl [Orr oy 72sGa as BS Ga a ZO f
O|7 O|N/O 7\90 ° aa IES ° Z\90 Vv

eke aa aus mt ae ae eae wes | x

| 7\90 7\90 Ir O|7 O|K/oO Z\90 O|7 O|4 Vv}
OlZlolZlolZlols PAC) Von ee O17 Oy io Tier fr (ClPZ
Ge Ge Kenea
ZIOIZIOIZIOIZ/0O 7\9 7\90 O|7 o}7| 7\90 7\9 |O|7 O|7 df Vv
[ Z{[Ol- ZlOl TOlZ O|7 ZO Z[Ol- [Ole O17 a8
7\0 7\0 ol7 ON 7\0 [ Ol7 ol7 Vv
es eT
2-st repeat
58 times

HMM 20x: Vie Tee Ge? A oN cht SE Ti Os ID: RAL UN

Center Pattern Sequence
LINKS All center patterns are separated by LINKS A or B.
LINK A 4 rows of stockinette stitch.
LINK
B6 rows of LINK B chart (used on cream sampler only).

10-row repeat of ChartB1 time, LINK A (for pink sampler) or B (for cream sampler),
20-row repeat of Chart C 1 time, LINK A or B,
12-row repeat of Chart D 1 time, LINK A or B,
8-row repeat of Chart E 3 times, LINK A or B, LINK B Chart
12-row repeat of Chart D 1 time, LINK A or B,
20-row repeat of Chart C 1 time, LINK A or B,
8-row repeat of Chart F 2 times, LINK A (for both samplers),
14-row repeat of Chart G 2 times, LINK A,
8-row repeat of Chart F 1 time, LINK A,
24-row repeat of Chart H 2 times, LINK A,
8-row repeat of Chart F 1 time, LINK A,
14-row repeat of Chart G 2 times, LINK A,
8-row repeat of Chart F 2 times, LINK A,
12-row repeat of Chart |four times—center pattern of shawl; mark and work preceding charts in
reverse order for second half of shawl. |

Chart D, Medium leaf, Gaugain

12 ale eel Lie é
10 \[o Ol7 Nola | [ols
NBIC. 2 (Ae IS Oma 9 ih
3.1 fe S ° °| Zales ie ae @ S ; ie
6
N\ °
Ans
°
a
7 XN
| a a c se ,_Allrows of DandE are
Charts a
4 ott {Ntot et fot7|ZAI [Nfo| fo =r this type of pattern
patterned; a
DDIASINEe | 3 Pe k heemediacl BiH
2 5 °
JRE
ta N
Fa °
et te °
PEF} 8
Ve SS oH , __(known as ‘knitted lace’. .
SSS /2strepeat —$—$—— Dye
i
9 times

Chart C, Large leaf, Gaugain

| a f
| ON Z st 19

fe) fe)

NZ
A ° 3
o| lo cats 1)
INE
INE
NOUN° 5 | 11__ The Victorians were obsessed with
: ° SIO nature, especially plants. Each of
eceree :
HalKlo 9
S i243 oINL Izlo 7 the three leaf patterns (Charts C,
Siz fort CEI MPAs ela) G D, and E) is pretty on its own, but
SEIMEI 3 SLIZ ° i= together they complete the picture.
SoZ ° ° N . ° 1
2-st repeat ————
9 times

Wrong-side rows of Charts B, C, F, G, H, and |are purled;

this type of pattern is known as ‘lace knitting’.

wo\_10-row
arepeat
wunn
—-

L____ 9-st repeat. ——

13 times

60)
 Me Chart I,Open pattern, Gaugain : Kon RS, pon WS
j Laser eet =o of PonRS, kon WS
if PA ae 2 [ Jol [7 7 ° [| [o 9 2] Yo
4
5 8 Z
| ZlmG OZ
i Zea Ol alo 7
AA On fourth
‘
repeat of chart,
oi 6 L p2tog; on other repeats, purl
Mat Rae = | +o Oo; [5 [7] K2tog on RS, p2tog on WS
Cg ° of |v{ {vt to of Tt {713 [4 On firstrepeat ofchart, knit;
5 2 ol lol 7 ZL_fol fol | {7 7\1 on other repeats, k2tog
Cig ; CES) CPO [NX] SSK on RS, SSPon WS
fi 6 times [4] P3tog
a An early small
leaf and trellis with no directional decreases. DS] SK2P
Ky

rs ChartH,Lace pattern, Lambert

a o|NJo Ko QIN 23
x Tol7l_INfof lo Nfot_[ol7]_Ixfo 21
ae O|7 \[o O|7 \|o O|7 NO] | 19
18 | I [
ol7| INfo ol7 X\[o O|7 \lo 7
si o[7| [Nol fo NOTIONS 15
14 iz [
of2 Nfol Tol7{ Nol Jol7] iNfo WT
R Z\o} CINE o[N/o 11
8 Nfof fol? NGI OPA [eNO a Oz 9
. \] Oo O|7 \[O O|4 \|oO O|7 Wer

; \|o |O|7 \|] oO O|7 aie) {e} | 5

: Nlol_fol7]_INyor_fol7?_INfor_lol7 3 This is point pattern stretched to its

NTol lol7t_iNtol lol7t_INfer [ol7 1 limits —and funto knit!4
— 6-st repeat —
8 times

Chart G, Scotch pattern, Gaugain

14
OIN 13
12 [
O|S[ol || Sah
10
OIN 7\0 | 19
4 OIN 7\0 [ 7
‘ lots i7te 5 This perfect illustration of how lace patterns
grew and developed
: \jo Ol7 3 is simply point pattern in elongated form,
but it looks quite differ-
2
Viol _[ol7 1 ent when knitted.
— 8-st repeat ——
15 times

Chart F, Point pattern, Lambert

8
Joo 7
: ee o 5 Point pattern forms the building blocks of many later patterns. This is
pea o|7 3 probably an old stocking pattern, also named ‘spider pattern’ by Mrs.
2 Ae
FYNlol jol7 1 Gaugain: simple, quick, and easy to follow.
— 6-st repeat —
20 times

Chart E, Small leaf, Lambert

8 7[o ] o[4Jo | Ol7 |
PS Tzlo O|7 7\O | ol|7 7
6 7\|_ lo fol [771 lot] CZ [
Z o| |o ZIT o| [o Z 5
4 [ o|Alo o|4lo
O|7 7|90 Ol|7 Z\90 3
2 Ol |7ReT71 To ° 7Ct2 ° |
° 7A ° Hl Zs Zz [o 1
————10-stieneat —$——=
11 times
This delightfully delicate pattern is a pattern in transition. Reverse stockinette stitches now appear between two
sets of decreases for added definition, as in much later patterns, but without directional decreases.

6
 Cornelia Mee
A knitted veil 66
See

Mile. Brancharo lere

en

AWataemrliy 70
Cornelia Mee was born in Bath, the daughter ofahaberdasher, bookseller, and undertaker who had
moved from London. In Victorian terms, the family were ‘in trade’ and probably very comfortably off,
though Cornelia’s mother died when she was 13, and herfather a year later, leaving seven children. In
1837 Cornelia married Charles Mee and together (like Mrs. Gaugain and her husband) they ran a Berlin
warehouse/ needlework shop at 41 Milsom Street in Bath. The Mees had now become importers
of yarns, materials, and patterns from abroad. This must have been a good location for The Bath
Emporium, the “Parisian Depot for the importation of Cashmeres” (very large Indian shawls), was
nearby. Also, Jane Austen’s General Tilney lodged on Milsom Street.
In 1842 and 1843 Cornelia published the Manual of Knitting Netting and Crochet Work. Only 28 of the
137 receipts are for knitting (her main interest lay in crochet). A second volume of 1842 indicates a
considerable export trade in patterns and materials. “The Authoress presents this volume to the Ladies
of the Empire who patronise the worktable as an humble attempt to simplify their labours, and with
assurance that much that is novel and interesting will be found in its pages.”
On=> the whole Cornelia Mee’s patterns are practical designs for busy women, rather than purely decorative
fashion items, and though, just like her contemporaries, she recommended size 20 needles (0.914mm) for
fine edgings, she tended to favor larger needles and thicker wool for quicker production. She was very much a
woman
Ss of today, entrepreneurial and aware of the difficulties of fitting a busy lifestyle around a large family.
The patterns in her early manuals were.not reliable, and in my copy there are several handwritten corrections
for German Lace, by a knitter. This appeared twice under different names and written in different styles, which
probably indicates that the author had collected and printed these without trying them first.
On the whole, plain stitches were used. An interesting insight into stitch development was her description
of SK2P—“slip1, k1, psso, put stitch back onto LH needle, slip next stitch over it,and replace on RH needle.”
Her edging was the same as that of Miss Lambert and Mrs. Gaugain; her shawl designs favor stripes,
checkerboard patterns, (intarsia) and plenty of color (one was knitted in a Fair Isle pattern with the
yarn carried at the back), mainly using plain stitches. Others used faggoting, a slip stitch pattern given
by all the early writers, and a simple diamond pattern. The most interesting for me was a shawl in
“Chené of a most elegant appearance, almost like shaded velvet” in “scarlet, brown, pink, orange, blue,
gray, green, white and yellow.” This yarn was described as shaded, and appears to have consisted of
different
=~ colored plies. In any event, it only required plain knitting (garter stitch) and a riot of colorto
gain the desired effect. As an example of pretty typical early pattern instructions see the following
from the 8—page instructions for “Open Vandyke pattern for a scarf”
-row 8. “seam 6, make seam 2tog, make 1 seam 2 tog, make 1 seam 2tog, seam 1 seam
2tog, seam 2 tog, seam 2 tog, make 1 seam 7, make 1 seam 2tog, make 1 seam 2tog,
make 1 seam 2tog, seam | seam 2tog, seam 2tog, seam 2tog, make 1 seam 7, make 1,
seam 2tog, make 1 seam 2tog, make 1 seam 2tog, seam 1 seam 2tog, seam 2tog, seam
2tog, make 1 seam 7, make 1 seam 2tog, make 1 seam 2tog, make 1 seam 2tog, seam 1
seam 2tog, seam 2tog, seam 2tog, make 1 seam 7, make 1
seam 2tog, make 1 seam 2tog, make 1 seam 2 tog, seam 1 seam 2tog, seam 2tog, seam
2tog, make 1 seam 7, make 1 seam 2tog, make 1 seam 2tog, seam 2tog, seam 2tog, seam
1 seam 2tog, seam 2tog, seam 2tog make 1 seam 6....
64
And itgets worse! Most early writers did not abbreviate anything—not even together.
Cornelia published a number of knitting Manuals, and her sister Mary worked with her from 1848.
A Manual of Needlework was published in 1854 and itwas here that |found a beautiful veil which
appears to be in French or Spanish style, and although it is described as a Shetland Veil (page 68) the
title may refer to the fineness of yarn and current fashion for Shetland shawls, rather than the actual
origin of the pattern. (R.Rutt—‘History of Knitting'—states that Shetland shawls were superseded by
veils around 1850).
The Alliance Book of Knitting Netting and Crochet appeared in 1856 as a very thin volume (economy
edition) in response to the Crimean war in which England and France helped Turkey to resist Russian
occupation. “The increasing demand for Novelties in Work, especially Knitting, has induced me to
bring out this Publication, to make it useful to all classes of workers, ...” and, possibly in response to
earlier complaints of inaccuracy, “No pattern is published that has not been tested by experienced
workers...” Cornelia regarded herself as a teacher of some repute, and operated her own customer
service policy as well as publishing her work abroad “any difficulty [could be] explained to the Ladies or
Workers at a distance, by sending a stamped and directed envelope.” Also, since cotton yarn by Walter
Evans & Co was recommended in the book, it is probable that they paid her for the advertisement, or
sponsored the publication of the book, and supplied her with yarn samples.
\/a
IV eG
Receipts included a Crimea Cap “a great number of these were sent out to the Crimea last year and
afforded great comfort to the brave soldiers there.” There was also a nine-page-long lace pattern for a
knitted curtain, and another for window blinds, based on faggoting.
In 1858 the Mees moved to Regent Street, London, while at the same time keeping in touch with
clients in Bath. They later progressed to an even better address in Brook Street. The Queen’s Winter
Knitting Book was published in 1862, as a third series of The Knitters Companion, and yet another
encouragement to ladies’ charity work.
The Preface states that “So many applications having been made for rules for making warm things
for the poor in Lancashire; this little book has been hastily arranged in an inexpensive form to meet
the wishes of many benevolent ladies who are occupying their time in working for the distressed
operatives; hoping that it may assist them in their labour of love.”
At this time there was considerable unemployment and poverty in Lancashire, England, because the
American Civil War had halted the cotton trade. No raw cotton was being imported, and the mills were
out of action. Itis interesting to see how much the fortunes of English factory workers depended on
America. At the same time, American women were knitting for their soldiers in the Civil War.
|loved the descriptions of “children’s Bootakins”, Siberian cuffs, “porcupine knitting for a bag,” and
“gentlemen's braces.’ When Cornelia Mee died in 1875, her daughter Agnes kept the business going _,
until about 1890, by which time about 300,000 copies of her books had been sold (R.Rutt).
 THE.
ABERGELDIE WINTER BOOK.
@PERX HOOD.
IN CROCHET, ORNAMENTED WITH TATTING.
Sco the Frontispiece,
DMaterials—16: skeins of Pink and the same of og single Berlin Wool; 3 skeins of Whate
PS Re
The ee 2geee enlop a lr’mesh, whick measures 1} inches in
circumference, and another 1} rownd, cre required.
‘Tas Crows,
make a chaiz of 15 stitehes. Tho
Commence with the White wool and the Tricot needle;
loosely.
whole of the stitches should be worked very i i
into he mex’ + stitch
the
i
hain n atitches, and work a plain crochet stitch
ay : e stitch of the foundation and work |
peer

{-

Despite her title, Mlle. Riego de la Branchardiére was actually English, with an Irish mother and a
French father (an aristocrat exiled from France by the Revolution).
Although she won a medal for crochet at the Great Exhibition in 1851 and another in 1852, her first
publication was a knitting book in 1847. Itexplained how to knit and was apparently aimed at novice
knitters. Previous authors had assumed that their readers were at least familiar with circular stocking
knitting; Miss Lambert had even told knitters how to hold their needles elegantly.
In 1860, The Andalusian Knitting and Netting Book was published. The book has no index or contents,
and consists mainly of crochet patterns, many with French names (which coincidentally was the
height of fashion), together with a few practical knitting patterns, such as one for a baby’s shoe and
sock, a gentleman’s cravat, and cuffs. For the first time in my research, there are color illustrations.
In 1861, a Book of Siberian Wool (with illustrations in red) gave, for the first time that |am aware,
detailed requirements for yarn and needles; for example, calling for 2 ounces of wool for every square
foot! From the title, itwould appear that sponsorship from wool manufacturers (rather than from the
aristocracy as in earlier times) was shaping the knitting publications.
In the same year, there was another book, Melange de Laine for Siberian and Leviathon Wools. New
yarns were available, some thicker and more fluffy in texture and with a greater variety of colors to
choose from. One pattern was for an antimacassar in blue, gray, and gold; another for a couvre pieds
[lap robe], and two designs for quilts which were based on six and eight-pointed stars—echoes of
~ Jane Gaugain’s Cap Shawl (see page 26).
Also in 1861, three small books on Waved Crochet Braid and yet another on Waved Trimmings in 1862,
which Mlle. declared was “the last |will write until the Spring”! She was by then busy preparing new
designs for the International Exhibition, at which she won a Gold Medal. One of the designs, for some
Greek lace trimming, was exquisite, and appeared later that year in Mle. Riego’s Crochet Book together
with a Vine Pattern and Medieval Rose Antimacassar “in imitation of old Spanish and other costly laces.”
In 1867, The Abergeldie Winter Book, measuring 5% by 434 inches, was published. The title may refer
to Abergeldie Castle in Scotland, leased by The Prince Consort for Albert, Prince of Wales (later Edward
Vil), or it could just be a reference to Royal connections and patronage, as Mile. was “by special
appointment Artiste in Needlework” to HRH The Princess of Wales.
This book appears in part to be a re-print of some of the material from The Andalusian Knitting Book
of 1860. The beautiful illustrations appear again in red, green, and white, of an opera hood, petticoat,
vest, cape, muff, and ‘crossover’ (see illustration). It is a truly delightful little book, and also contains
the pattern for A Round Shetland Veil. This is actually a half-circle with diamond edging and a
| remarkably modern appearance (see page 70).
|was unable to discover whether Mle. was married, but in the knowledge that Miss Lambert was
married, prefer to keep an open mind on the subject. It is likely that she was a lady of ample means,
who may have been able to support herself. Certainly her prolific writing and Exhibition entries would
indicate that she was a dedicated career-wornan.

65
 Lace was ubiquitous throughout the 19th
century, appearing everywhere about
the lady's person. Trims were common
on collars and cuffs—either handmade
or (by mid-century) the widely available
machine-made lace. Entire dresses were
made out of this intensely feminine cloth,
and the popularity of such styles continued
unabated through the century. Lace shawls
were in keeping with these fashions, and
the expanse of the shawl allowed the
beauty of the lace design to shine through
to its best effect. This veil pattern is an
excellent example of delicate knitted lace.

Cornelia Mee’s Knitted veil is layered under the

Myrtle leaf shawl from page 140—sometimes one
shawl just isn’t enough.

On
 EXPERIENCED LACE
A knitted veil
in Pyrenees wool

From The Manual of Needlework, Cornelia Mee, London, 1854. Work Chart A, Rows 1—2, working knit 2 together after the slip stitch in
Since this pattern was for a veil the diamonds appeared at one end only. Row 2—112 stitches.
In ordertoupdate it as a scarf |added a balancing set of diamonds at Leave stitches on circular needle. Cutyyarn.
the opposite end. BORDER
Work knitted-on border Using a lace cast-on, cast on 10 stitches onto
CornerA double-pointed needle (dpn).
Work 3 Single Joins, (SJ), 2 Double Joins (DJ) —1 repeat of Chart B. Beginning at marked slip stitch at left edge of center panel, * work 14-
Work 1 DJ, 1 Triple Join (TJ) on long side, 1 DJ on short side—1 repeat row repeat ofChart B 28 times, working 7 Single Joins for each repeat.
of Chart B. Continue working Chart B, joining border to center panel as follows:
Begin’ =) Work 1 DJ, 5 SJI—1 repeat of Chart B. Work CornerA. [Work 7 Single Joins—1 repeat of Chart B] 14
times.
Work Corner B. Repeat from *, placing 112 loops from cast-on edge
25"x 65" Corner B onto circular needle before starting Corner A.
10cm/4" Work 5 SJ, 1 DJ—1 repeat of Chart B. Place loops from border cast-on edge onto free dpn. Cut yarn and graft
30 Work 1 DJon short side, 1 TJ, 1 DJ on long side—1 repeat of Chart B. ends together.
22 Work 2 DJ, 3 SJ—1 repeat of Chart B.
* over stockinette stitch
(knit on RS, purl on WS) Block piece to measurements.
Note
B23 456 See Jechniques, page 166, for lace cast-ons, knitted-on border (including
Single Join, Double Join, and Triple Join), grafting, and blocking.
* Super Fine weight
1300 yds
CENTER PANEL
a
Using a lace cast-on, cast on 113 stitches onto circular needle.
Diamond border Work Chart A, Rows 1-12.
3.5mm/US 4, or size to obtain
gauge, 60cm (24") or longer
Double-diamond center with faggotting frame and right and
left diamond borders Work Chart A, Rows 13-66, marking last stitch
SS of Row 15.
Two 3.5mm/US 4, *ChartA,rows 67-70 Work 12 stitches of diamond border and 3
or size to obtain gauge stitches of faggoting; work next 83 stitches (6-stitch repeat + 5 stitches
of small center pattern); work 3 stitches of faggoting and 12 stitches of
& diamond border.
* stitch markers Rows 71-102 Continue as established; the last 36 rows produce
+ blunt needle
two 18-row repeats of diamond border and nine 4-row repeats of
small center pattern. Repeat from * for a total of 8 repeats, ending
Shown in 2-ply merino handspun
Alternate yarns: ALPACA WITH A
with completion of both center and border patterns. Ifmore length is
TWIST Fino or MISTI ALPACA Lace desired, work two more 18 row repeats of border with nine more 4 row
repeats of small center pattern.
Work Chart A, Rows 13-66,
Work Chart A, Rows 3-12.
63
chartA,Shawl 13 times
12 sts | 3sts -—6-strepeat— 35st ; 12 sts
OTF PAK} [7_{7jer Joy7T 17 ic}
Z\o o|4 ° Z\0
il Ol|7| {Zo Jol7 7 °
Z\o| [ol4lo o[4lo 7\0
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4 0|4\0 Z\0 Z\90 o|4\0 NZ
Vv olAl tte} ol7|_fel7lelZ7lel7lol7lo ° ol7| [zlo
ols 7\0 Z\0 Zlolzlo|zlolzlolz Z\0 ols Z\0 Vv
Viclelt7z Z16| folZ ° oz Z\6
ols 7\0 olZ|Zlo Z\o ° Z\0 olZ|Vv
Vi lzlo ol7 Z fe Ol7 ° Z\o ol7
Zio ol7 Z\o Z\0 Z\o ol Vv
Vv B Z\ol [ol7 ol7 ae a 9 1 ° Hie 92 Z
va 7\90 7\0 i 7\0 ° 7\0 Vv
v —-tetatel [ ol7 rela Allee) ° jo folale
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Ol|4 7\90 7\90 Z\90 Z: Z\9 Wi
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7\90 ol|7 Z\0 | 7\0 7\0 O|7 Ww.
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Z\o| lolZ Z\0 It Z\0 Z ol7 Vv
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o|4\0 Z\0 [ Z\0 o|4\o Vv
Viet ol7| |zlo ol7 ° ol7| lolz ° “jolz] {7To
o|7 [4 Z|0 Z\0 ol7 Z\0 Vv
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Vitter stzt ° Zlol lolz to Z\oL jotet7ror
Z\0 olZ Z\0 [ Z\0 Z\ol ol4 Vv)
Viz TAler felt tT o|7 ol7 ° Z Z |
1710| |710 Z\0 o| | Ziol_ [V)
7|0
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Z\o
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ol7| [Zlo Z\0 [
Vv ol7 Zot | ol Z|o | ° Z Arwen ae
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Z\0 ol! |Zlo Z\0 ol7| |v
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Z Tol7] fol7|lol7> folalol T7lo °
(Alo | Ilo 7\0 Vv
Vv Ate Pare Zlol7 Z\o fol Z\0
ols Z\0 Z\0 7\0 Vv
2 oly Z10 ol7|7lol T7lol lol7T Jol °
7\0 Z\0 olsislo | Z\0 Vv
vi [to |amr fol7[I7fol
fT fel7t lolz To Vv
Z\0 ol7| | |zlo | 7\0
Iv [Alot Tol? ol7 Z\6 olZ ° Vv
7\0 tatat Z\o| |zlo i | Zo
2 Be ° ol7 Zlol lols °
O\7 7\0 7\90 7\0| Ww
oly Z\0 fol Re ol7 °
jolz| Zio| [zlol Z\0 Vv
V{Zlo TolZ ol7] fol7t_ it Cy Raa OUs ° Vv
z | olv! [viol [Zlolzlolzlolzlolzlo Z\0
Vv Z\6 CiPal olZlollolZlol7lolzio °
Z\iol joly Z\0 Z\0 Vv repeat
7§-row
————)
|______
Z OlZ Z
AO We
Vv lolz l7lo E Vv
lol7 Z\0 °
MI OZ f Z oY Vv
Ziol | |slo o|Alo Z
camrae) (foer7t [ztel ES
70 ol7 Z. Vv
Ra 716 folv [ Vv
Se Z\0 7\|0
t Vv
——— 10-st repeat ——=
7times

Chart B, Border
4[ Czfel7t
|7lolz fefziei7e
gizfo}7 ia Kon RS, pon WS
Zlol7| O/ Zo Zia Kon WS
Z\o[/7|Z|o|ol4lo|/lo| [¥/ 11
ZlOlZ olziei7a 0] [0] Yo
Ziol7|Z[olol7| |ZlolZfo| Pp —
ZIOIZ [fel zfolz ia | 4) (4) K2tog
ol7| |Zlolol7lololalol7io| pj A] [A
6 | ° _ Ee fer7for za K3tog , ,
Li lol Izloloiz| |7lolzfol [wis [MJ [MV] Slip st purlwise with yarn at WS
Bare) ee fol Z[ol7 ; ai:
A tet e 5 Z a FARCE 1] Slip st purlwise
with yarn at RS
rete 5 ZARA ER mace (2) K bordersttbl tog with 7center panel st

&

Understanding lace
if,ike me, you wonder how much center pattern to knit before beginning the second diamond panel, do a preliminary blocking, Put all
stitches onto along circular needle, wet the fabric within a couple of inches of the needle; gently squeeze out excess water and rollina
towel. Block out the damp knitting and measure it. Iflower border including diamonds = 12", and one center block = 7", by adding 12"
for a second border, itis possible to work out how many repeats of the center pattern are desired. Remember that additional width and
length is added all around when the border is knitted on.
Scarf option
For ascarf, cast on 53 stitches. On Rows 67—70, center3repeats of small pattern over 25 stitches.

HM 200s V MIG TEE Cos RD |) a cAmamN yh YS) Coun:

This shawl has a surprisingly contemporary
appearance, you could even try it with bigger
needles to exaggerate its open pattern.

When | saw the illustration of this shawl in Mlle. de

le B's The Abergeldie Winter Book, |knew |had seen it
somewhere before, and eventually tracked it down:
A Semicircular Scarf in Spider Pattern in Sarah Don’s
book, The Art of Shetland Lace. This Spider pattern
bears no resemblance to that of Jane Gaugain but
is “a copy of a scarf found in an old box of knitting
discovered recently at Unst” (Shetland, pre-1980].
Its center pattern and that of 1860 are identical, but
the borders are totally different. The 1860 border has
16 rows, and Don’s version has 12 rows. The other
difference is in construction. Don’s shawl begins with
the border which is later grafted onto the center.

=
—)
 A curved shaw!
with diamond edging
INTERMEDIATE LACE

Notes
7See Techniques, page 166, for loop cast-on, S2KP2, knitted-on border
ChartA,Shawl
(including Single Join and Double Join), and blocking, 2 Foralonger
and wider shawl, each additional 4-row/6-stitch repeat of Chart A adds
approximately 34" to length and 114" to width. This stitch grows wide
very quickly; reduce the number of stitches cast on ifyou wish a deep
shawl. 3 Ifpreferred, border can be sewn on, attaching 4 border rows to
each loop along curved edge.
| 6-st repeat 1
7 times, rows 1-4
8 times, rows 5-8
CENTER 9 times, rows 9-12
Using loop cast-on, cast on 49 stitches .
Work Chart A, Rows 1-12-67 stitches.
Chart B, Border
Note Three 4-row repeats of pattern have been worked. Every 4-row
21" x6 wn" repeat begins and ends the same; the only difference isthe number ts
14 |
18|Atofe1s
ol7| 12)
o|7 [Oo |] 13
of 6-stitch repeats. Every 4 rows, 6 stitches are increased, adding one o|A o|7| fe
ol|7/o|)] 11
10cm/4"
additional repeat. 10 [Oo[Al [ola O|7

ote24
o[Zlol¥]9
Continue working thus for a total of 168 rows (forty-two 4-row
8 [oO 7\9o ie} $ ate 7

6 [ol |7 ol7 ia
repeats) —301 stitches.
oh aaoce
o[7lol! 5
* over garter stitch
(knit all rows) Next
8rows Slip 1 purlwise with yarn at wrong side (sl 1), knit to end. 2 [oe fol7h ja
o[7 lo} 1
Picot bind-off* Cast on 2 stitches, bind off 5stitches; repeat from *,
B23 456 ending bind off 2 stitches.
* Super fine weight
750 yds Kon RS
BORDER
[-] KonWS
Work knitted-on border Cast on 13 stitches onto double-pointed
<< needle (dpn). Beginning at top right of center piece, work 16-row
fo] [0]
[7] (4)
Yo
K2tog
3.25mm/US 3, or size to obtain A} S2KP2
gauge, 60cm (24") or longer repeat of Chart B, working 4 Single Joins and 2 Double Joins. A} K3tog
Next 53 repeats Work Double Joins into each edge loop and cast- ] Slip st purlwise with yarn in front

SX
[2 K border st tb! tog with 1 center panel st
on loop—4 Double Joins for each repeat of Chart B.
Last repeat Work 2 Double Joins and 4 Single Joins. Bind off.
Two 3.25mm/US3

Block piece to measurements.

& Understanding lace
* stitch markers The original shawl pattern used a k3tog decrease in-
+ blunt needle stead of an S2KP2. Try both to see which you prefer. wt

The Center patterns of Mee’s Knitted Veil (page 69),

JADE SAPPHIRE Lacey Lamb 1 ball
and the Curved Shawl are nearly thesame: the third
in 225 Blueblood Red
row is different and the fourth row is shifted.

/2
 ee
RN EYED sere
ITT RTT

a / an ee
Hi i
a1
 TEER

Striped border SSSa

os

Edging 20 84
The next, and very large, source of Victorian knitting patterns, the periodical
Weldon’s Practical Needlework, is the primary inspiration for the next two chapters.
Weldon’s 1890 knitting series was an explosion of ace—mainly borders. Some
of these were very wide, really too wide for shawls unless the corners could be
mitered. (Even knitted-on borders have their limitations.) So |had to be inventive,
just as the Victorians had been.
Today, the best way to display very wide borders is to use them at the ends
or at the sides of scarves. This not only displays the lace pattern full-on, it also
eliminates the problem of corners. The repetitive part of the scar-—the long
center pattern—can be as simple, or as complicated, as you wish. It is an excellent
way for lace novices to sample and gain an understanding ofdifferent lace
patterns. When exploring something new, variety is often a great stimulant to
further adventures. Knitters can begin with the easiest scarf border (say the striped
border on page 80) and progress gradually to some of the more complicated ones.
Ifyou take something in stages, it is usually do-able. Knitting a scarfisalso a great
W Q y to try a yarn or fiber you haven't used before—silk, cashmere, bamboo—try
them all. Often, it only takes a ball or two of something very luxurious for a scarf
you will love knitting and wearing.
The sight of anewly blocked, wide silk border is truly amazing. Ifyou can’t wait
to see the border before finishing the scarf, you can even block it while still on the
needle—just to have a glimpse of what is to come. That will make you want to
knit the middle section a great deal quicker.
/6
The 1890 issue of Weldon’s magazine contains several patterns for shawls, clouds,
scarves, a fanchon and a fascinator—all using extremely simple stitches. One
scarf or cloud was to be made on thick wooden pins in plain knitting (garter
stitch), another was in twisted drop-stitch with three yarn-overs which was a
bit too open, and others used very simple yarn-over patterns which produced a
sort of netting fabric. None of these seemed quite suitable for today, but single
drop-stitch combined with garter stitch works well, especially after blocking. The
fabric has an almost woven appearance and creates the perfect center pattern for a
modern scarf.
|developed the idea further using wide border patterns for the scarf ends. Many of
the wider edgings are most attractive and can easily be adapted to suit changing
taste, though some of the original names such as ‘Wide and handsome border
for a Mantel Drape’ cannot! Some are perfect for knitting at both ends of a scarf
only, without the extra work of an all-around border; others have been worked
lengthwise with a central insertion.
As always with lace, blocking is essential. The scarf will look truly dreadful before
blocking—but take heart, a transformation will take place. |never cease to be excited
when blocking a piece; that is when the beauty of the lace pattern is revealed.
Eight of the eleven scarves that follow use this basic approach. In a another
(page 84), the border pattern forms the sides of the scarf and the center pattern
is only 15 rows. The last two scarves (pages 104 and 106) take a different
approach; two borders and a central insertion are knitted in one operation. This
method requires careful attention.
A
For even more choices, use this basic method to combine other lace patterns.
Or, see ‘How to make your own wide border’ on pages 182 and 183.
First border
Cast on stitches for the border. Since crochet cast-on resembles the bind-off, it is recommended (see page 167).
* Knit (or purl) 1 row. Work the border pattern for the width of the scarf. Knit 1 row. **
Bind off at the same tension as you cast-on, placing the last stitch on a holder.
] t
Cast on

Center of scarf
Turn work and pick up the slip stitches along the straight edge of the border, then return the stitch from the Bind off
%

holdertothe needle; the stitches for the center pattern are on the needle.
Work 1 wrong-side row, knitting (or purling) through the back loop of each stitch, and increasing or decreasing
a few stitches ifnecessary for the center pattern repeat. 278
Work the center pattern to the desired length of the scarf less the second border, ending with a right-side row.
(ifitwas necessary to increase or decrease for the center pattern, return to the original stitch number as you : Pick up sts
work this row.) Do not turn work. <_

Second border
Slip the first stitch from the needle onto a crochet hook. Crochet cast-on stitches for the border, and place the
loop from the crochet hook onto the needle; the total stitches for scarf and border are on the needle.
Work as first border from * to **, EXCEPT work as knitted-on border, (on wrong-side rows, work last border
stitch together with a shawl stitch, see page 174).
Bind off.
Block scarf.

Cast on

//
die,
G
 Scart
with the striped border from Weldon'’s, Volume5,1890

EASY LACE
Notes
7 See Techniques, page 166, for crochet cast-on, knitted-on border (including Single Join), and blocking.
2 Match the tension of the bind-off to the cast-on edge. 3 To make a narrower (or wider) scarf, work 2 fewer
(or more) 12-row repeats of Chart A for borders AND pick up 12 fewer (or more) stitches for center section.
ny: |
Cast on

First border Bind off

Crochet cast on 25 stitches. * Knit 1 row.
Work 12-row repeat of Chart A seven times. Knit 1 row .**
Bind off, placing the last stitch on a/holder.

Center of scarf
8"x 64" Turn work and pick up slip stitches along straight edge of border, then return stitch from holderto
needle, for a total of 42 stitches.
10cm/4"
Next row (WS) Knit through back loop of each stitch. Work 2-row repeat of Chart B to desired length
32 less second border (scarf shown has 110 repeats). Knit 1 row. Do not turn work.
18
* over garter stitch
(knit all rows) Second border
Slip first stitch from needle onto crochet hook and crochet cast on 25 stitches —6/ stitches on needle
BAR 456 (42 scarf stitches, 25 border stitches). Work as First border from * to **, working Chart A as knitted-
on border. Bind off.
° Fine weight
400 yds
Block piece to measurements.
AS
Straight or circular
4.5mm/US 7, or size to obtain gauge Chart A, Border
12 Aa : [ i | 2.)
¥! 11
10 [ e [ rey
& 8 ae
ZIOIOIZIO\ZIO\ZIO\Z\O\Z|O|Z|O|Z\9O
|
O|7/O}\)
i I
| 9
Key
| 7
° stitch markers § 7lololzlol7lolzlolzlolz Z\Ol7 710|710 it can
* blunt needle ara acest eos EAHA 3
* crochet hook for cast-on
| ¥/ 1
(025
Shown in hand-spun silk.
Almost any Fine weight or Light
weight yarn will work; remember, Kon RS, pon WS
ChartB,Scarf Kon ve
a thicker yarn with bigger needles vt
will make a wider scarf. , 21 Yo
L4-st repeat 7) K2tog
9 times ] Slip st purlwise with yarn at RS
2) On first border, k tbl; on second border,
k bordersttb! tog with scarfst
c
Bind off 1st

80)
 As the easiest of the wide borders,
‘me
Be
ale
7™
eee
lnAL
SRMe
7 bs
=

» thisis a good scarf to start with if

Re
¥%-<F a
ae
iow
wn
you are new to lace knitting. This

tal
Striped Border isa simple version of
A iat & the well-known Godmother’s Edging,
traditionally used to trim christening
gowns, and is described as “of
particularly pleasing appearance,
being light and lacy,and yet not nae
difficult of accompli ment.
wv
 Scart
with the Clarence Border from Weldon’, 1886

INTERMEDIATE LACE Drop-stitch pattern Center of scarf |

Knit 3 rows. 3 Turn work and pick up slip stitches along ] t
Row 7 Knit, wrapping yarn 2 times aroundneedle. straight edge of border, then return stitch from " Cast on
Row2 Knit, dropping extra wrap as stitch holder to needle, for a total of 62 stitches.
is pulled off left needle. (Rows 1and2 form 4 Nextrow (WS) Knit through back loop of each Bindigft
elongated stitches.) stitch. Work 4-row repeat of Drop-stitch pattern
Rows 3-4 Knit. to desired length less second border (scarf shown 2
Repeat Rows 1—4 for Drop-stitch pattern. has 30 repeats). Knit 1 row. Do not turn work.
; Pick up sts

Alcala icallical ie Notes Second border Re

Cagtenao lk 7 See Techniques, page 166, for crochet cast- 5 Sjipfirst stitch from needle onto crochet hook 3
on, knitted-on border (including Single Join), and crochet cast on 34 stitches —96 stitches
He elongated stitch, and blocking. 2 Match the on needle (62 scarf stitches, 34 border stitches).
32 i | ind- to the cast-on
tension of the bind-off : edge. } border from * to **, working
Work as First
- over garter stitch Chart A as knitted-on border. Bind off.
(knit all rows) | First border 4
Dey
Crochet cast on 34 stitches. *Knit 1 row. Block piece to measurements.
13 456 Work 40-row repeat of Chart Athree times. Knit Bind off
+ Fine weight 1 row. **

pads Bind off, placing the last stitch on a holder.

S—Z7
AD Chart A, Clarence border
Straight or circular jo[- oud | = ts Ol7 [ Z\OlO|7 ate Ol7 39
4.5mm/US 7, or sizetoobtain gauge ae | mae of t Ol7 E VAL a 7[O/O/7 37
16 7 EOI Soe 7|OlO|7
aa a
Z\OLO|ZIZlOlO|Z/Z[ofol|7]
| [! 35
aE a a I aire X¢| 33
& 32|7 fal | aE | (ie — a ol
Z\OlOl7 Z\OlOl/|Z/OlO|7|Z/olol7
ZIOIOIZISZIOLO\Z|Z(O|O|Z|Z|O|O|7 | 31

* stitch markers 3019 Ee Thao AslotstetotAstete> | be 29

blunt needle ita | 5 ° olay olol7 He aearae ol7|Zlolol 7] 27
* crochet hook for cast-on 26 off [| na | Sue ia a0 a Aslolzn a 7
24/0 | Loe [ E Q
opto 4S cfojel<) | J PACACAEAPACAEA RECAP
Showninhand-spun silk e 3 rats aA Zlolol7| | | PAE Z| 710 le ZANE 21
Almost any Fine or Light weight 18 |7 REESE eon am f here peo Aetele 19
yarnpeakwill work;; remember,a es
z | 7\|O;O|7 Z\OlO|Z|Z10lO|7
| AE 7|0lO|7 | 17
ra Kon RS, pon WS
; Wine (sy Z\OlO|Z| Zool /|7[Olol7 Z\OlO|/|Zlolo|7|_ [| 15 (2 KonWs
thicker yarn with bigger needles 7 MS 2 2M ae ae ae 0] Yo
will make a wider scarf. 12 |7 eae mere SS pts era ea [Z| K2tog
10 [0 ee Wa)Wes a ee Soe ae A Ma oe u | Slip st purlwise with yarn at RS
go : ae nae RES 4iejer{- oe ata? On first border, k tbl; on second border,
gto “herpes —elseaeta| — ae AWA ACR lig k border
sttbltogwith scarf st
Z7|OlO|7 aa Z7|7Z|0lO|7 olol7| Tw] 5
4[o 63 aa ea Fae | ee se {rey
Z|O|O|7Z O!10!7/7|90|0 ZME MN pel 3

Q) us b olol|7| Zo ob | | rama ima ealeleslaa ew 1

(0 34
 NEED ALESELTE SOR SEE CEELPCEE SLAP OREREERE ST
SS we we
533Wink x is Sey Shae ‘

anct
x
vininh
fy NG
SITAR‘ti)
y T u H H TRA >

a
seat!
a
S AE e oe
OE
. AS HUG WHS
ay
saraANAT
E
P: S nae
TiR
|< qigtes ‘e

HIF Ta
SRAhod‘
aN

HOE,0 Heat Mt
> He eS arate

SARAMAUAAL SEAN
wf en
t se
eaease % | ~
4 . t
: as ~ - =e

SB agages oS US SAAS
« ~ > >

*
~ .
AL yw . =>

“This is a wide handsome :

borderforquilts, large shawls, = 3 x Bitaays
~ orany large pieof cework. | sf 38 ‘3 : mR
The material and the knitting a9 3 ¢ b :SEB
needles must be regulated to hy Bee 33 ‘: : :
suit the article for which itis SNSE eS 3
to be used.’—Weldon’s - ays ah A.

es _——_ 4J $2
oS Ses
 Scart
with the No. 20 edging from The Knitted Lace Pattern Book, 1850

INTERMEDIATE LACE Notes Bind off

7 See Jechniques, page 166, for crochet cast-on, knitted-on border (including Single Join), and
blocking. 2 Match the tension of the bind-off to the cast-on edge. 3 The borders of this scarf run
lengthwise with only a few rows of center pattern between the borders.

First border
Crochet cast on 30 stitches. * Purl 1 row.
Work 20-row repeat of Chart A twenty-two times. Knit 1 row. **
Bind off, placing the last stitch on a holder. ea |
Cast on Caston

Center of scarf
Pick up sts
20"x 72" Turn work and pick up slip stitches along straight edge of border, then return stitch from holder
to needle, for a total of 222 stitches.

=
10cm/4"
4 Next row (WS) Purl through back loop of each stitch.
18
* over stockinette stitch Work 15 rows of Chart B. Purl 1 row. Do not turn work.
(knit on RS, purl on WS)

Second border
BAB 456
Slip first stitch from needle onto crochet hook and crochet cast on 30 stitches —252 stitches on
+ Fine weight needle (222 scarf stitches, 30 border stitches). Work as First border from * to **, working Chart A as
600 yds
knitted-on border. Bind off.
Work picot edging, Row 1 With crochet hook and right-side of scarf facing, single crochet (sc)
as
4.5mm/US 7, or size to obtain
into each stitch of borders and center pattern along one short end of scarf, ending with an even
gauge, 60cm (24") or longer
number of scs. Row2 * Chain 3, (sc into next sc) 2 times; repeat from *, end chain 3, sc into
next sc. Repeat Rows 1 and 2 along other short end.

4mm/G Block piece to measurements. Chart B, Faggoting

|

ChartA, Diamond border (aa times

5
20[O]7 mares
* stitch markers Z(OlZlo|Zlol7lol7lo[7| folsjo ° VAI) | 19 I a2-row
repeat
16 |O|4 As Key pa aa
« blunt needle | [ZlolZlo[Zlol7lol7io O|7 7\|O ol7lol7 7\O | 17 4-st repeat
18 [ol [ Ke} 54 times
Zfot7let7let7fot7for7 ° OlZlol7 7\90 [115
NEEDFUL/LANA GATTO 14[O|7
ZlOlZlolZlol7lol7lol7{_ | |7lo Ol7[ol7 7\9°
key
| 13
Mohair Royal 12{O|24 [oe [ iEox
Z\O|Z/[O|Zlo|Zlol7ol7 Zlol l[olZlol7 7|O / 11 [_] KonRS, pon WS
10 [O[7 | i | {o ] Kon WS, ponRS
3 balls in 2118 ol7lolZlolZlol7\o Z[O| [ol INI) 7\0 ¥/9
8 [Ol7 i
ol Zlol7lol7lolzl[o
ails ' Zlo| fol7lo Zlo| |7[o
[a
¥/7 Yo
6|O|7 Kod K2tog
OlZlolZlol7lol7lol | 7|0| 710 Z|O[7/0 /5
4\0|7 [ : |.Q SK2P
| lol7fol7lol7lol7fol | Z/O|7/O ol7| 7/0 3/3 Slip st purlwise with yarn at RS
2/o|7 | ' Ko
ol Zlol/[ol[7lol7lo| [i eaea Zl[o| lo[7{ [z]o ¥/1 BING On first border, k tbl; on second border,
(030 k border st tbl tog with scarf st

84
 Scart
with a wide and handsome border for amantel drape from Welaon’s, Series6,Volume 2, 1887

INTERMEDIATE LACE Drop-stitch pattern 2 Bind off, placing the last stitch on a holder.
Knit3rows.
Row 7 Knit, wrapping yarn 2 times around needle. — Center of scarf 1 ‘ t |
Row2 Knit, dropping extra wrap as stitch 3 Turn work and pick up slip stitches along straight Cast on
is pulled off left needle. (Rows 1 and 2 form edge of border, then return stitch from holder to Ree
elongated stitches.) needle, for a total of 65 stitches. =a
Rows 3—4 Knit. * Next row (WS) Knit through back loop of each
Repeat Rows 1—4 for Drop-stitch pattern. stitch. Work 4-row repeat of Drop-stitch pattern 2
to desired length less second border (scarf shown
Notes has 56 repeats). Knit 1 row. Do not turn work.
1 See Techniques, page 166, for crochet cast-on,
10"x 70" waa Ci
knitted-on border (including Single Join), 53 Second border

e moth tint tics eae

10cm/4" elongated stitch, and blocking. 2 Match the Slip first stitch from needle onto crochet hook

fs _ Tension of the bind-off to the cast-on edge. and crochet caston36 stitches—101 stitches
- over garter stitch on needle (65 scarf stitches, 36 border stitches).
knit all i F
pM First border Work as First border from * to **, working Chart
Crochet cast on 36 stitches. * Knit 1 row. Aas knitted-on border. Bind off
|BR: 456 Work 42-row repeat of Chart A three times. Knit
° . K%

bers Tow. Block piece to measurements.

ChartA,Wide and handsome border
OS Eieacats
4 CAMA wa of ZT] | 7 ae,
mane, { =a aa f — ara O|7 +
PAINE 39
Straight or circular 38 (O17 sess ee OlZ oF a
3.75mm/US 5, or size to obtain ee fae SEIS oka Ra
gauge (*Ftetolz [Z\olo|7 7\0 if 7\0 _|Zolo}7 | 7\0 | 35
miteleiziztetel|tetelz{ 710 | ; SZC R ELL ELLE Pt Re 33
32/0 |7 | OTF pa [ ol7] (a
Beane anne Jz t E ele — £jO1 5 31

& Z\O\O|7 7\O|O|Z|Z|0|0|4 2, 7\|0 ime{e) | 29

+ stitch markers pig 81917 eet e4 tH fae ae zi oe & ane cay

« blunt needle fee Z\O|O/Z Z\O\Ol|Z 7\0 Zane PAREN Zor a 95

* crochet hook for cast-on vielol/i7 lolol 17 elol7 st tolelzele Ee | Hele esate | 23
ete i 7Z\OlO|7 ste Ht ol7 Fo ee ae AIGA 21
HABU 2/17 Tsumugi 1 cone mac Ze{ele [totes 7/2/947\71918|7| 1917 Hol ielolzteioiz\7lol ca SS ee

in 35 Whiskey 6 3 9. Z\|0190 ze i VA os ne am ° 5 mA Z/8O|74 tote 45 7 Ol[o Yo

acces sese ccs: Laer aa

an 7[0|O|7 ies

beau den sanecaeandaasaed

FACE Zettel 8 O10] Onnext row, knit into 1st yo,
° aie i 13

ites o| _|7lolol7|7lolol7|_ol7 |Z/o mM PALICPAPALAS “At oct te 9 [4] Slip st purlwise

with yarn atRS
ae A A see | ee 7/0 Zt te (2) On first border, k tbl;on second border,
6[Ol7 ees Solas Bea CIPAl ar o7 a k border
sttbltog with scarf st
219 O|7 ie OL Ie O IO LZ LOLOL L710 a

zist2I 7 ' Soe nee sea Ao stg a

90 | Z\90|90 ° ise Z\90 Z\9 | 1

Vi aCieer> (0: “Pp ehieeamaant fA GEESE TsO Du GAS, 4

=
is splend id borderis

—
stunning wi th either
e

the simple Drop-stitch

 Scarf
with the open and solid diamond lace edging from Weldon’s, 1904

INTERMEDIATE LACE Notes working Chart B over center 40 stitches as follows: work Rows 1—32 six
71See Techniques, page 166, for crochet cast-on, knitted-on border times, then Rows 1-16 once. Knit 1 row. Do not turn work.
(including Single Join), and blocking. 2 Match the tension of the ‘

bind-off to the cast-on edge. 3 This insertion would also work with the Second border
Clarence border shown on page 82. 5 Slip first stitch from needle onto crochet hook and crochet cast on 32
stitches —98 stitches on needle (66 scarf stitches, 32 border stitches).
First border Work as First border from * to **, working Chart A as knitted-on
| Crochet cast on 32 stitches. * Knit 1 row. border. Bind off.
Work 32-row repeat of Chart A four times. Knit 1 row .**
) Bind off, placing the last stitch on a holder. Block piece to measurements.
10"x7i "

Center of scarf
10cm/4"
3. Turn work and pick up slip stitches along straight edge of ” shel a
38
20
border, then return stitch from holdertoneedle, fora total
¥
©: eta Z\O|7
ea ea
SJIOIOIS|SZ/OlOlS/Z
ee
O|7

* over garter stitch of 66 stitches. 4 tae y at a 7 a1 AZ 919) L + ez

(knit all rows)
4 Next
row (WS) Knitting through back loop of each Daal o|7 ot-toi7 Zlolol/ ara
stitch, knit 13, place marker (pm), knit 40, pm, NCP et ee ra nee :
1B 456
knit to end. #0 “1710 stats a am O|7|0|7
« Fine weight Establish garter-stitch borders and center Mi racoeaca SIeARICAR! iaAND
450 yds
insertion, next row Knit 13, work Chart B
: , b :
atelier O|7|90
J feeee BE Agta 1
7\O|7/|0 iE Z\O|Z|0

over40 stitches, knit13.Continue as established, ca ea caaRa Ztetzto 71o|710

AS 10 aS eto 4 FE iZ}9|219
Straight or circular
8 [OlZ O|7
WA
Z\O}4|O
i Z\O|Z|O

4.5mm/US 7, or size to obtain gauge ——— ol7s ease racine: Z/Ol7

detemicirat: Z ottretets amraC
on Z\OlO|7|Z[Olol7|Zolol7 VAN
&
* stitch markers
* blunt needle
* crochet hook for cast-on

Shown in hand-dyed 2-ply silk

Alternate yarns: FIESTA La Luz or
HABU 2/10 Kusaki-Zome

et

fae
a Z\o/ 07 all
Z\OlO|
Z| 7,OO} 7
10 | [ ea [ AE
49/0) 7|7{e}e{z{7}e10, 2
8 | | [ VE ae
olo[7|Zlolol7|Zlolol7| lolol7
6 ee as cS CAE
90) ,
Z\OlOl/|Z/ololZ|Zlolol7|_|
PACAPAPALI EAA
{
Ea
VAstey |!
40-st panel
 Caston
5 ; 4 d a tis +;

Bind off i a TY. m 3a RHA

N WAee
pee! Se <<:

Y IA
D eit g 3
? &

. : “ vyeceat yt ‘
SD of e822
$ \ at Jress=args
has

[| Kon RS, pon WS

[J Kon WS, pon RS
° ©] Yo
7\ K2tog
| Slip st purlwise with yarn at RS
) On first border, k tbl; on second border,
k border st tbl tog with scarf st

HH 200s
 Victorian ruby
derived from The Knitted Lace Pattern Book, Thompson Bros, Kilmarnack, Scotland, 1850

INTERMEDIATE LACE Drop-stitch pattern | First border

Knit 3 rows. Crochet cast on 45 stitches. * Knit 1 row.
Row 7 Knit, wrapping yarn 2 times around needle. Work Chart A, Rows 1—46, but do not knit the red symbols in the
Row2 Knit, dropping extra wrap as stitch is pulled from left needle. middle of Row 45. Repeat Chart A, Rows 15—58, but this time work
(Rows 1 and 2 form elongated stitches.) the red symbols for lace in Row 45. Knit 1 row. **
Rows 3—4 Knit. 2 Bind off, placing the last stitch on a holder.
Repeat Rows 1—4 for Drop-stitch pattern.
Center of scarf
Notes 3 Turn work and pick up slip stitches along straight edge of border,
7 See Techniques, page 166, for crochet cast-on, S2KP2, knitted- then return stitch from holder to needle, for a total of 47 stitches.
on border (including Single Join), elongated stitch, and blocking. 4 Next row (WS) Knit through back loop of each stitch. Work 4-row

2 Match the tension of the bind-offtothe cast-on edge. repeat of Drop-stitch pattern to desired length less second border
13"x 7. " (scarf shown has 51 repeats). Knit 1 row. Do not turn work.
Chart A

.
10cm/4" 58 fe) [ [oO At OTT o|7[ a
Z\O[Z\O|Z\O|7[o|Z\o 70 7\0| | ol7lolalo|Zio 7/0 7[0 | 57
56 i jin a EG
ZIZIO|ZIO|Z/Ol|Z/O|Z\0|
°
7(O 7
7
|9 ° O|7
[ es
Ol7io|
BK)
| |7{o
o|7 | 155
7|0
|2
18 54 Sie Ie fair
Z\ol/|Z\lo|Z[o|Zlol|7[o|7lo 7 |O
2 SS oO
aR Ol7/ol7 7\lolZlo| |7[o
° 7\0
o[7] La)
pe]53
* over garter stitch 52 a el eh ° 9 ‘eal 4 { ° o|7{ te
o|7lo jolZlol/lol/lo|/lol7|7 |o Zl(Ol[ZIO[ZI/0 O|7\|o|4/0 7[O 341 51
(knit all rows) 50 | °
EZ |
OlZlolZ[o|Zlo|Zlo|7|
{fe
|7I\o
oO}
7\0| |ZlolZlo
if [ [fo
ol[7lol7|7Zl[o
ol7{
7/0 |
[2 49
48 |_| ea ee ° ° [ (2) o|7| {2
() OlZlolZlol7l[ol|7lol7 710 7\|0 /\o|/4\0O Ol|7\ol7 7\0 71|0 | 47
46 Hi ° 0 Of | 1Or7 C)
1B 456 Z(O|Z\O|Z[olZl|ol|Z[ol7 7\0 7\0 0|7|0[AlO[7[o 7\0 PATH | 45
44 [ohZIO|Z/O|Z/O|Z/O|7/0/7
f [_|7[o
a 7\0
|
o| Zlolalol Zio
fa 70
a od
7|0
a | 43
+ Fine weight
42 (I 7) | ° ° t ° OZ 1a
ZIO(Z[O[ZI[O/Z[O|Z[Ol7 7\0 Z\0 ol|7/ol[7 7\0|7\/0 7\0 7\|O ! 41
450 yds 40 ed i se
Z\ol|7[O[ZlolZlol7[o[7
= ot }
7\90
je
7\|9O
2 a
ol7/ol7
f
Z\o|7\/0
[ol
7\|90
Oram |
7\0 39
33 at
Z\O|Z|O|Z/O|4/O|Z/o|7
t a| 7|0
° aa
7\9|Z\o|Z\0
(Se O|7|O| 4/0
of {|fol7{
7\|9 |
ta 37
36 1 i 3 fo) ee ° Tool7i Kon RS, pon WS
AS
foj78.Z 242 9.240)2 10-7 i ATH 7 |0| COZ OF ol|ZlolZ|Z\o 7{O| | I} 35 FJ Kon Ws
22 moraravarararararoraci 710 ACHR OATAEAN sea 710 (sears Ra]33 a
Straight or circular
32 ick
/\o|Z|ol|Z\ol|Z\olZ|olZ|
L I 7/0
ote7 \O {
i NGial
o|s[olalo| Zio | |7Jo
: 7(O
3171 | 31
Oo} [oO
‘
7)\4) K2tog
30 0 [ re i [ ° ° iNet |-fo O|4 Q Al S2KP2
4.5mm/US 7, or 71914 42 ara NO | AK A pe] 29
size to obtain gauge ei 2/7/8|7|0|7 191719 | ZA 7/8 LS 2} ac Ast 710 710 | 27 ¥] Slip st purlwise
26 E ool 7|o|7|o|7|o Ie 710 710 TolZlolzi
th
liztolz io
(o#
fs on raiO|7 fe
125. ads with
s
yarn at RS
as le 71|0|7|0|7[0|7|0 I ts 2 7 3 O|7 . 7 aac 7 3 (EZ a7 23 2! On firstborder,
2F
7) | Sy ° ee
eae ol7|o [-
[ 7 3
as 2 5a 710 | 7 opo: 7 = pel7}o te 21 ko
border, kborder
& o|7\o[Z/o|7\o|7\o ics
°
a o|7 ° °
°
7\90 |
ol7]
! 19
(2
st tbl tog with
* stitch markers ist olZlolZlolZlolZlo Zfe 7\0 710 2 ° 710 17 scarf st
fe} fe} ° [e) 0 5
+ blunt needle 16 atrtetvtatvtette +t ot§ 2 Fro tw) 15 LOZ 1[) Knit onfirst row 45,
ie) o) i)
° 70o7)_ | 13 indi
work asindicated
* crochet hook for cast-on 4 Fittelztelztolztolzte 7/0 7|0
12 [fo fe) ° fol7- a on repeat
[ 7\Z\O|Z\O|Z\o|Z\/o|Z\o 7\0 7\0 ° 7\o ¥) 11 wr
10 al ie) ° ° jfol7_ a
ROWAN Kidsilk Haze | [Zlol7| Zl ol [ol Z[ol lol 7z[o 7\|O 7\0 ° 7\O I) 9
3 t
ol7lo
| pana
Ol ZlolZlolZlolZlol7i7 lo
° 7|0
° o[alo
° 70
ol7 | [|
1a 7
2 balls in 606 Candy Girl 6 dee [fo 9 ° fol7) ta
° olZlo|ZlolZ[o|Zlol[z| |7\o 70 ° 7\0 pe]5
P41eo amen
A
a ea
Pa coe
aie
i raTS) °8 a
o|7| 1a 3
2 Z[Ol|Z/Ol7[O| Z| 0/7 [Z{o | 7\0 fo tHe ¥} 1
(045

92
5 Second border
Slip first stitch from needle onto crochet
hook and crochet cast on 45 stitches —92
stitches on needle (47 scarf stitches, 45
border stitches). Work as First border from
* to **, working Chart A as knitted-on
border. Bind off.

Block piece to measurements.

1 t
Caston

Bind off

2e

? Pick up sts
—

3
i “HO |
Sean
eas\
sete).
~h

a.

Gi -<—
ee
 Scart
with fir cone lace border from Welaon’s, 1895

INTERMEDIATE LACE Notes

7 See Techniques, page 166, for crochet cast-on, knitted-on border
(including Single Join), and blocking. 2 Match the tension of the
bind-off to the cast-on edge.
ra Cast on

Bind off
First border
Crochet cast on 32 stitches. * Knit 1 row.
Work 26-row repeat of Chart A four times, Rows 1—/ once. **
Bind off, placing the last stitch on a holder.
, Pick up sts
—

Center of scarf
Turn work and pick up slip stitches along straight edge of border, 5 Z\O[OlZ L

4-st repeat
then return stitch from holder to needle, for a total of 56 stitches. 12 times

10"x 80" Next row (WS) Knit through back loop of each stitch. Knit 4 rows.
Work Rows 1—46 of Chart B once, then Rows 13-34. Chart C
10cm/4"
Work 28-row repeat of Chart C nine times.
34
24
Work Chart B, Rows 13-34, then Rows 1-44. Do not turn work. 4
* over stockinette stitch
(knit on RS, purl on WS)
Second border
Slip first stitch from needle onto crochet hook and crochet cast on
B23456
32 stitches —88 stitches on needle (56 scarf stitches, 32 border
+ Super Fine weight
700 yds titches). Work as First border from * to **, working Chart A as
WN >LH

knitted-on border. Bind off. NIO|INIOINJOIN/O|NJO|NJO

NIO|INJOINJOINIOINJOINO
O|NJO|NJOINJOINJOINIOIN

AX eS) ock piece to measurements. i O|NJO|INJOINJOINJO|INIOIN

Straight or circular
Z(O|O|Z
3.25mm/US 3, or size to obtain aaa |
gauge 4-st repeat
12 times
ChartA,Holly berries
26 [=] ey IE a
& 24
Z\O|Z\|O|Z

Z\|O|Z4\|O|7 e@
@

e
Z\90

Z\O
O|7

O|7 e@
e 7\O|F

Z|
[ol
OM
* stitch markers 2 Kor Kon RS, pon WS
FALOWALOe e@ @ e@ Z\O0 O|7 e Z| O|M
«blunt needle 20 for [J Kon WS, pon RS
O|7|O|7 @ @ e @ 7\0 O|7 @ 7 |0 |
* crochet hook for cast-on 18 Kol Yo
16
O|7|O|7 e @ e e e@ O|7 O|7 e Z| OM
K2tog
O|7\|0 e e@ @ e O|7 O|7 e Z\O|M rv Make berry; see instructions ce
Shown in JAGGERSPUN Zephyr 4 Kol
O|7|o @ e e@ O|7 O|7 e 7\O |e Slip st purlwise with yarn at RS
| tube in 3161 Real Red 2 col fo On first border, k tbl;
[Nj
[e]
|¢]
ip]
O|7\|0 e@ @ wa O|7 e Z| OS
70 & on the second border, k border
Alternate yarn: O|7|o @ {e) O|7 @ Z| Ol
8 | Kor st tbl tog with 1 scarfst
LORNA’S LACES Helen’s Lace 6
L
a
Mw
Key On first border, k2tog tbl;
MA
4 1 2) on the second border, k2border
2
ZIOLOIZISZI\OLO\SZ|Z\OLO|Z|Z|O;O|Z|7|O|0O}7 O[4Z|7Z/O;/O|7|7|O0|0|¥%
o. sts tbl tog with 1 scarfst
: Io
96 (032
MAKE BERRY

Knit into front, back, front, back, front

ofastitch—5 stitches on needle.

¥)\

wae a
we |
PR y q yess PSs
hea - i
(tea ko ae
; +

‘oie tin a
# = é
hy ed , et, “a
© R! Pa
f if ee = t
A feok

re weed * , free if
Mi auton, hs tran as Ly - —_ ~ aa a

Pass 2nd, 3rd, 4th, and 5th stitches 5 , é OU ES PtNie y i}

em apeateees:-
ty) t4 :
4
Loe tee Sees) es ox ,“8 ;
one ata time, over first stitch. mi age Citeeexrargiys \
mnge,

‘Miteitebeaa
¥ * . hee

Aes ‘" ba cea ‘

 Scart
with French trellis border from Weldon’s 1890 and bramble leaf center

INTERMEDIATE LACE
Notes
7 See Techniques, page 166, for crochet cast-on, SSK, SK2P, knitted-on
border (including Single Join), and blocking. 2 Match the tension of the
bind-off to the cast-on edge.
First border
Crochet cast on 51 stitches. * Purl 1 row.
Work 16-row repeat of Chart A eight times. Knit 1 row .**
2 Bind off, placing the last stitch on a holder.
Second border
Slip first stitch from needle onto crochet hook and crochet cast on 51
stitches —117 stitches on needle (66 scarf stitches, 51 border stitches).
Work as First border from * to **, working Chart A as knitted-on
border. Bind off.
Block piece to measurements.

12"Xx 6 "
Center of scarf
3 Turn work and pick up slip stitches along straight edge of border, then
10cm/4" return stitch from holder to needle, for a total of 66 stitches.
38 4 Next row (WS) Knit through back loop of each stitch.
20
* over garter stitch Work 10-row repeat of Chart B sixteen times, or to desired length less
(knit all rows)
second border.
Knit 1 row. Do not turn work.
BAG 45

+ Fine weight
450 yds
chart A, French trellis border

AX
Straight or circular
4.5mm/US 7, or size to obtain gauge

&
* stitch markers
+ blunt needle
* crochet hook for cast-on

Shown in hand-spun silk

Alternate yarns: FIESTA La Luz or
HABU 2/10 Kusaki-Zome

28 - st repeat ——————————_——_—__!

98
2 times
 Cast on

Bind off
g

“4
Pick up sts
aa
§& Ss
2s
SS&sGaeecee
2
Qs
INARI
O} IN

= -atees

*] Slip st purlwise with yarn at RS

ES

r, k tbl; on second border,

=

k border st tbl tog with scarf st

=
4

BB Sts do not exist in this area of chart

BOOKS
 Scart
with edging 21 and insertion 25 from The Knitted Lace Pattern Book, Thompson Bros., Kilmarnock,
Scotland, 1850
INTERMEDIATE LACE

Notes 4 Next row (WS) Knit through back loop of each stitch.
7 See Techniques, page 166, for crochet cast-on, Work 12-row repeat of Chart B 21 times, or to 7 t
SK2P, knitted-on border (including Single Join), desired length less second border. Knit 1row.Do Caston
and blocking. 2 Match the tension of the bind-off rot turn work.
to the cast-on edge. Bind off

5 Second border
' First border Slip first stitch from needle onto crochet hook 2
Crochet cast on41stitches. *Purl 1 row. and crochet caston41 stitches —99 stitches a
; ick up sts
Work 28-row repeat of Chart A four times. Knit on needle (58 scarf stitches, 41 border stitches). g P
** es

Tow. Work as First border from * to **, working Chart

2 Bind off, placing
the last stitch on aholder. Wasi nineceon orien Rite

Center of scarf
1"x71" ae , Block piece to measurements.
3 Turn work and pick up slip stitches along straight
Me, edge of border, then return stitch from holder to
ae HEE needle, for a total of 58 stitches.
18
* over stockinette stitch
(knit on RS, purl on WS)
Chart A, Border
*lztelztetzteiztolz 7|0|7[0| 710 Ol|7 7\0 O|7[O|7|O|7 wach
12 456 iEiz{3iz19{z}91Z1912 [Zlol|7lol7lol fo [| {Alot lol7fol fol 7] 7|O0 25
+ Light weight pra ZIZZO o|Nlol7 |o|7 [0 o/Sfo ol7lolzlolsto 6 +52
550 yds at ez aizt8t2 CHIN) ztetztatztol o{7 7\0 aizleizie|z\ |lolz\240 pe 21
wh zo[ziolzieiz{otsto o|sfol7lol7lo o|7|o|7/o|NJoO (AIPA) ty
>< *2olzjetztotztolz} zt ol7|_ |7le|7lo|7I\o ol7lolZlol7|_ |[7lo 7\|0 fe] 17
ee eiztolzfelzte ol7|_|Zlo 0] Z| 0} Z| o| SI ofAlo|7{o ol7| {7lo 15 [_] Kon RS, pon WS
Straight or circular wT sizfetzerzts ° 7\0 OlZ\O|Z[ol7 Boon O|7 7\0 23 3 oe
5mm/US 8, or size to obtain gauge z19 Zlol7{ol|7fol [ol7 ANAM NZ FOZ) O) 210) O12 AC 7 Koto
4 o|ZlolZlol7lo Sep Seat folslol7lol7fol | Ol7|Zlol |] 9 ee.
& “TE eizieizt2 o|7| |7lo AeAIeA Clea CHIN) Zlol7Zlol7[o| fol7{ I7lo rae ¥] Slip st purlwise with
o\Ztol7}ol7}o 0/70] 7/o[ Slo folstol7tolzto [tel s yarn at RS
* stitch markers ais Z7O|7/O|7[0 olZlolZlol7|_|71o ol7|_|7lolZlol7}o Z| 0) be 3 Onfirst border,
ktbl;
+ blunt needle Gtea a Pacea eae Sea ea© ol7|_ [Zo TL lelvlol7lel7i7tol_[¥} 1 on second border,
* crochet hook for cast-on (041 i“sa— fog

Shown in hand-dyed silk Chart B, Center pattern x

Alternate yarns: ¢ | tt Z\0|Z|O|7/O| 7/0 ) Z|Z ° t t ot 7iztt O|7 7totzt6
COLINETTE Tao, FIESTA La Luz, or if ; Z om an Z[0|7/0|7|0 Oia Fala nape) | fo ZZ AA? | o|7 [0 718 7
SKACEL Seta Bella A | 7/0 = Z|O|7/O|Z|O|7[O| |o 7 4 oF jo Z + Z [o|7 O|7[O|7
at | [ol Zlo|Zlol7lo 7|7 ° [e) 7\Z ° i Ol7/O|7
% [ |71o | 7|O|7[O|7[O ZANE ° 7 7 TorTf lol7lol7fo
; t7tot—t O[7[o[7[o| 7° 7 a oF fol CL I7 | At O| [olZfol7[ol7

100
 equll
hi ,
‘£
Ae
,

CS
 ESeSSe
es
 Double-bordered scart
with diamond borders adapted from Weldon’, 1904

EXPERIENCED LACE NOTES Note Double-bordered scarves require careful attention. Mark the right
7 See Techniques, page 166, for crochet cast-on, SK2P, and blocking. —_ side of the work, and keep track of each pattern row as itisworked to avoid
2 Match tension of the bind-off to the cast-on edge. confusion. A hint: you work an even row ofChart B as you approach the
center of the scarf and an odd row as you approach the edge.
SCARF Knit 2 rows and bind off looselytomatch cast-on tension.
Crochet cast on 58 stitches (25 for each border + 8 for center).
Next row Knit 25, place marker (pm), knit 8, pm, knit to end. Optional finish Work single crochet or crochet picot edging along
Next row Knit 25, slip marker (sm), work Row 1 of Chart Aover next ——_cast-on and bind-off edges.
8 stitches, sm, work Row 1 of Chart B over next 25 stitches. Crochet picot edging
Next row Work Row 2 of Chart B, sm, work Row 2 of Chart A,sm, work — Work chain 4 (ch 4) and 1 single crochet (1 sc) in first stitch, * 1 scin
17"x 66" Row 1 of Chart B. Continue to work patterns as established, following next stitch; 1 sc, ch 4, 1 scin next stitch; repeat from * to last stitch,
one Pattern Row Sequence diagram, for a total of twenty 20-row repeats of — end 1sc, ch 4.
FfBan Pattern Row Sequence, or to desired length. |
18 Block piece to measurement.
* over garter stitch
(knit all rows)

PATTERN ROW SEQUENCE

D2 E 456 Chart Chart Chart

+ Fine weight ChartA,Center Kon RS

475 yds 2 ae O17 Kon WS, pon RS
7lO|Z[O|Z[0 1 O][0] Yo
_— §-stitch panel — AAA) K2tog
SS S) SK2P
Straight or circular needles
4.5mm/US 7, or size to
obtain gauge Chart B, Diamond border
20 ols ae 7fotol7t TT
16 : Se - | [
i Z\O|7 E 7\ 0} | Sms
4mm/G € Asia t IZAQ) SI O|7
12 (= fee i Ch f
7\|O|7 7\O0 O|7
10 fl 7lolol7
& j2 | ‘a tek GIN +4
: ° [ ol7| [Zio
+ stitch markers 6 ae gs A a ee
- blunt needle 4 i E a ja tet
2 pane |
° O|7 fe
NEEDFUL/LANA GATTO
25 > 30 stitches
Mohair Royal 2 balls in 3135

104
 Dolphin lace
from Weldon’s 1887, with an insertion of Miss Lambert's centre pattern for a Shetland scarf, 1845

EXPERIENCED LACE NOTES

7See Techniques, page 166, for crochet cast-on and blocking. 2Match
tension of the bind-offtothe cast-on edge. PATTERN ROW SEQUENCE
Chart Chart Chart

Crochet picot edging

Work chain 4 (ch 4) and 1 single crochet (1 sc) in first stitch, * 1 scin
next stitch; 1 sc, ch 4, 1 scin next stitch; repeat from * to last stitch, end
1sc, ch 4.

DOUBLE-BORDERED SCARF
712"x5 "
Crochet cast on 60 stitches (20 for each border + 20 for insertion).
Next row [Knit 20, place marker (pm)] 2 times, knit to end.
10cm/4"

38
Next row Knit 20, slip marker (sm), work Row 1 of Chart A over next
20
ees
52.
repeat
* over garter stitch 20 stitches, sm, work Row 1 ofChart B over next 20 stitches.
(knit all rows)

Next row Work Row 2 of Chart B, sm, work Row 2 of Chart A, sm, work
1B 456 Row 1 ofChart B. Continue to work patterns as established, following ChartA,Center pattern
* Fine weight Pattern Row Sequence diagram, for a total off£ twenty-eight 12-row 2 aes [_Jo[z
Z\O
| |

650 yds repeats of Pattern Row Sequence, or to desired length. “4-st repeat
2 times
Note Double-bordered scarves require careful attention. Mark the right
AX side of the work, and keep track of each pattern row as it is worked to
4.5mm/US 7, or size avoid confusion. A hint: you work an even row of border chart (B) as
to obtain gauge Chart B, Dolphin lace
you approach the center of the scarf and an odd row as you approach
the edge.
|Z|olo
ZL
7 ie)
AS
4mm/G
Knit 2rows and bind off loosely to match cast-on tension. Do not cut yarn. Z|0/0

|
ainish with single crochet or crochet picot edging along cast-on and 20 — 24 stitches
* stitch markers Synd-off edges.
* blunt needle
Block piece to measurement.
Kon RS, pon WS
Shown in hand-dyed 2-ply silk [) Pon Rs, kon WS
©] Yo
Alternate yarns:
[A (A) K2tog
HABU 2/10 Kusaki-Zome or & Bind off 1 st
almost any Fine weight yarn 1 Caston 1st
2-4 J Dolphin st, Row 1

106
 t DOLPHIN STITCH

Kn it 3 stitches...

Dass st itch 1 over stitches 2&3...

knit 1 more stitch, .

Kn it stitch 4...

On next ro W,
GTR,NE

AL
See
SS Se

NNRNOANASRS
pp Ly PTALLL

==
cea MES) LY
ap) = =
RUNY

wa
ces
LS

ne c=ro)= = Ww B)WNJ
Aad DLA

[ge) WY
~<
FEDIANRINS

Cee
G2:
SD)
Padme

—— —i Ss
ne eS or
Ssime NN
reuatas pop
K GGA

VilisbREREBN
ie, (1
W
: OUB
Nis

¥
SWR

My
Wea
ad
Ms My
bin

ELLE
ALNaBR

aay
Crap
Sok dokbh
Cy
LYE

y)ygy/)
dyna
ag

“ag
-hed
I

_.. knit stitch 3

 The operafichu 120
oa

- » Half-square in Trinity stitch 124 .

%

~ Shoulder shawl:
inSyrianpattern 1
PRR TELLERS AES
EI IRR

Three-cornered shawl
inclover pattern 136

Myrtle leafshawl 140

Melonshawl 144
G

Diamonds and triangles 148

The Victoriashawl 152

- Stripes andtorchonlace 156

The Maltese shawl 160

109
 Weldon’s Practical Needlework first appeared in 1886 as a monthly collection of instructions for
all kinds of needlework. Each issue concentrated on a particular branch of needlework such as
knitting, crochet, tatting, or embroidery.
Volume 1,Series 1,HowtoKnit Useful Garments begins, perhaps surprisingly, with a kind
of refresher course on knitting. Itgives insufficient information for a complete novice, so
was possibly aimed at women who had been taught the rudiments as children, and not
knitted since that time. There is a half-square shawl in Spotted Knitting (see page 124) and
another shawl in Open Diamond pattern (similartodiamonds on pages 34 and 59). Both
shawls have simple borders to be sewn on. Other patterns such as slippers, baby booties
and combinations, mittens, gentleman’s vest, child’s drawers and vest combined, all
appear to be aimed at the family’s needs for warmth and comfort.
The second Issue in 1886, How to Knit 38 Useful Artides for Ladies, Gentlemen and Children, was
mainly an extension of the first, with the addition of a ball knitted like an orange. Probably not
as frivolous as itsounds, for children at that time had few luxuries.
Also, several multipurpose patterns were given for everything from curtains to tray
cloths. Inaccuracy was common, giving the impression that some patterns may not
have been knitted before going to print. On a knitted shawl with center diamonds
and border (see page 18), the border instructions “pick up stitches all round the
shawl using four pins, and extra stitches around the corners for fullness,” would
be sufficient to discourage many knitters now accustomed to circular needles. The
pinnacle ofthis issue was a Knitted round Shawl on four bone knitting needles
(see page 28). There was no illustration, but this turned out to be a real piece of
history. Also Clarence Border and Diamond Insertion (see page 82) hinted that more
elaborate lace patterns were just around the corner.
The Ist Series of 1887 offers 39 Useful Articles, another refresher on knitting in which it
describes a revival of the “lost arts,” and a quote from Chatterton,
She sayae as her whytte hondes white hosen were knyttinge,
hatte pleasure ytt ys to be married.
Knitting hints from early issues include two ways to hold the yarn: German (in left hand)
and English (in right hand, the most common method); and slipping a stitch at the
beginning of row for neatness.
Terminology develops: knitting on two needles is called flat web and is used mostly for
edgings, though some articles are knit this way. To decrease is narrow, to increase is widen,
a turn is 2 rows, to rib is to work alternate rows of plain (knit) and purl. But technique is still
simple: only k2tog and k3tog are used; no directional decreases at this early stage.
110
By 1889 several patterns have names such as Maltese, Dutch, Venetian, Canadian. These
may relate to fashion and increasing world contact rather than their actual origins. Beaded
cuffs in knitting silk, and lace edging for underlinen bring a touch of luxury to Victorian
austerity. Instructions for a respirator can only tempt the imagination.
Volume 5, 1890, How to Knit Edgings, Borders, Veils, Shawls &¢., with Fifé lace yarns is the
beginning of fine lace knitting with borders and small lace patterns for design-it-yourself
projects, as well as some complete shawl patterns. Most patterns had names either from
nature or with royal and travel connections. Again; many patterns contained inaccuracies,
some quite serious, but itwas in this Series (Nos. 12-15) that |found the basis of a number
of projects. After all that had been available previously, itwas a treasure house. Beautiful
wide borders, many of which had originally been intended for household items, had new
potential as the focus of scarves or beautiful large shawls, and two cotton D’Oyleys knitted
on four steel needles could well have been a beginner's introduction to circular knitting.
cal Knitter
}
pe
Fashion changed. Volume 10, 1895, brought yet more very wide borders, with textured
rather than lacy patterns using knit/purl, cable, bobbles, bells, ruffles, and geometric
designs. A hexagon knitted with four long needles is fairly challenging. Knitters were being
stretched as each month’s new issue arrived.
From 1900 (Volume 47) to around the time of Queen Victoria’s death in 1901, instructions
were given to miter corners of shawl and quilt borders. These were not always successful,
especially the earlier ones which had to be sewn together. At this stage the concept of knitted-
on borders had not been realized, and miters were an attempt to avoid bunching at the
corners when sewing-on borders.
It is remarkable that one of the last patterns in this series was for a cake doily with an
eight-pointed star and trellis. This was yet another version of the Baby’s Cap in Jane
Gaugain’s first book (see page 26). Also Wide Blackberry lace (see page 124) had made a
come-back, The chrysalis of 1886 had become a butterfly.
In the course of 28 years, Victorian knitting had developed into a beautiful art form.
Despite its increasing sophistication, the old patterns had never lost favor, but they had
developed, often by extension and incorporation into larger patterns. Many of the wide
borders can be broken down into at least two basic patterns. Most have as their basis
either the Vandyke edging of Gaugain and Lambert, or the sloped edging of Mrs. Hope. All
originate in the basic version given by Miss Watts in 1837 (see page 4). ”
Weldon’s Practical Knitter
Volume 1, Ist Series, 1886
Half-square in Trinity stitch, page 124
Lady’s circular cape in shell pattern, page 112
The Maltese shawl, page 160
Weldon’s Practical Knitter
Volume 5, No. 55, 14th Series, 1890
How to knit useful edgings, borders, veils, shawls, etc.
Myrtle leaf shawl with willow border, page 140
Melon pattern forashawl or scarf, page 144
Weldon’s Practical Knitter
Volume 6, Issue 62, 1891
Shoulder shawl in Syrian pattern, page 128
Shoulder shawl in cherry leaf pattern, page 132
Weldon’s Practical Knitter
56th Series, 1903
How to Knit Bordered Shawls
Diamonds and triangles, page 148
The Victoria shawl, page 152
Stripes and torchon lace, page 156
Weldon’s Practical Knitter
Volume 19, 59th Series, 1904
Three-cornered shawl in clover pattern, page 136

A complete list of Weldon’s publications can be found in

The History of Knitting—Richard Rutt, p 242, 136
Batsford, London, 1987;
many as hard-cover reprints from Interweave Press.
This has to be one ofthe prettiest
and most romantic shawls |have
ever knitted.

The original pattern, comprised of

ten panels of shell pattern with a
separately knitted border, suggested
“...407 of best soft white merino
wool and two bone knitting needles
No.10 (3.25mm)....” |worked
twelve panels, in a mohair/silk
blend with larger needles, but
the size could be adjusted easily
with different needles, yarn, or by
reducing or increasing the number
of panels knitted. Since every other
row is purled, it grows quickly.
 a,
a; SZ VS

Lady’s circular cape

in shell pattern

INTERMEDIATE LACE Notes

7 See Techniques, page 166, for lace cast-ons, knitted-on
border (including Single Join and Double Join), grafting, and
blocking. 2 Ifnecessary, change to longer circular needles as
number of stitches increases.

CornerA
Work 6 Double Joins (DJ) before corner—2 repeats of Chart B.
Work4DJ, 4 Single Joins (SJ)—2 repeats of chart B.

Corner B
Work 4 SJ, 4 DJ before corner—2 repeats of Chart B.
Work 6 DJI—2 repeats of Chart B.
Radius 23"
i CAPE CENTER
10cm/4 - . :
ae | Using a lace cast-on, cast on 60 stitches. Work Rows 1-81
i of Chart A—684 stitches. Do not bind off. Leave stitches on

Hi dT as 2 Knitted-on border Lace cast on and work

BORDER Single Joins to 6 stitches from comer.
1 Bi: 456 2 Work knitted-on border Using a lace cast-on, cast on 16
- Fine weight stitches onto double-pointed needle (dpn). ie yaoSE
(de Beginning at center back, * work 12-row repeat of Chart B, }ee ee
working 6 Single Joins for each repeat and ending 6 stitches
CS before corner.
4.5mm/US 7, or size to obtain gauge, 3 Work Corner A
80cm (32") or longer 4 Work Single Joins, ending 8 stitches before next corner.
5 Work Corner B. |
Continue working Chart 8,working Single Joins into live 3 Work Corner. 4 Work Single Joins to 8 rows
Two 4mm/US 6 stitches along bottom edge, work Corner A, work Single Joins before bottom aneen
along other front edge, work Corner B,work to center back.
& Place loops from border cast-on edge onto free dpn. Cut
* stitch markers yarn and graft ends together. 5 Work Corner B.

* small Mia yarn for BLOCK Continue to work knitted-

cast-on Rays ioe L we on border along bottom
Block to a circle with a 46" diameter as follows: first pin
ROWAN Kidsilk Haze Cast-on row into circle with front borders overlapping, then edge, Corner A, ront eage,
5 balls in 590 Pearl block cape and neck border out from neck circle. Be certain Corner B, and to center
each repeat of the scallop pattern lies in a straight line from back. Graft ends together.
]14 neck to lower edge.
 E 81
80
| [ 79
78
| k. | 77
76 Vv. OIZIOIZ/O/Z/O/|Z/O/|Z/0 O|7 ZIOIZIOIZIOISI/OI[ZIOI\Z/O|4Z/O|4 Le Le ZIOIZIOIZIOIZ|O|Z/O|Z/90 15
i Vv
74 v
- VA,
72
VAP AVAIPACARACAPARA ° ° ° ° ° ° ° ° ° ° ° ° ° AIZIZIZIZAIAIATZ v.51 Sane
50 v 20S
Vv) 499° o/s 5
48 ¥ So
Era ZUZANO ao) O}=|01 Tol lo. {ol lol iol lol hol te Te (MD eM aPArArz Mili 478 wa se
46 7
Vv} 45
44 |v eal
ZAZA OZ: ° ° o| lo o| lo ° ° olmle ° ° Ol MIVAVAPAZ Vv} 43
42 |v
Vv} 41
40 [Vv
LA fe) fe) fe} ° ° °o °o ie} fe) {e} PAWN LV} 39
38 |v
V| 37
36
Z|A4\7 ° ° ° ° ° ° ° ° Vv} 35
34
Vv} 33
32
ZUZO o| |o ° ° o| lo ° v} 31
30 |v
Vv} 29
28 [Vv
ZIFIZIZIOl 10 ° ° ° ° ° Vj 27
26 |v
% Vv} 25
24 [|v
ZANVANC2 o| fo ° ° ° ° ° VI 23
22
‘a Vv 21
, Kon
RS, pon WS pare ZI7|_lol fol lol fol fol fol fo Vv} 19 Chart
B, Border
[1 Kon WS, pon RS Zizizlol_lol lol lol_fol_fo 7
©} Yo 16 12 Aaa eZ [2
ZA ZNO Ol ealO}na Oa Olmallio. 15 Ibe Z|0 ¥s
7) K2tog 14 FTPs mS sm esscS 2B 1 Z|OlO|7 7|0[0 vio ¥
] LY] Slip st purlwise with yarn at WS +P 8 Size
¥] Slip st purlwise
withyarn
atRS Ay O72 Co a Co a 1 AS Gch EEE:
2) K border
sttb!tog with 1 cape centerst = 7{ jel fol fol fo Z ~ “Saeco
& Bind off 1 st Zo; lol lol fo 7\0 ¥
6 & ol7, to
Ol lo Z\lolo| [Z\lo ¥ =
wo
wun
-

4 | (0 16
4
2)
Z{ol [o

PR eae
|________] ace,
4—> 56 st repeat
12 times
The Harebell fichu was inspired by Lace
collars which were so fashionable during
the Victorian period. The ‘Pellerine’
(1820's) was a wide collar which extended
to the top of the shoulders, and this
later extended to a cape—the preferred
garment to wear with a wide skirt. What
began as decoration, ended as a garment.
Around 1880, Cromwell collars, named
after the collars worn by Oliver Cromwell
and the English Puritans who emigrated
to America, became fashionable. Many
were deeply pointed in front, others
square front and back.

In order to display this pretty Harebell lace

pattern, the fichu is begun on a shaped
neckband, with the lace knitted-on
sideways, like a shawl border.

116
 A fichu

EXPERIENCED LACE Picot edge

Cast on 2 stitches, bind off2 stitches.

Double Join Work 3 rows of Chart B. At the end of the 4th row,
k3tog: the last stitch of lace with the slip-stitch loop from two lace
rows below and the next neckband stitch.
Double Make One (M1) Join Work 3 rows of Chart B. At the end
of the 4th row, k3tog; the last stitch of lace with slip stitch loop from
two lace rows below and a M1 before the next neckband stitch. No
neckband stitch knitted-off on this row.
Single Join Work 1 row ofChart B. At the end of the 2nd row,
k2tog: the last stitch of lace with the next neckband.
10cm/4" Attaching Harebell lace to neckband
46 Note Next 7 stitches of neckband Work (1 Double Join, 1 Double M1
24 See Techniques, page 166, for k3tog, SSK, SK2P, SK3P, SK4P, M1, Join] 7 times, ending with Row 2—3 repeats + 2 rows.
* over garter stitch
(knit all rows) knitted-on border, grafting, and blocking. Next21 stitches ofneckband Work 8 Double Joins, 1 Single Join, and
(1 Double Join, 1 Single Join] 6 times ending with Row 183—4 repeats
Neckband of chart.
B23 456 Cast on 209 stitches and place markers at the *s as follows: Center 69 stitches of neckband Work 2 Single Joins, 66 Double
+ Super Fine weight 40 stitches * 20 stitches * 7 stitches * 21 stitches * 33 stitches * 21 Joins and 1 Single Join—15 repeats; 22 repeats total.
300 yds stitches * 7 stitches * 20 stitches * 40 stitches. Next21 stitches of neckband Work [1 Single Join ,1 Double Join ]6
Next 4rows Work picot edge, knit to end. times, 1 Single Join, 8 Double Joins, ending with Row 16—4 repeats.
Next 7 stitches of neckband Work [1 Double M1 Join, 1 Double
Cae Shape neckband
Next 12 rows Work picot edge, knit to 4th marker, work Chart A on Join] 7 times, ending with Row 18—3 repeats; 29 repeats total.
3.25mm/US 3, or size to get
gauge, 60cm (24") or longer center 33 stitches, knit to end.
Knit one more row, turn, and bind off 40 stitches. Remove marker, Break offyarn, leaving a 30" length. Thread a darning needle and
purl 20 stitches and remove marker, turn. Use these 20 stitches as if graft the next 20 stitches of neckband to the 20 stitches of Harebell
lace. Rejoin yarn to last 40 stitches and bind off loosely.
& cast-on stitches and work Chart B, Row 1.
* stitch markers Note |\n order to shape the fichu and avoid holes, stitches are knitted
+ blunt needle off the neckband at different rates as Single Joins, Double Joins, and Block piece to measurements.
Double M1 Joins. A pencil and paper is helpful to record rows.
JADE SAPPHIRE Lacey Lamb ChartA
1 ball in 407 Seafoam 2
fol_|
10
pee
o}9

a ° wn

9} w

iesJe
S| te |Jo
° ° =
 __] KonRS, pon WS
Chart B, Harebell Lace & Kon WS, pon RS
18 : Key
0/4/90 0O|4\|0|7\0 4 {e} Z\|0 ZO) nal Yo
16 oO

° Cy) o| 7/0 7/O|Z|S[O[N Zio; [Zpol_ iv K2tog

4 res
{e) {e) O|7\|90 ALG! wR {e) 4\90 Z\|O baad SSK
12 SONS
0/4/90 $/O/7/90 O|a4| 0 {e) 7\|O 7\0
a
baal
SK2P
10© [ Ko K3tog
{eo} e} fe} O/|7|90 \[ Oo {e} 7|90 Z\O baad
SK3P
IN
“DI
ii]NieSK4P
8S Key
ie} | O ° O|7|0 MA ie) O|7 7\|O 7\9 aaa
6 Aen} Kost
O|4|0 O/|4|O/;7/0 (eo) (e) Z\O0 Z|O Sal Slip st purlwise with yarn at RS
400 2)
iLOD}
I<L Join as per instructions.
ie} ° ° O|7|90 ° fe) fe} Z\0 Z\O ~
OS
{e) fe) {e) o|z|o {eo} (e} ° Z\|90 ZNO.
Ke
ww wun
-
D Bind off 1 st
pick up 20 stitches from neckband ° Picot. Cast on 2 sts, bind off2sts
4 Sts do not exist in these areas of chart

Vv ie ii O R | A fp Cc E
Throughout the Victorian period,
fichus were worn over dresses to cover
the front and back of the bodice, for
warmth, modesty, or decoration.
Their shape and size varied according
to fashion. Some came to a point at the
back; others were rounded like a cape,
with ends crossed at the waist and tied
with a bow, or fastened with a button
at the chest. In 1881 The Girl’s Own
Paper says, “Fichus are used more and
more, and serve to turn a morning dress
into a useful and becoming one for
evening wear without much expense,
and with very little trouble.”
 The opera fichu

INTERMEDIATE LACE Note

Center panel measures ToS gs wary Del eo Oh ae en

40" x 3", border
is 3" deep CENTER PANEL
10cm/#" Usinga lace cast-on and 3.25mm/US 3 needle, cast on 245 stitches
4 stitches.
0 BS Next row (WS) Slip 1 purlwise with yam at WS (sl 1), k2tog, knittoend—24
24 Nit / TOWS. YOK 14-fOW repealOF nar A Z umes.
ANIt 2 FOWS, ChangingtO largest, GTCuild
“ over garter stitch needle before working last
knit all rows)
using 3.25mm/US 3 needles
BORDER

« Super Fine weight TiReA Saat oss Le:

)
a Knit * is Pi as . ©. arent Rane © a ete

: stitches. Next round Knit. Work 2-round repeat of ChartB 10 times.

Dind anf icing nicnt hing ni fF encan citchac
hors nck

Block borde r |hread a stron

NECKBAND AND TIES

F< With WS of Border facing and 2.25

Ties and neck shaping, Row 1 Knit 46, place marker (pm), knit 68, pm, knit 46,cable cast on 55

- bluntneedle 6] 3 times, k2tog, k1, k2tog, knit toend— 262 stitches. Row 4 Picot, knit
toend, removing
"sma ee yarn markers. Next 4 rowsPicot, knittoend. Bind off, being careful nottobind off55 stitches of

Chart B, Miss Lambert’s lace pattern

ChartA, Center panel | INfof jol7i1
2
14 6-st repeat —
12 iv 176 times

Kon RS, pon WS

<|
|e
|< Kon WS
Yo
; K2tog

Is}
fol
JIN Slip stpurlwise
]? ? Ses SiO \O\7 Vv SSK
=f) treat — I<|
20times with yarn at WS
 fs a om Yo Ta ae

GBB GB G53 53 BEB GP GE G2 SEP EB |

Ta Cast on and work center panel. |B#8eB 48 6B 8 4B de Ga sh He ces

16 Change to larger, circular

needles and work1 row.

2 Pick up and knit stitches along side, j Bebe tg ce een

. . . . (Ga=> SSS = SSeS. SSS == <2 222s > === see == a

cast-on, and second side. Bey ae Ge ye eG eo a Ge ca)

\ SSSR Se SS aaa =a) }

Patheaeeeaee =
Lee a #: Heae ieeG: 2 | 3 > Work border in rounds, ending
| )
ANN A | | with picot bind-off.

4 Pick up stitches along top

of center panel.

6 Work neckband and ties,

then bind off loosely.

Wear collar tied at neck. 1):

 _ A half-square shawl was published —
~ in Weldon’s Practical Knitter, =
‘Vol. 1. No.1, Series 4, 1886, under —
the heading, ‘How to k ituseful -
garments.’ The border pattern
is simple, quick toknit, and was
originally sewn onto the triangle,
but | recommend thatitbe knitted
on forneatness.

The authormentions that Spotte

d
: Knitting is also called “Trinity
Stitch. .. from it being composed
“of three stitches in one.” The
: repetition of “Father, Son, and
"Holy Ghost” was intended to keep
theknitter’s mind focused in the
-tightdirection,
 hala). :
WT eRe en
, Baers
~ tee =aBrae
#4.

5]
E ft beagki> P
-f
fa.
 Half-square
INTERMEDIATE LACE in Trinity stitch

This shawl was published twice, in 1886 as a triangle and in 1904 as a square with a truly magnificent
border, so |decided to use the triangle of 1886 with the wide border of 1904. However, the border was not
intended for a half square, so |reduced iton the hypotenuse from 28 stitches to 7 stitches, for better balance and
fit. The later pattern was printed “in response to several enquiries,” so this must have been popular.

Notes
7 See Techniques, page 166, for lace cast-ons, knitted-on border (including Single Join and Double Join), and
rep Direction of work blocking. 2 The bump of the Trinity stitch pops out on the reverse side, which becomes the right side of the shawl.
=== Cast-on
Be careful to match bumps of center with bumps of wide border.
SHAWL
42"x 75"
Cast on 242 stitches.

nie
10cm/4" Work Chart A, Rows 1-8 —238 stitches.
Repeat Rows 5—8, working 1 fewer 4-stitch repeat every 4-row repeat, until 10 stitches remain.
20
* over stockinette stitch
End as shown in last5rows of Chart A. Fasten off.
(knit on RS, purl on WS)

BORDER
BB 156
Work knitted-on border Using a lace cast-on, cast on 28 stitches onto double-pointed needle (dpn). Place shaw!
+ Fine weight center with berries up to begin joining bordertoside stitches on even rows of border.
1250 yds Work Chart B, set-up row, knitting last stitch of border together with last edge stitch of shawl.
Continue working Chart B as a knitted-on border: On even-numbered rows, knit last border stitch together with

aD an edge stitch of shawl, ending with first edge stitch. Two rows of border attach to two rows of center triangle.
Work Chart C, mitering the corner with short rows and knitting last stitch of Row 48 together with a cast-on
4mm/US 6, or size to obtain gauge,
60cm (24") or longer
stitch of shawl.
Work Chart B, knitting last even-rowed stitch of border together with 2 cast-on stitches of shawl, ending with Row
SE 7 of chart. Two rows of border attach to two cast-on stitches. Be certain that the second side has the same number
Two 4mm/US 6 of pattern repeats as the first side.
Next row Without breaking the yarn, bind off 6stitches, knit 6, turn.

& Work ChartD as knitted-on border On even-numbered rows, knit last border stitch together with a
* stitch markers wide border stitch to edge of triangle, then with a shawl stitch between each Trinity stitch (every 4 rows of
* blunt needle hypotenuse) to cast-on for wide border, then with a cast-on border stitch. End with Row 8 of chart.

Shown in handspun polwarth/kid

Block piece to measurements.
Alternate yarns: TWISTED SISTERS
Petite Voodoo
re

On Row 5, the p3tog is worked

Trinity stitch on top of the KPK from Row 3,
After Row 3 of Chart A. and the KPK is worked on top
of the p3tog.

126
 Understanding lace
Joining the edging to one out of every 4 rows of shawl along

wr
A ah,
the hypotenuse helps avoid stretching of the bias fabric.

ef hs ‘. 2 thd
«x ar
oe PAS ChartC,Wide border corner
48 3 3 O} 4) 3 a
<e4v“ e AIVIAIV|Al7\0 VIAIZlol Iv] 47
in i iy 4 | 46 3 a! 3) 3 ol4
; | 2 Z\0 lo 17/0 VIAIVIAlY|7 [0 Aly 45
! 44 3 3 OFF] 3
Z\olo|Z ° VIAIVIAl Z| 0 Vv 43
42 aS oz
7\0 o|o AIVIAlY| 7/0 Vv. 41
40 Ayer 3 3 O17
AlvV|Alv [A] 7/0 39
38 3 3 3 O17
7\|0 7\O VIAlYV |ATV|V 37
36 3
Pa ° Vv [ALY 35
34 3
olo|Zlolo Aly 33
32 3
Aly 31
30 3
7\|0 7/0 /\V 29
28
VAC) ° 27
26
7\0\0 OlolVv 25
MW RRR Ra
Vv 23
2
Z\olo|Z/olo (= Aa 21
20 3
7/|0 HK) VIA 19
18 31
Z\|olo|Z[olo AlViA 17
16 Silas
AIVIAIVIA 15
14 Sil ESTaales
7\O 7\O0/0 VIAIVIAIV |V. 13
12 3 3 -
ZIO1O|Z/|O10 VIAIVIAlZ |O Vv. 11
10 S83 GAL
Z\|O|O}|Z|O0;0 AIVIAIY|Z|0 A 9
8 sine OPZ13
tit AlviAlv [Al 7/0 VIA 7
6 3 3 3 ol7 3
7\0 7|OlO VIAIVIAlY |Z |o AVIV 5
4 ae Sioa 3 Ol 3
° He) VIAlV/Al 7/0 ViAlZ lo v 3
2 3 3 OTF 3 Ol7
7|0[0 of oO] AlViAIV|7/° AlYy|Z[o vi 4
28 sts

Chart D, Border for hypotenuse

8 ~ Kor
4/7
6 Ke
Zo lols /ol[o ¥/ 5
4 if Koy
22 Ol|7/olo | 3
7 ror
ZIO|O|Z/O|O ¥/ 1
7 sts from Wide border’

Kon odd rows, p on even rows

K on even rows, p on odd rows
Balhe3
3] S/1,p2
3] K3
©] [0] Yo
4\\21 K2tog
A] P3tog
ChartA,Center triangle a P4tog
= VY! K1,
p1,k1 in samest
mm ChartB,Wide border for straight edging V] Slip st purlwise with yarn at WS
3 AGE 8 ARR
RO RET a ee = ; ¥] Slip st purlwise with yarn at RS
AVIA . 6 SES leg PEI 3 3) GE (3 ee [Q) K border
sttbltogwith 1 center panel st per instructions
a 1s JP fe ete | Pa a2 8 A Oe) Sts leftunworked during
5 ME | [Z|O[o|7|olo
at | WWidivialziol
ame |Iviaiziol | i} 3 :
short-row i
shaping
=e 7 |0 olo AlviAlyi lo TAViZfo; | i} 1 & Bind
off1st
1g set-up [1 s) for] Tor 477
= (028 Py
1
i Z :

HEH 500s 4- st repeat

The Victorian British Empire reached to
every corner of the globe, and constantly
brought new novelties into the country,
developing a thirst for the exotic. The
Crimean war of 1854 brought an Oriental
influence in sympathy with Britain's ally.
Women began to sport rich Turkish-style
fabrics and colors, and tasselled trims were
popular. Foreign names were given to |
knitting patterns—this Syrian shawl, for
example. The royal family’s intercontinental
links also contributed to the thirst for far-
off countries —Queen Victoria's godfather
was Isar Nicholas |,her beloved Prince
Albert was Prince of Saxe-Coburg, and her
eldest daughter, Princess Victoria Adelaide
Mary Louise, married Friedrich Ill, German
Emperor and King of Prussia.
 Shoulder shawl
in Syrian pattern
INTERMEDIATE LACE
Begin This shawl is perfect for showing offa fluffy, textured, or painted yarn.

Cs Point A '
Work 4 Double Joins (DJ) on top of shawl—2 repeats of Chart B.
Work 4 DJ on right side—2 repeats of Chart B.

Point B
Work3DJ on right side of point, 3 DJ on left side of point
—3 repeats ofChart B.

Point C
Work 4 DJ on left side—2 repeats of chart B.
Work 4 DJ on top of shawl—2 repeats of Chart B.
36"x 57" Note
See Techniques, page 166, for lace cast-ons, SSK, SK2P, M1, knitted-on border

oe
10cm/4"
(including Single Join and Double Join), grafting, and blocking.
18
* over garter stitch CENTER TRIANGLE
(knit all rows)
Cast on 1 stitch onto circular needle. Work Chart A, Rows 1-50-——41 stitches.

Bp +56 6 Left Right

ChartA,Center triangle —6 -strepeat -- —6- strepeat =
\[o \[o \[o \[o Ol7 ol7 Ol7 ol7 0)|51
* Fine weight 50 fo gj
\|O \}O \[O O|7 O|7 O|7 0}49 |
700 yds
iS - ‘|N\[O \|o | SS | ° VA Ol7 q Ol7 0|47 Ss
$s
46 fo I es eee =
CS 44 [fo
\[oO
\[o
|
\[o
XN
3
ae
O|7
O[7
| zi di
0/45
© |43
S
S
&T
42 (Ola FE
Net ee

4.5mm/US 7, or size to obtain \[o ° Z 0/41

40 [or seis a ea ee
gauge, 60cm (24") or longer 38 [fo
NO
i
\[9O Ol|7 0} 39

\|o \[o O|7 "9 t 0} 37

z

SX
36 [o r Ee
\[O > Z fe}
34 [o L TENE |
\[o O | 33
32 [ola a a
Two 4mm/US 6 AAS 2 O|7 ©] 31
28 Pot KS Z | ©} 29
%6 = \[o 0|27
& 24 fo
L 1X [0} 25

* stitch markers ae ©} 23

+ blunt needle 20 [6 a
18 fol]
16 [ol
ROWAN Kidsilk Haze 3 balls 14 [of ev

in 592 Heavenly Chart B, Cyprus border 122 [ Kon RS, p on WS

Baxt{ | fel si | | : e [1 PonRS, kon WS
6 | 6][0] Yo
Te ah Z\(7) K2tog
; eh wz 3 NJ] SSK

130
ZAERO a 1 ¥] Slip st purlwise with yarn at RS
2 [2] K border sttbltog with 1 center triangle st
od
Note Every 12-row repeat begins and ends
the same; the only difference is the number
of 6-stitch repeats. Every 12 rows, 12
stitches are increased, adding one additional
repeat to each side of triangle.
Continue working thus for a total of
18 yarn-over stripes, ending with Row
50—231 stitches.
Leave stitches on needle. Cut yarn

BORDER
Note Place the left half of shawl stitches
ona holder before beginning the border.
Work knitted-on border Using a lace cast-
on, cast on 12 stitches onto double-pointed
needle (dpn). Beginning at center back stitch,
work 8-row repeat of Chart B 28 times,
working 4 Single Joins for each repeat.
Continue working Chart B,joining border
to center triangle as follows: Work Point
A. * [Work 4 Single Joins—1 repeat of
Chart B] 27 times. ** Work Point B. Repeat
between * and **. Work Point C. Transfer
top stitches onto needle, making 1 stitch
near center. Work 8-row repeat of Chart B
28 times, ending at center. Pick up stitches
from border cast-on edge on free dpn. Cut
yarn and graft ends together.

Block piece to measurements.

Historic note
Originally described in Weldon’s Volume 6, Issue 62,
1891, as “a simple yet effective pattern for a three
cornered shoulder shawl to be knitted with either
Shetland wool on No. 11 needles [3mm], or with
Fifé lace yarn on No. 9 needles (3.75mm],” this
shawl also appeared in No. 152, 1898.
Itwould have originally been finished with a
knotted fringe, but |suggest bordering it with the
Cyprus edging from the 1890 issue of Weldon’s
How to Knit Borders.
|have worked this pattern in several
different yarns, from fine silk to Shetland
wool to a 4-ply kid mohair-merino blend;
all are pleasing. The shawl is worked from
the point upwards to the hypotenuse, with
the border knitted on afterwards. To make
it larger, just knit more repeats!

132
 Shoulder shawl
INTERMEDIATE LACE in cherry leaf pattern

Note Using crochet cast-on, cast on 11 stitces onto double-

See Techniques, page 166, for crochet cast-on, SSK,
SK2P, M1, knitted-on border, and blocking.
CENTER TRIANGLE
Cast on 3 stitches onto circular needle. Work Chart A,
Rows 1—44.
Note Every 10-row repeat begins and ends the same;
33"x 75" the only difference is the number of 12-stitch repeats
worked. Every 10 rows, 12 stitches are increased, adding
pointed needle.
Work Chart B as knitted-on border along diagonal
edges of center triangle On even-numbered rows, knit
last border stitch through back loop (tbl) together with a
center triangle stitch EXCEPT at point. At point, on every
other even-numbered row knit the last border stitch
together with a triangle stitch 7 times. Bind off.
Work along straight edge of shawl and ends of border
with crochet picot edging:

“i
10cm/4"
one additional repeat. Row 7 (RS) Single crochet (sc) in each st at edge of knitting.
Continue working thus for a total of fifteen 10-row Row2* (h3, sc into next sc, sc; repeat from *, ending
20
* over stockinette stitch repeats—20/ stitches. ch 3, sc.
(knit on RS, purl on WS) Knit 14 rows. Bind off loosely.

1B 456

+ Fine weight
900 yds -——— 12- strepeat ————,
Chart A, Center triangle
°o °o VA Z o ie] f fe) ie] 7 o {e)

a
44 \V
° ;o/N/o o[N{o ot | ia | v143
42 4
° O|7 IN]Oo ol7|_INlo Oo} || [ [via
4.5mm/US 7, or size to obtain 40 |v
Zl (ZI lo HS A sv]}39
gauge, 60cm (24") or longer 38 v

36 [Vim] —
repeat
10row
-
le} [e}

a
34 |VE

Two 4mm/US 6

26 |\V|™
& 24 |v

* stitch markers
- blunt needle

Shown in handspun silk

Alternate yarns: FIESTA La Luz or KonRS, pon WS
HABU 2/10 Kusaki-Zome PonRS, kon WS
Yo
Almost any Fine or Light weight
Mi
yarn will work; with a thicker K2tog
yarn, use larger needles and work P2tog on RS, k2tog on WS
SSK
fewer repeats.
SK2P
Slip stpurlwise with yarn at WS
Slip st purlwise with yarn at RS
RPANNEOS
BE K border st th! tog with 1 center triangle st

134
 ey

istoric note
he original description in Weldon’s Practical Knitter, Vol. 6, 1891 is as follows: “Our engraving re
he corner ofa half squareshoulder shaw! worked in a new and elegant pattern. Shetland wool and a
air of long steel knitting needles, No.12 [2.75mm] were employed for the model, which is very light
nd lacy, but if a heavier shawl is desired, a medium-sized yarn and No.9 [3.7mm] needles may be
sed.” Asamatter of interest, this pattern was repeated in Vol.20, No.233, Series 62, 1905.

xx BOOKS

‘-
This light and lacy pattern begins with the
full number of stitches at the edge of the
scalloped border then stitches are decreased
gradually in the course of working through
the clover leaf lace, the insertion, and the
central pattern, until a triangular piece of
knitting is accomplished, ending in the
center of the hypotenuse. A square shawl
may be made by knitting four pattern
repeats instead of two.
 aii Sia Pa At

wih
tihiwal

SAS TN ad
va q

oh. ya
PAN
aa
heel} * MS
IGT Wester
x ea Wo)
‘

cals VM)
Mth
Aa2)
 Three-comered shaw!
incover pattern

EXPERIENCED LACE Notes again; end shawl row by working 2 stockinette stitches (edge stitches).
7 See Techniques, page 166, for loop cast-on, yo, SSK, SK2P, knitted- Work Chart A, Rows 1-4—308 stitches.
on border, and blocking. 2 Begin and end each row of shawl with 2 Work Chart B, Rows 1-8—277 stitches.
stockinette stitches. These stitches are not included in charts or stitch Work Chart C, Rows 1—26 beginning with 21 pattern
counts. 3 Stitch counts in the pattern are given for one section of repeats—251 stitches, 19 repeats.
shawl only. Work Chart C, Rows 3—26—227 stitches, 17 repeats.
Work Chart C, Rows 3—24——209 stitches.
33"x 68" SHAWL Work Chart D, Rows 1-2—175 stitches.
40"x 82" Using loop cast-on, cast on 624 stitches: 2 stitches for each edge and Work Chart E, Rows 1-28—149 stitches.

10cm/4"
310 for each half ofshaw! (multiple of 13 + 11). Place marker after Work Chart F until 13 stitches remain. End as shown at top of Chart F.
34/28 312 stitches. / Fasten off.
24/20 Work chart patterns as follows: work 2 stockinette stitches (edge
* over stockinette stitch
(knit on RS, purl on WS) stitches); work row of chart once (to center marker); work row of chart

B23 456 Charan = Tee \___]2 > 10-st repeat

as
Super Fine weight 15 times
+ 1300 yds
+ 2200 yds Chart Coverleaflace 26,-F-E it Fel tell o-telz ist stol-fo lfol-folol-ts isto 2s
"4 i ;
You've eliminated 2 repeats of pattern.

ES see oe a 3 ‘
BIN Ol7| [7] [& NO Za End third repeat here.

3.25mm/US 3/3.75mm/US 5, or cal IS ° |O} Co) ae oa °

size to obtain gauge, 80-60cm a \[o = ol lols ° °
(32-24") change to shorter needle : WINS sa ol7|_I7 XTo )
as stitch number decreases
- N al a ol lol =e ° 13

& ue
by
KI]
st
[o
Nfo|
i
fo
°
o|
°
fol7] o| fo
Ho °
°
* stitch markers
i KI INT [Nfo O|7!| |7 No °
+ blunt needle
:Z olsfo faa; Az | | a lo) R 5
o| IN| Jo ° ° oft] | ° 3
JADE SAPPHIRE Lacey Lamb : 7\lo| [S| [N[fol fo Oo] fol7] [IN <totte ° 1
2 balls in 407 Seafoam 12 >16-st repeat ———
21—> 19 —> 17times

Chart B, Scallops 8 telcts strtote| 7 (1 Kon

RS, pon WS
6 ett otvtet tet 5 [1 Pon RS, kon WS
4 [0] Yo
2 K] O[N{o| lol7lo K Ly (7) K2tog
OIN|O|7|O nN Pe
13 >12-st repeat ——— fos ”
23 times [IS] SK2P

[4] K3tog
a | 3 I sts do not exist in these areas of chart
Ce ae ee z be
|________
}3-st repeat
23times

138
Vi eGiieay: (0-2 OR oUt een iy LA Remarc TO! pasa Wy "
 Chart F, Clover pattern for center

___8-st repeat ——!

16 times

Chart E, Eyelets & open holes

| 4-st repeat
36 times

Chart G, Willow border

BORDER
Pick up 268 stitches along the longest side of the shawl (hypotenuse).
Cast on 12 stitches and work Chart G as a knitted-on border. On even-
numbered rows, knit first border stitch together with a shawl stitch.
Block shaw! upwards from the center point to the hypotenuse.
 Myrtle leat shawl
with willow border
INTERMEDIATE LACE

Corner A Next3rows Slip 1, knit to the end of the row.

Work 2 Single Joins (SJ), 1 Double Join (DJ)—1 repeat of Chart B. Work Chart A, Row 1,
Work 2 DJ two times—2 repeats of Chart B. Work Chart A, Rows 2—13 forty times, placing marker at beginning of
Work 1 DJ on long side and 1 DJ on short side—1 repeat of Chart B. Row 13 in first repeat.
Work 2 DJ two times—2 repeats of Chart B. Next4rows Slip 1, knit to the end of the row.
Leave stitches on circular needle. Cut yarn.
Corner B
Work 2 DJ two times—2 repeats of Chart B.
BORDER
Work 1 DJ on short side, 1 DJ on long side—1 repeat of Chart B.
Work knitted-on border Using a lace cast-on, cast on 12 stitches
Work 2 DJ two times—2 repeats of Chart B.
onto double-pointed needle (dpn).
Work 1 DJ, 2SJ—1 repeat of Chart B.
Beginning at marked slip stitch at right edge of center panel, * work
8-row repeat of Chart B 57 times, working 4 Single Joins for each repeat.
Notes
Continue working Chart B,joining border to center panel as follows:
7 See Techniques, page 166, for lace cast-ons, SSK, SSP, knitted-on
Work Corner A. [Work 4 Single Joins—1 repeat of Chart B] 19 times.
border (including Single Join and Double Join), grafting, and blocking.
21"x7 ”
Work Corner B. Repeat from *, placing 86 loops from cast-on edge
2 Chart B, Willow border, joins at the end of RS rows, not at the end of
onto circular needle before starting Corner A.
WS rows as in most shawls.

ee
10cm/4"
Pick up loops from border cast-on edge onto free dpn. Cut yarn and
graft ends together.
20 CENTER PANEL
+ over stockinette stitch Using a lace cast-on, cast on 87 stitches onto circular needle (multiple
(knit on RS, purl on WS) Block piece to measurements.
of 11+ 10).
Next row Slip 1, knit 2 together, knit to the end of therow—86 stitches.
B23 456
+ Super Fine weight
ChartA,Myrtle leaf pattern
950 yds
Chart B, Willow border

eS
ol7

os

3.75mm/US 5, or size to obtain 0/3

gauge, 60cm (24") or longer ° o}|1

a Ww
-_

Two 3.75mm/US 5

& °
* stitch markers
- blunt needle
Shown in handspun Hebridean
Alternate yarns: KARABELLA
Light-weight Cashmere or MISTI
ALPACA Lace
[_] Kon RS, pon WS
Ld Kon Ws
__})-row
repeat [0] Yo
SSK on RS, SSP on WS
K2tog on RS, P2tog on WS
Slip st purlwise with yarn at WS
Slip st purlwise with yarn atRS
Understanding Lace (@) K bordersttbl tog with 1 center panel st
Chart B may seem unorthodox since it is the only border in this
book which isjoined to the center panel at the end of right-side

142
rows. But in 1890, there was no knitting orthodoxy.

Mi Sw eS Ri Slt SeASS oN LE, A SG

 Weldon’s original instructions
suggested either “a charming
light wrap” in fine lace yarn, or
a more substantial garment ina
thicker yarn. The center pattern
was So pretty that |almost
decided not to add the border,
but in the end could not resist
the temptation. However, a scarf
in just
the melon pattern would
be lovely, say six pattern repeats
with four garter stitches at each
ROL
BEC
CEO
S
side and six rows at each end.
 Melon pattern
INTERMEDIATE LACE
for a shawl or scarf

CORNER A CENTER PANEL

Work 2 Single Joins (SJ), 1 Double Join (DJ)—1 repeat of Chart B. Using a lace cast-on, cast on 71 stitches onto circular needle (multiple
Work 2 DJ—1 repeat of Chart B. of 10+ 1). ,
Work 1 DJ on long side, 1 DJ on short side—1 repeat of Chart B. Work 6-row repeat of Chart A, marking last stitch of Row 1 in third
Work 2 DJ—1 repeat of Chart B. repeat and working chart a total of 62 times—/0 stitches. Work
Chart A, Rows 1-4.
CORNERB
Leave stitches on circular needle. Cut yarn.
Work 2 DJ—1 repeat of Chart B.
Work 1 DJ on short side, 1 DJ on long side—1 repeat of Chart B.
BORDER
Work 2 DJ—1 repeat of Chart B.
Work knitted-on border Using a lace cast-on, cast on 13 stitches
Work 1 DJ, 2SJ—1 repeat of Chart B.
onto double-pointed needle (dpn).
oon Beginning at marked slip stitch at left edge of center panel, * work 8-
Notes
17" x 7. "
row repeat of Chart B 44 times, working 4Single Joins for each repeat.
1 See Techniques, page 166, for lace cast-ons, knitted-on border
Continue working Chart B,joining border to center panel as follows:
(including Single Join and Double Join), grafting, and blocking. 2 The

“
10cm/4"
Work Corner A. [Work 4 Single Joins—1 repeat of Chart B] 16 times.
decrease in the first row of the Center Panel reduces the stitch count
Work Corner B. Repeat from *, placing 70 loops from cast-on edge
to the correct pattern multiple; the extra cast-on stitch provides the
18
onto circular needle before starting Corner A.
* over stockinette stitch correct number of loops for the knitted-on border.
(knit on RS, purl on WS) Pick up loops from border cast-on edge on free dpn. Cut yarn and
graft ends together.
BB 456
Block piece to measurements.
* Fine weight
700 yds

cs
4.5mm/US 7, or size to obtain Chart A, Melon pattern Chart B, Melon border
gauge, 60cm (24") or longer

SX L__ 0-strepeat ———

Two 4mm/US 6 6 times

& Kon RS, pon WS

* stitch markers es ] KonWS
+ blunt needle ° Yo
* small amount of smooth yarn [4] K2tog
for cast-on
[2] On first repeat, k2tog; on all
me
subsequent repeats, k1
Slip st purlwise, with yarn at WS
ROWAN Kidsilk Haze D| Melon st, see illustration
3 balls in 597 Jelly [¥] Slip st purlwise with yarn at RS
[9] K border st tbl tog with 1 center
panel st
& Bind off 1st

146
MELON STITCH

...and 6th stitches over

first 3 stitches and off
needle; ...

... 0, 1, yo, k2, yo.

Repeat every 6th row.
 : sit
TeeT ee

Shi Se
bd

re
J at
eh a
aah

Me

ih ee y
patina Sica

he
Wiig ihNi
Wiig
ii

igi
te
 ae

INTERMEDIATE LACE
Diamonds and triangles

CORNER Next row Knit, increasing 3 stitches across row—88 stitches. Knit3
Work 1 Single Join (SJ), 4 Double Joins (DJ), 1 Triple Join (TJ)—1 repeat rows. Leave stitches on circular needle. Cut yarn.
of chart. ‘

Work 2 TJ on this side, 2 TJ on next side—1 repeat of chart. BORDER

Work 1 1J, 4 DJ, 1SJ—1 repeat of chart. Work knitted-on border Using a lace cast-on, cast on 32 stitches
onto double-pointed needle (dpn).
NOTE Beginning at marker at left edge of center panel, * work 24-row
See Techniques, page 166, for lace cast-ons, SSK, SK2P, knitted-on bor- repeat of Chart B 15 times, working 12 Single Joins for each repeat.
der (including Single, Double, and Triple Joins), grafting, and blocking. Continue working Chart B,joining bordertocenter panel as follows:
Begin, Work Corner. [Work 12 Single Joins—1 repeat of chart] 6 times.
re CENTER PANEL Work Corner. Repeat from *, placing 88 loops from cast-on edge onto
32"x 65" Using lace cast-on, cast on 89 stitches (multiple of8+ 17) onto circular needle before starting next Corner.
10cm/4" circular needle. Knit 3 rows. Pick up loops from border cast-on edge on free dpn. Cut yarn and
26 Next row (WS) Knit, decreasing 4 stitches across row (by k2tog)— graft ends together.
18 85 stitches.
* over stockinette stitch
(knit on RS, purl on WS) Work 12-row repeat Chart A thirty-two times, marking last stitch of Block piece to measurements.
first row of second repeat.
BAB 45 6

+ Fine weight Chart A, Diamonds and triangles

1300 yds 12 [¥
10 [Vv

CD
8 [Vv
6 |v
4.5mm/US 7, or size to obtain 4 |v
gauge, 60cm (24") or longer 2 |v
8-st repeat :

SX
9 times .

Chart B, Border
Two 4mm/US 6
Mi
22 fot Z1_|
Tolsto

& [_]
[3
KonRS, ponWS
KonWs
* stitch markers
oj[0] Yo
+ blunt needle 7| K2tog on RS, p2tog on WS
[4]
* small amount of smooth yarn [7] P2tog on RS, K2tog on WS
for cast-on [(N] SSK
i SK2P
Vv Slip st purlwise with yarn at WS
NEEDFUL/LANA GATTO
[¥] Slip st purlwise with yarn at RS
Mohair Royal (2) K border st tbl tog with 1 center panel st
5 balls in 3135

150
The big, beautiful, and simple border
of the shawl in Queen's Imperial Wool
from the 1904 issue caught my eye. Alas,
as |have found with many of these old
patterns, the center oak leaf pattern was
mathematically unworkable. Despite
swatching and graphing, and with no
illustrations as a guide, |could not arrive
at anything remotely knittable.

However in Weldon’s 1888 issue, |found a

garter stitch diamond pattern for a shawl
with a border. When this diamond pattern
was paired with the 1903 border, |decided
the two were meant to be together. This
shawl is a delight, the pattern is fairly easy
to knit and also reversible.
sae
—
tie
i
 INTERMEDIATE LACE
The Victoria shaw!

CORNER BORDER
Work 5 Single Joins (SJ), 2 Double Joins (DJ)—1 repeat of Chart B. Work knitted-on border Using a lace cast-on, cast on 25 stitches
Work3 DJ, 1 Triple Join (T))—1 repeat of Chart B. onto double-pointed needle (dpn).
Work 1 1J, 3 DJ—1 repeat of Chart B. Beginning at marked slip stitch at left edge of center panel, * work 18- 4 aJ
Work 2 DJ, 5SJ—1 repeat of Chart B. row repeat of Chart B 20 times, working 9 Single Joins for each repeat.
Continue working Chart B,joining border to center panel as follows:
NOTE Work Corner. [Work 9 Single Joins—1 repeat of Chart B] 7 times.
See Techniques, page 166, for lace cast-ons, knitted-on border (including Work corner. Repeat from *, placing 85 loops from cast-on edge onto
Single Join, Double Join, and Triple Join), SK2P, grafting, and blocking. circular needle before starting Corner.
Pick up loops from border cast-on edge on free dpn. Cut yarn and graft
CENTER PANEL ends together.
32"x8 " Using lace cast-on, cast on 86 stitches (multiple of 10 + 16) onto
circular needle. Block piece to measurements.

a
10cm/4" Next row Slip 1 purlwise with yarn at WS (sl 1), knit 2 together, knit
to end—85 stitches.
18
Next row S| 1, knit to end.
+ over garter stitch (knit all rows)
Work 16-row repeat of Chart A 25 times, marking last stitch of Row
4 of second repeat. Knit 2 rows. Leave stitches on circular needle.
Bp 456
Cut yarn.
+ Fine weight
1150 yds

c> ChartA,Center diamond panel

[| KonRS
[1] PonRS, kon WS
4.5mm/US 7, or size to obtain
gauge, 60cm (24") or longer
(0) [0] Yo
[7] K2tog
iS] SK2P

SE (Y} Slip st purlwise with yarn at WS

\%| Slip st purlwise with yarn at RS
Two 4mm/US 6 (2) K bordersttbl tog with 1 center panel st
& Bind off
N|oO Ol|7 WB stitches do not exist in these areas of chart
& 10-st repeat ———
7 times
* stitch markers
+ blunt needle
+ small amount of smooth yarn
for cast-on

NEEDFUL/LANA GATTO
Mohair Royal
5 balls in 10083

154
ee 'Nate
oe
ees
Sy,

SL
i)
Ky

bad
RSPEI
a

Oe eg
.
eens

j
ae
ORR,

"
Zi

7
mPa

afay

1Hy
“3
s(;re
Stripes were very fashionable
in Victorian England. Even the
blinds at Queen Victoria’s summer
residence on the Isle of Wight
had blue and white stripes. So,
it’s appropriate that this shawl
features panels of open diamond
pattern framed by a bold border.
 INTERMEDIATE LACE
Stripes and torchon lace —

CORNER A of Row 3 in second repeat. Knit 4 rows. Leave stitches on circular

Work 1 Single Join (SJ), 8 Double Joins (DJ)—1 repeat of Chart B. needle. Cut yarn.
Work 3 Triple Joins (TJ) on long side; 2 TJ, 1 DJ on short side—1 repeat
of Chart B. BORDER
Work knitted-on border Using a lace cast-on, cast on 20 stitches onto
CORNER B double-pointed needle (dpn).
Work 1 DJ, 2 TJ on short side; 3 TJ on long side—1 repeat of Chart B. Beginning at marked slip stitch at left edge of Center Panel, * work 34-
Work8 DJ, 1SJ—1 repeat of Chart B. row repeat of Chart B 11 times, working 17 Single Joins for each repeat.
Continue working Chart B,joining stitches to center panel as follows:
NOTE Work Corner A. [Work 17 Single Joins—1 repeat of chart] 5 times.
See Techniques, page 166, for lace cast-ons, SSK, SK2P, knitted-on border Work Corner B. Repeat from *, placing 91 stitches from cast-on edge
ao onto circular needle before starting Corner A. Place 20 stitches from
(including Single, Double, and Triple Joins), grafting, and blocking.
36"x 86" border cast-on edge on free dpn. Cut yarn and graft ends together.
CENTER PANEL

a
10cm/4"
Using a lace cast-on, cast on 92 stitches (multiple of 17 + 7) onto Block piece to measurement.
18 circular needle. Next row (RS) K2tog, knit to end—91 stitches. Knit
* over stockinette stitch (knit on 3 rows. Work 18-row repeat of Chart A 23 times, marking last stitch
RS, purl on WS)

ChartA,Open diamond panel Chart B, Torchon lace border

Be 456 18 nue O|7
| [7lo
o|7
AK)
16 (REE |7 ol
* Fine weight pasos ZO. ZA)
14 aE |Z ol7
* 1350 yds 7\O 7\9O
12 WI Holz
|| |Zlo
Ol7
7/0 28 |
10 [VIfolz o|7 REC E ncee

a
woos ° 7\O
8 Viol ol7
BBAL 7\|O
6 ae ° ri O|7
4.5mm/US 7, orsize to obtain gauge, | |7lo VAT)
60cm (24") orlonger 4 (Minima ol7 ol7 =
A ES ER Sd Ee) 7\oO 20
2 (Mi o/7 ol|7pf L
7\9O | a\7 18 ff
|__________]7-st
repeat——_—_—_—— 16 |
5 times
Two 4mm/US 6

[_] KonRS, ponWS

© Konws
* stitch markers [6] [0] Yo
* small amount of smooth yarn [7] K2tog
for cast-on [N] SSK
[Ss] SK2P
[V] Slip st purlwise with yarn at WS
NEEDFUL/LANA GATTO Mohair Slip st purlwise with yarn at RS Chart note re

Royal 6 balls in 2118 K bordersttbl tog with 1 center panel st

Two changes have been made to the open diamond pattern: left slant-
ing decreases have been altered from k2tog to SKP, and the 15-stitch
repeat has been extended to 17 stitches in order to give extra faggot
between the diamond stripes.
158
By the 1880's shawls appeared
in the vivid new colors made
possible by the innovation of
aniline dyes.

This shawl's center pattern

originally appeared as a Maltese
Stripe consisting of a series of
Maltese crosses. Jane Gaugain’s
book of 1847 gives a netting
pattern for a mitten in Maltese
Spotting brought back by Her
Majesty Queen Adelaide (Queen
Dowager) from her travels in
Malta—a favorite destination for
wealthy travellers at the time and
an island famous for real lace.
ail
 INTERMEDIATE LACE
>

The Maltese shaw!

CORNER A BORDER
Work 5 Single Joins (SJ), 2 Double Joins (DJ), 2 Triple Joins (TJ) —1 Work knitted-on border Using lace cast-on, cast on 11 stitches
repeat of Chart B. onto double-pointed needle (dpn).
Work 2 1J, 1 DJ on long side, 1 SJ, 2TJ on short side—1 repeat of Beginning at marked slip stitch at left edge of Center panel, * work
Chart B. 30-row repeat of Chart B 8 times, working 15 SJ for each repeat.
Work 2 DJ; 11 SJ—1 repeat of Chart B. Work Corner A. [Work 15 SJ—1 repeat of Chart B] 3 times. Work
Corner B. [Work 15 SJ—1 repeat of Chart B] 8 times. Repeat from *,
CORNER B placing 76 loops from cast-on edge onto circular needle before
93"x 26" Work 9 SJ, 3 DJI—1 repeat of Chart A. starting second Corner A. Place loops from cast-on edge onto free
Work 2 TJ, 1 SJ on short side, 1 DJ, 2 TJ on long side—1 repeat of dpn. Cut yarn and graft ends together.
Chart A.
Work 2 TJ, 2 DJ, 5 SJ—1 repeat of Chart A. Block piece to measurements.
18
* over stockinette stitch
(knit on RS, purl on WS) Notes
7 See Techniques, page 166, for lace cast-ons, SSK, SSP, SK2P,
knitted-on border (including Single Join, Double Join, and Triple
BAB 456
Join), grafting, and blocking. 2 Place markers between repeats of
Chart B, Border
+ Fine weight Center panel. 3 Work Center panel first, then work Border, joining
1100 yds Z\OI4\O Ast tots 29
stitches to Center panel at end of every WS row. 3 ae

a
= A AGA ee ae
24
ZlOlZ[Ol[Z[O[7[o[7 3¥| 23
CENTER PANEL Pe 2s a ea Be a =e
*4.5mm/US 7, or size to obtain Using a lace cast-on, caston77 stitches onto circular needle. 2 atztots let Aett f ¥/19
gauge, 60cm (24") or longer 18 J i
Next row (WS) P2tog, purl to end of row—/6 stitches. 6 1912191 29121912 tol
: F | !15
Work 6-row repeat of Chart A, marking last stitch of Row1 of 45th wot Pte ee
SX repeat
and working chart
Z
atotal of 88 times. Knit 1row. Leave
; ‘ 12
wr eet <1
stitches on circular needle. Cut yarn. eS 2 a
m 5 O}|7|O|Z|O|7\90 ¥!/9
Two 4mm/US 6
2 Z\O(Z/O[Z/O Pel 5
4 5
olZl|ol7[ol7/o Beak}
ChartA,Center panel 2C TEES,
& évEEE z{ie ot fet tele ot olé ‘ets ofits vi5 con
* stitch markers vee! St sett ol|7 2) P74 el BT SS Ke) ol7] |
[ ° neal [o[Njo| [7[o 7\0 7\0 | ° o| | VAT) vi3
- blunt needle 2 |M fet + fet4 | | O|7 ott wi Hee XN] o| |
7\0 [ Jo[7] INfTo[ [zl[o 7\O Ol|7 \[o 7\9° Vv
* small amount of smooth yarn 19-st repeat [] KonRS, pon WS
for cast-on 3 times [) Konws re

©] Yarnover
(7] K2tog on RS, p2tog on WS
[N] SSKon RS, SSP on WS
ROWAN Kidsilk Haze 5 balls in
S] SK2P
596 Marmalade [Vv] Sl st purlwise with yarn at WS
¥) —$/st purlwise with yarn at RS

162 2} Joinas specified

130. De FAS PY 4
Lied

Gyan)
visti pte

#
A te
nn, 0
 Abbreviation

Knitted-on border
TECHNIQUES
Abbreviations—page 167
Blocking—page 175
Cable cast-on—page 167
Chain cast-on—page 166
Chain stitch—page 170
Circle cast-on—page 167
Crochet cast-on—page 167
Darning-in ends—page 167
Elongated stitch—page 170
Grafting—page 171
Invisible cast-on—page 166
K2tog, k3tog—page 168
LACE CAST-ONS
INVISIBLE CAST-ON
A temporary cast-on
7 Knot working yarn to contrasting waste
yarn. Hold needle and knot in right hand.
Tension both strands in left hand; separate
strands so waste yarn is over index finger,
working yarn over thumb. Bring needle
between strands and under thumb yarn so
working yarn forms a yarn-over in front of
waste yarn.
CHAIN CAST-ON
LS i
2 Holding both yarns taut, pivot hand toward
you, bringing working yarn under and behind
waste yarn. Bring needle behind and under
working yarn so working yarn forms a yarn-
over behind waste yarn.
3 Pivot hand away from you, bringing working
yarn under and in front of waste yarn. Bring
needle between strands and under working
yarn, forming a yarn-over in front of waste
yarn. Each yarn-over forms a stitch.
Repeat Steps 2-3 for required number of
stitches. For an even number, twist working
yarn around waste strand before knitting the
first row.

Knit through back loop (tbl) —page 170

pase
Knitted-on border—page 174 Pe
me :
ee
a
)

Lace cast-ons—page 166

Loop cast-on—page 167
Make 1—page 169
Picking up dropped stitches—page 171
Picking up loops from
temporary cast-on—page 166
XA
A temporary cast-on
1 With crochet hook and waste yarn,
loosely chain the number of stitches
needed, plus a few extra chains. Cut yarn.
2 With needle and main yarn, pick up and knit
1 stitch into the back ‘purl bump’ of the first
chain. Continue, knitting 1 stitch into each chain
until you have the required number of stitches.
Do not work into remaining chains.

Picking up a missing yo—page 169 WASTE-YARN CAST-ON

P2tog—page 168
Ripping back stitch-by-stitch—page 171
$2KP2—page 168
Single crochet—page 171
SKP, SK2P, SK3P, SK4P—page 168
A temporary cast-on
HISTORIC NOTE The expression cast on was
Cast on with a contrasting waste yarn and knit
not recorded before 1838, when it appeared
4 rows before breaking yarn and changing to
in The Ladies Knitting and Netting Book by
main yarn. Unless using mohair, put the stitches
Miss Watts, and was used interchangeably
on the needle before removing waste yarn.
with put on.

Slip purlwise—page 170 PICKING UP LOOPS FROM A TEMPORARY CAST-ON

Splicing yarn—page 170
SSK—page 168 Temporary cast-ons use waste yarn to hold the loops
that form between stitches under the needle. When
$$P—page 168 this waste yarn is removed, these loops can be placed
on aneedle and worked into. Use the temporary cast-

Aaah
Stringing beads—page 170 on of your choice for the center panel and border of
Suspended bind-off—page 170 a ? shawls with knitted-on borders. Knit the border onto
WV these loops at the bottom of the center panel, and
Waste-yarn cast-on—page 166
an graft the last row of the border to these loops.
Note There is always one fewer loop than cast-on
Winding yarn—page 170 stitches. Adjust for this by casting on one more
rf
stitch, then decreasing one in first row; or by simply
Yarn overs—page 169 Loop between stitches decreasing in the last row. The instructions in this
book include that adjustment.

166
OTHER CAST-ONS ABBREVIATIONS
LOOP CAST-ON (ALSO CALLED E-WRAP CAST-ON) ch chain
cm centimeter(s)
xh /
dec decreas(e)(ed)(es)(ing)

/ dpn double-pointed needle(s)

) \/
Left-slanting Right-slanting g gram(s)
7 Hold needle and tail in left hand. 3 Turn index finger to point away from you. Loops can be formed over index or thumb and can
2 Bring right index finger under yarn, 4 Insert tip of needle under yarn on index finger slant to the left or to the right. On the next row, " inch(es)
pointing toward you. (see above); remove finger and draw yarn snug, — work through back loop of right-slanting loops
forming a stitch. ine increas(e)(ed)(es)(ing)
Repeat Steps 2-4 until all stitches are on needle.
k knit(ting)(s)(ted)
LH left-hand
CABLE CAST-ON
M7 Make one stitch (increase)

m meter(s)

7 Start with a slipknot on left needle (first
cast-on stitch). Insert right needle into
slipknot from front. Wrap yarn over right
needle as if to knit.
mm tillimeter(s)
0z ounce(s)
2 Bring yarn through slipknot, forming a 4 Insert right needle between the last 2 stitches.
loop on right needle. From this position, knit a stitch and slip it to the left p purl(ed){ing)(s) or page
3 Insert left needle in loop and slip loop needle as in Step 3.
off right needle. One additional stitch Repeat Step 4 for each additional stitch. pm place marker
cast on.
psso pass slipped stitch(es) over

CIRCLE CAST-ON RH right-hand

RS right side(s)

sc single crochet (UK double crochet)

Use to cast on a few stitches at center of a
flat circle.
T Holding tail in right hand and yarn in left
hand, make a circle.
2 Insert double-pointed needle in circle
and draw yarn through, forming a stitch on
needle. Do not remove fingers from loop.
3 Bring needle under and then over the
yarn, forming a yarn-over on needle.
sl slip(ped)(ping)
SKP slip, knit, psso
SSK slip, slip, knit these 2 sts tog
4 Repeat Steps 2 and 3, ending with Step 2. To cast
SSP slip, slip, purl these 2 sts tog
on an even number, yarn over before beginning the
first round. st(s) stitch(es)
5 Arrange stitches on 3 or 4 double-pointed
needles, pull tail slightly, then begin knitting around, St st stockinette stitch
working into the back loops of yarn-overs on the first
round. Work several more rounds, then pull tail to tb! through back of loop(s)
close center.
tog together

WS wrong side(s)
CROCHET CAST-ON \<DARNING IN ENDS
wyib with yarn in back
wyif with yarn in front
yd(s) yard(s) |
yo(2) yarn over (twice)
With a blunt needle, weave each yarn through
(UK yarn forward)
7 Leaving a short tail, make a slipknot on 2 Bring yarn under point of needle and hook
crochet hook. Hold hook in right hand; in left yarn through loop forming next stitch. purl bumps for 5—6 stitches: new yarn toward
hand, hold knitting needle on top of yarn and Repeat Step 2 until 1 stitch remains to cast on. beginning of row, old yarn toward end of row.
behind hook. With hook to left of yarn, bring Slip loop from hook to needle for last stitch.
yarn through loop on hook; yarn goes over top
of needle, forming a stitch.

16/
MMM 200s ye eset OP Re AON Lay vee 8 10° AN
DECREASES
SSK

1 Slip 2 stitches separately to right needle 2 Slip left needle into these 2 stitches from The result is a left-slanting decrease.
as if to knit. left to right and knit them together: 2
stitches become 1.

SKP (SK2P, SK3P, SK4P) sl 1-k1 (k2tog, k3tog, k4tog)-psso

1 Slip 1 stitch knitwise from left needle 3 Pass slipped stitch over knit (ktog)
onto right. stitch: 2 (3, 4, 5) stitches become 1.
2 Knit 1 (k2tog, k3tog, k4tog) as usual.

SSP

SS << AW
ae ~
er
ces \g=6)
;
K baANDEAN
ssNS
we Or SAREE

Use instead ofp2tog-tbl to avoid twisting 2 Slip these 2 stitches back onto left needle. 3 Purl them together: 2 stitches become 1. The result is a left-slanting decrease.
the stitches. Insert right needle through their ‘back loops,’
7 Slip 2 stitches separately to right needle into the second stitch and then the first.
as if to knit.

S2KP2, sl 2-k1-p2sso
J

A
a YW

7 Slip 2 stitches together to right needle as 2 Knit next stitch. 3 Pass 2 slipped stitches over knit stitch and The result is a centered double decrease.
if to knit. off right needle: 3 stitches become 1; the
center stitch is on top.

K2tog (K3tog)

ae Oca
Ae
tae! «
Mg‘SO q 98 Los
a vets!
Ly YS

7 Insert right needle into first 2 stitches on 2 Purl these 2 stitches together as if they were 1. 7 Insert right needle into first 2 (3) 2 Knit these 2 (3) stitches together as if they were 1.
left needle. The result is a right-slanting decrease. stitches on left needle, beginning The result is a right-slanting decrease.
with second (third) stitch from end of
left needle.

168
 INCREASES
MAKE 1 LEFT (M1L), KNIT MAKE 1 RIGHT (M1R), KNIT
— \
2

Wet ey

Insert left needle from front to back under
strand between last stitch knitted and first
‘stitch on left needle. Knit, twisting strand by
working into loop at back of needle.
: é B 1 SAGE LAY A
Completed MIL knit: a left-slanting increase. Insert left needle from back to front Completed MIR knit: a right-slanting increase.
under strand between last stitch knitted
and first stitch on left needle. Knit,
twisting the strand by working into loop
at front of the needle.

YARN OVERS
TIPS
* Check your work carefully as you work the row after a yarn-over row. Ifyou are short a stitch or two, check for missing yarn-overs.
* To check for missing yarn-overs in lace patterns that have non-patterned wrong-side rows, try reading the pattern row in reverse to check
as you work the next (wrong-side) row.

YARN OVER (yo)

Between knit stitches Between purl stitches At beginning of a knit row At beginning of a purl row
Bring yarn under the needle to the front, With yarn in front of needle, bring itover the — With yarn in front of needle, knit first stitch. With yarn in front of needle, bring it over
take it over the needle to the back and knit needle to the back and:to the front again; the needle to the back and to the front
the next stitch. purl next stitch. again; purl next stitch.

After a knit, before a purl
Bring yarn under the needle to the front,
over the needle to the back, then under
the needle to the front; purl next stitch.
After a purl, before a knit
With yarn in front of the needle, bring itover
the needle to the back; knit next stitch.
On next row
Purl (or knit) into front of yarn over unless
instructed otherwise. The yarn-over makes
a hole and adds a stitch.
Yarn over twice (yo2)
After bringing yarn over the needle (first yarn-
over), wrap yarn completely around needle a
second time. On next row, work into double yarn-
over as instructed.

PICKING UP A MISSING YARN-OVER ——

Pea YsNEN.
yA
ens.
Work to where a yarn-over should be. Insert left
needle from front to back under strand between
last stitch purled (or knit) and next stitch on left
needle. Purl (or knit) into yarn-over.

MJ 200%s eae eee OL REP uke ay me tke Ee TO xD Ae

BASICS
SUSPENDED BIND-OFF ELONGATED STITCH

This method makes it very difficult to
bind off too tightly.
1 Work (knit or purl) 2 stitches.
2 With left needle, pass first stitch on
right needle over second stitch, but leave
on left needle.
3 Work next stitch (shown above).
4 Slip both stitches from left needle.
Repeat Steps 2-4.
7 Knit 1, EXCEPT wrap yarn 2 or more times 2 On next row, work the stitch, dropping extra
around needle, instead of once, before wrap(s) as stitch is pulled off left needle.
drawing new stitch through old stitch.
NOTE
Either a knit or a purl can be elongated.

SLIP PURLWISE (sl 1 p-wise) STRINGING BEADS

y & Wyy

artes,
. ra zm a “

— dpe at a { ) ls

ers
¥
NYY

id KPA
of \
ROH th
PI AP
at} ike
HA
}

7 Insert right needle into next stitch 2 Slide stitch from left to right needle. Stitch The stitch slipped purlwise can be a knit or
on left needle from back to front (as orientation does not change (right leg of stitch a purl.
if to purl). loop is at front of needle). Using a loop of thread or fine wire, string
required number of beads on yarn.

KNIT THROUGH BACK LOOP (k1 tbl) CHAIN STITCH (ch st, ch)

4 \ =

BRET Nd at
@ a . /y ast Gaon ye

Las \) V f }
Ni 4
) we |

71 With right needle behind left needle 2...and knit. 1 Make a slipknot to begin. First chain made. Repeat Step 2.
and right leg of stitch, insert needle 2 Catch yarn and draw through loop on
into stitch... hook.

SPLICING YARN WINDING YARN INTO A BALL

ti) A

Ay
~
Splicing eliminates the need to darn
in ends when joining in a new skein of
wool. Separate the plies of the last 3-4"
of both the old end and the new skein.
Break off (do not cut) half of the plies
on each end.
Overlap two ends in one palm. Spit into your
other palm and rub your hands together
briskly until you can feel heat—about 15
seconds. This join will hold after it is knit into
fabric; until then, avoid pulling on it.
Butterfly wrap Center-pull ball
For a center-pull ball wrap yarn in figure-8 fashion around fingers 6-8 times (1). Remove wrap from
hand. Hold one wing of butterfly between thumb and 2 fingers of left hand; other end of wing
stays free. Begin winding yarn around thumb, wing, and fingers. After 10-12 wraps, slip fingers out,
but keep thumb in place, turn ball slightly, replace fingers, and wind again. Repeat this process,
gradually building a round ball of yarn (2). When finished, tuck end under last set of wraps, and free
thumb and fingers. To start knitting, pull butterfly, and yarn will feed from center of ball.

TIP

1/0
Some fine yarns, such as a slippery silk, do not behave well ina center-pull ball.
 GRAFT IN GARTER
1 Arrange stitches on 2 needles so stitches
on lower, or front, needle come out of purl
bumps and stitches on the upper, or back,
needle come out of smooth knits.
2 Thread a blunt needle with matching yarn
(approximately 1" per stitch).
3 Working from right to left, begin with
Steps 3a and 3b:
3a Front needle: bring yarn through first
stitch as if to purl, leave stitch on needle.
3b Back needle: repeat Step 3a.
4a Front needle: bring yarn through first
stitch as if to knit, slip off needle; through
next stitch as if to purl, leave on needle.
4b Back needle: repeat Step 4a. Repeat
Steps 4a and 4b until 1 stitch remains on
each needle.
5a Front needle: bring yarn through stitch
as if to knit, slip off needle.
5b Back needle: repeat Step 5a.
6 Adjust tension to match rest of knitting.
TIPS
*When grafting a pattern stitch, practice by
tracing the row in your swatch with duplicate
stitch in a contrasting color. Then use that as
your guide.
“After a little practice, you'll be able to chant as
you graft.
For garter stitch, say:
“knit and off,
purl and on,” for both front and back needles.
For stockinette stitch, say:
“knit and off, purl and on,” for front needle;
“purl and off, knit and on,” for back needle.
HJ 100s
RIPPING BACK: STITCH-BY-STITCH
IN KNIT 7
1 Insert left needle into stitch below first 2 Remove right needle from stitch, then pull
stitch on right needle. working yarn free.
1 Arrange stitches on 2 needles as shown.
2 Thread a blunt needle with matching yarn
(approximately 1" per stitch). IN PURL
3 Working from right to left, with right sides
facing you, begin with Steps 3a and 3b:
3a Front needle: bring yarn through first
stitch as if to purl, leave stitch on needle.
3b Back needle: bring yarn through first
stitch as if to knit, leave stitch on needle. 7 Insert left needle into stitch below first 2 Remove right needle from stitch, then
stitch on right needle. pull working yarn free.
4a Front needle: bring yarn through first
stitch as if to knit, slip off needle; through
next stitch as if to purl, leave stitch on
needle.
4b Back needle: bring yarn through first PICKING UP DROPPED STITCHES
stitch as if to purl, slip off needle; through
next stitch as if to knit, leave stitch on needle. IN KNIT IN PURL
Repeat Steps 4a and 4b until 1 stitch
remains on each needle.
é aS SR) Lay)
5a Front needle: bring yarn through
stitch as if to knit, slip off needle.
5b Back needle: bring yarn through stitch TLS.
as if to purl, slip off needle.
Insert crochet hook into stitch from front to Insert crochet hook into stitch from back to
6 Adjust tension to match rest of knitting. back and * bring hook under ladder of yarn. front and * bring hook over ladder of yarn.
Catch yarn and pull through stitch, forming Catch yarn and pull through stitch, forming
a new stitch on hook. Repeat from * for each a new stitch on hook. Repeat from * for each
ladder. Slip last stitch onto needle. ladder. Slip last stitch onto needle.
SINGLE CROCHET (sc)
Ana)sini
eres: (vy ah
eu
AHN
AHOe
a: Net Nahata?
NAA AAAAR
i aK ‘
7 Insert hook into a stitch, catch yarn, and 3 Catch yarn and pull through the stitch; 2 4 Catch yarn and pull through both loops on
pull up a loop. Catch yarn and pull through loops on hook. hook; 1 single crochet completed. Repeat
the loop on the hook. Steps 2-4.
2 Insert hook into next stitch to the left.
1/1
 nding Lace & Charts
In most lace patterns, the number of stitches remains constant on each row. In these Each right-side row has yarn-over/decrease pairs plus an extra yarn-over, resulting in an
cases, when a yarn-over adds a stitch, a decrease removes another stitch. This yarn- increase on the left edge. These 3 extra stitches are bound off on Row 12.
over and decrease combination is called a pair.
Chart A, Border, page 80
A single yarn-over can be paired with a single decrease; 2 single yarn-overs can be
paired with a double decrease,

The decreases used in lace patterns are few and familiar. The variety of patterns comes
from the placement of yarn-overs and decreases. Most often both parts of the pair
are on the same row and side by side, but they also can be separated by other stitches
(Chart E). In some patterns, yarn-overs are on one row, decreases on another (Chart A). Chart A cast on 25 sts
Row 17 (RS) Knit.
Row2 Knit.
Reading charts Row 3 K4, (yo, k2tog) 9 times, yo twice, k2tog, k1.
Row 4,6,8 K3, pl, knit to end.
Row5 K5, (yo, k2tog) 9 times, yo twice, k2tog, k1.
Charts are invaluable when following the yarn-over/decrease relationships that are so Row 7 K6, (yo, k2tog) 9 times, yo twice, k2tog, k1.
crucial to the success and pleasure of lace knitting. Ifyou're a beginning lace knitter or Rows 9-117 Knit.
Row 12 Bind off 3 sts, knit to end.
have had problems with lace, give charted patterns a try.

Each square of the chart one stitch (or one knitting operation, such as a k2tog or an
SK2P). Each row of the chart shows a completed row of knitting.

The chart represents the right side of the fabric, so check the key to see how to work a
certain symbol on the right side and on the wrong side.

Read the chart in the same direction as you knit: the rows from bottom to top, right-
side rows from right to left, wrong-side rows from left to right. (In circular knitting, all
rows are right-side rows, therefore the chart is always read from right to left.)

Heavy lines set off a pattern repeat from any partial repeats or edge stitches. They
function in the same way that asterisks do. In Chart E work the first 12 stitches of
the chart, work the 10-stitch repeat until only 3 stitches remain, then work the last 3
stitches of the chart.

The slant of a decrease is clear from a chart. The symbol for a k2tog slants to the
right; the symbol for an SSK slants to the left. Early knitting instructions only use the
k2tog decrease (Charts A and E). As the century progressed, left-slanting decreases
were added; Chart B shows this use of directional decreases. Compare the decreases
highlighted with yellow on charts B and E.

172
 It’s simple to see the pairs here; an example of each is Here the yarn-overs and decreases are on the same line
Stitch Key
highlighted in orange. The SK2P is a double decrease but often separated by 1 or 2 stitches. The decreases
and pairs with 2 yarn-overs. The decreases highlighted Kon RS, pon WS highlighted in yellow are non-directional.
PonRS, kon WS
in yellow are directional. Z| K2tog on RS; p2tog on WS
A] K3tog
7) P2tog on RS, k2tog on WS
Chart B, Small diamond, Gaugain, page 60 A P3tog Chart E, Small leaf, Lambert, page 61
\ SSK on RS 8 7\o| ol4lo o[7
VAT) ol7 7|O ol7i 7
SSPon WS 6 7 ° ° Ze Vi ° ° ve
Z ° ° 7 va ° ° Z yy
A] S2KP2 4 | ol4Alo
[NS] SK2P o|7| ° ° 3
2 ° 7 less] 7 ° ° °
A) SK3P ° ae ° ° 1
ie) Yo = i0-stieseat —$———
fe} WwEe
=
oOo10-row
usm
- repeat
L____ 9-st repeat. —— me Kin F&B of st on RS,
pin F&B of st on WS
Chart B Multiple of 9sts + 8
x] M1 Chart E Multiple of 10 sts + 15
& Bind off 1st Row 1 (RS) K2, *k1, yo, k2, k2tog, p1, k2tog, k2, yo; repeat from *, k3.
Row 1 (RS) K4, *k2, k2tog, yo, k1, yo, SSK, k2; repeat from *, k4.
Row 2 and all WS rows Purl.
EB Sts do not exist in this area of chart Row 2 (WS) P3, *p1, yo, p1, p2tog, k1, p2tog, p1, yo, p2; repeat from *, p2.
Row 3 K4, *k1, k2tog, yo, k3, yo, SSK, k1; repeat from *, k4. V1] Slip st purlwise with yarn at WS Row 3 K2, *k3, yo, k2tog, p1, k2tog, yo, k2; repeat from *, k3.
Row 5 K4, *k2tog, yo, k5, yo, SSK; repeat from *, k4. ¥] Slip st purlwise with yarn at RS Row 4 P3, *p3, yo, p3tog, yo, p4; repeat from *, p2.
Row 7 K4, *k2, yo, SSK, k1, k2tog, yo, k2; repeat from *, k4.
<Q) K st tb/ Row 5 K2, *p1, k2tog, k2, yo, k1, yo, k2, k2tog; repeat from*, pl, k2.
Row 9 K4, *k3, yo, SK2P, yo, k3; repeat from *, k4. Ifa symbol is red, pay attention to Row 6 P2,k1, *p2tog, pl, yo, p3, yo, p1, p2tog, k1; repeat from *, p2.
Repeat Rows 1-12.
the unusual action defined for Row 7 K2, *p1 k2tog, yo, k5, yo, k2tog; repeat from *, p1, k2.
that stitch. Ifa row number is red, Row 8 P2, p2tog, *yo, p7, yo, p3tog; repeat from *, yo, p7, yo, p2tog, p2.
pay attention for a different instruction
“when working that row. Occasionally
a pattern requires a special symbol;
it will be defined in the key.

TIPS
* To read charts more easily, use a magnetic board such as those sold for counted cross-stitch.
Photo copy the pattern page(s) and increase the print size 200% so it is easier to read at a
distance. Place the board under the pattern, and use the magnetic rule to mark each row as
you knit. The ultimate is a book rest on your knee and magnetic board on the book rest. This
will accelerate knitting speed and reduce irritability.
\« Use markers between the repeats of a pattern. For fine yarns, simply fold about 8" of contrast
yarn in half and knot the loop to fit needle.
+ For a review of working yarn-overs, see page 169.
* ffyou run into a problem with the stitch count in a row, check for a missing yarn-over in the
preceding row. To pick-up a missing yarn-over, see page 169.

* Ifyou haven't worked from charts, practice working these patterns from the charts, referring to
the written instructions only ifyou must. Soon charts will be your knitting language of choice.
* Charts make it easy to understand a pattern stitch before you knit it; to recognize, avoid, and
correct errors; to enlarge or reduce a pattern stitch; to combine pattern stitches or their elements.

173
HMM 00s Ui ake
 Open stitches

Borders are knit onto the center panel of a shawl or scarf in three ways:
* around slipped stitches along both sides of the center panel
es
Slipped
* into open stitches at the top of the center panel, and stitches

* into loops between stitches at bottom of center panel.

a

Slipped oe
The first stitch of odd-numbered border rows are slipped. The last stitch of even- stitches “VN
numbered border rows is attached to a slipped stitch, open stitch, or loop of center
panel: one join for every 2 rows of border.

OWN & i
ONION
fe} NIOIN| po
° NE INIOIN
2 o} INP Jol |NINIOlN
4 ° oO} /O} JO} INIOIN
oO} INF JO} IN
NE JO} IN| Jo
° °
MINTS
° °
NS N
° °

5
Ne
ss
4, T7TOT7]. [oT ol 7a 040 040
Z|O|7 vA 710} [M173 oO 7 70 Oo7 70
12 4\0/7 Z\O|Z7\2Q) OFA 70 One Ce ho)
Z|O|4|7/0/0|4) 7\|90 al Oo 70 On 70
16 4/014 7\0|7|Q ° Za) 040 Ge *2) °
ZIO|Z|Z\O|O/Z Za 7\|9O alk) 70 Of 7 oO Of

1 Jia race itty ee gare otha

O Flelziat— | 70 ov 70
ie} |Z|O|O|4 ve 7\90 all
4 ° VAC PAKes
O° 7\|O/O|4 7\|9O alle 40°F O17 10 4:0 40: 7 OV FROR aa
5 ro} 7\0|7 (=z O7F7 0707070707
Ono
° Zé 7\O all
Corner A
7 Work3 Single Joins, (SJ), 040
2 Double Joins (DJ) —1 repeat ofChart B. ey aed
- : ; Ol On Za750 ov
2 Work 1 DJ, 1 Triple Join (TJ) on long side, PU ee sy
1 DJ on short side—t repeat ofChart B. ° 70 0/7 of0 ee
3 Work 1 DJ, 5SI—1 repeat of Chart B. 70 70 Of or 790 7

Of Oo7 Pee Ko}

° ORs 70

70 Of 4

OFZ
re
OTF

NO
Nast
Nie
Be
NE
None
Na
Nae
NTN
Ne
NS
NSN
NG 0oA40
2ODODDDDDDDVDDDDDDDONDNDNOONONOOOO0O0N0N0
Ni
Ne
oo
eget
NG
Nee
No
LEN
ON
OND
oN
Na
CN
eNO
Neo

174
 RK > J, Sas QL SAO aks ee Reaah Se

To fit a border to a center panel and ease a F 4 )

border around a corner, three joins are used: 4 L} 3
a

m 4
Single Join (SJ) One join to one stitch of
b 4 :
center panel: On even-numbered (WS) rows,
knit last border stitch through the back loop , 4
together with one slipped stitch, top stitch, or Ay

bottom loop of center panel. Two border rows - 4

joined to one stitch of center panel. i 7

4

oy
Double Join (DJ) Two joins to one stitch of Ne 4 Saasaps ape Eien Sawe 4
Step 1 i Step 2 Step 3
center panel: Work a Single Join as above; on
next WS row, work a second join in the same
Way and into the same stitch. Four border
rows joined to one stitch of center panel.
Wash your swatch orfinished lace in
Triple Join (TJ) Three joins to one stitch of warm water (tepid for silk), rinse if
center panel: Work a Double Join as above; on required, roll in a towel to removerexcess
next WS row, work a third join in the same water, and pin out with rust-proof pins.
way and into the same stitch. Six border rows
joined to one stitch of center panel.
Pin first

Begin at the marked stitch along the side of Pin second

the shawl (itcorresponds to the Begin line

7% Pin third

on the schematic), and work the sequence of

Single, Double, and Triple Joins suggested in
the project. Ifyou have miscounted and the
numbers do not work out perfectly at the
corner, itis usually safe to substitute a Double
Join for a Single Join, or a Triple Join for a
Double Join, to make things fit.

The lace cast-ons provide open loops for

this knitting-on process. Note that there
is always one fewer loop than cast-on
Stitches. The instructions in this book
adjust for that difference.

> @ 4BOOKS Vv
 oi
ALPACA WITH A TWIST Fino (alpaca, silk; 100g; 875 yds)

JADE SAPPHIRE Lacey Lamb (extra fine lamb’s wool; 60g; 825 yds)

JADE SAPPHIRE Mongolian Cashmere 2-ply (cashmere; 55g; 400 yds)

JAGGERSPUN Zephyr (wool, silk; 454g; 5040 yds)

KARABELLA Lightweight Cashmere (cashmere; 25g; 202 yds)

re Hc ne ape eam cae Le ae

ig I ITO OG SE AE I LORNA’S LACES Helen’s Lace (silk, wool; 114g; 1250 yds).

MISTI ALPACA Lace 2-ply (baby alpaca; 50g; 437 yds)

PATONS Baby Merino (discontinued)

HAND-DYED 20/2 silk

HANDSPUN 2-ply Merino

HANDSPUN Hebridean

H
HABU TEXTILES 2/10 Kusaki-Zome (silk; 28g; 155 yds)

HABU TEXTILES 2/77 Tsumudi (silk; 50g; 265 yds)

Sle re eg el re ee
KNIT ONE, CROCHET TOO Douceur et Soie (baby mohair, silk; 25g; 225 yds)

NEEDFUL YARNS/LANA GATTO Mohair Royal (kid mohair, nylon; 25g; 235 yds)

TWISTED SISTERS Petite Voodoo (silk, wool; 50g; 190 yds)

WESTMINSTER/JAEGER Alpaca 4-ply (alpaca; 50g; 202 yds)

WESTMINSTER/ROWAN Kidsilk Haze (super kid mohair, silk; 25g; 229 yds)

i ca I a le a a aE
2-PLY HAND-DYED Silk

20/2 HAND-DYED Silk

HANDSPUN Merino/Cashmere

HANDSPUN Merino/Silk

HANDSPUN Polworth/Kid

HANDSPUN Silk |

H
COLINETTE Tao (silk; 50g; 129 yds)

FIESTA La Luz (silk; 57g; 220 yds) re

SKACEL Seta Bella (silk; 50g; 138 yds)

8/2 HAND-DYED Silk

1/6
 AURORA/ORNAGHI FILATI Merino Oro (merino; 100g; 1250 yds)

BELISA Cashmere (cashmere; 50g; 500 yds)

CASCADE/MADIL Kid Seta (mohair, silk; 25g; 230 yds)

CRYSTAL PALACE Kid Merino (kid merino, nylon; 259; 240 yds)
HABU 1/13 Daijoshi (silk; 85g; 404 yds)
JADE SAPPHIRE Cashmere/Silk (cashmere, silk; 55g; 400 yds)
any wonderful ya ns are available for
knitting today’s lace The colors are
sophisticated and vivid, and their range
is often extensive. The fibers are among
the most luxuriou 0 wear and
re

JOJOLAND 2-Ply Cashmere (cashmere; 57g; 400 yds)
KARABELLA Lace Mohair (super kid mohair, polamid, wool; 50g; 540 yds)
SKACEL Merino Lace (merino; 100g; 1350 yds)
TWISTED SISTERS Za Zu (extra fine merino; 50g; 390 yds)
BH
pleasurable to kniWH+ . We were not able to
incorporate them al in our projects, so
include a listing of other yarns we have
enjoyed sampling. You need not fear
substituting yarns. Choose a yarn and color
you love. Buy a ball, work a swatch or two,
block, and make your decision.

ALCHEMY Haiku (mohair, silk; 259; 325 yds)

ALCHEMY Silk Purse (silk; 50g; 138 yds)

HABU 1/5 Silk Roving (wool, silk; 28g; 155 yds)

Old UK sizes
JCA/ADRIENNE VITTADINI Celia (silk; 25g; 109 yds) with metric equivalent *
What makes a needle especially suited
JOJOLAND Melody (wool; 50g; 220yds) for lace knitting? Choose a non-slippery Size 16 1.829mm

TAHKI * STACY CHARLES/FILATURA DI CROSA Luxury (silk; 50g; 160 yds) material (often wood or bamboo),
Size 18 1.219mm
well-tapered points, and smooth joins
TRENDSETTER Super Kid Seta (superkid mohair, silk; 259; 230 yds)
between the needles and cable of a Size 20 0.914mm
TWISTED SISTERS Lust (superkid mohair, silk; 50g; 460 yds) circular needle. Usually you will use a
needle a size or two larger than you Size 22 0.711mm
TWISTED SISTERS Mojo (kid mohair; 50g; 200 yds)
would normally use for a yarn.
Size 24 0.559mm

H Size 26 0.457mm

ALCHEMY Bamboo (bamboo; 50g; 150 yds)

* Miss Lambert’s Standard Filiére
BLUE SKY ALPACAS Alpaca & Silk (alpaca, silk; 50g; 146 yds)
with sizes 1-28 was patented in
CLASSIC ELITE Interlude (linen, silk; 50g; 82 yds) 1847, and the standardizing of
needle sizes was underway. Treat
DEBBIE BLISS Cotton Cashmere (cotton, cashmere; 50g; 103 yds) all early size notations as suspect.
GREAT ADIRONDACK Silk Noir (silk; 229g; 900 yds)

HABU 1/6 Bamboo (bamboo; 85g; 186 yds)

SOUTH WEST TRADING COMPANY Pure (soysilk; 50g; 149 yds)

TILLI TOMAS Pure and Simple (soysilk; 100g; 260 yds)

HEH 500s
1/7
 This shawl is worked in Rowan’s Kidsilk Haze in color 579
Splendour following the instructions on page 32, EXCEPT
after Row 212, do not bind off. Next row (RS) P5, increase
1, [* p5, k1; repeat from * 3 times, p4, yo, k1] repeat until
2 stitches from center, p2; increase 1; p2, [k1, yo, p4, *k1,
p5; repeat from * 3 times] repeat until 5 stitches remain,
increase 1, p5. This establishes the Bell ruffle. Work Rows
2—24 of Bell ruffle chart. Bind off.

Bell ruffle
24 |

1
= 0= 26st —

Kon RS, ponWS

| Kon WS, ponRS
©] Yo

kh
olXO
 We began understanding lace design by understanding
the simple increases and decreases producing the
triangles of Vandyke borders (page 4).
Elongating the simple border produces a triangular fichu or shawl
as in the stretched triangle fichu (page8). ;

1 Nine rather simple triangles (one half a Vandyke border) knit

circularly produce the quite complex looking cap shawl (page 28).

i irroring yarn-over increases on two sides of a center line

produces the standard triangular shawl: with increases on the -
edge of the Syrian shawl (page 130), or increases inside border
stitches on the cherry leaf shawl (page 134).

? The handsome triangle shawl (page

32)istwo triangles worked
wn. de-by-side, from the center of the neck, out and down.

Spider-web shawls (page 44) are made with 3 standard triangles

side-by-side for the half-hexagon and fichu or6 triangles knit
a round for the full hexagon. All three are closely related to the
5imple triangle of the Syrian shawl - with only the direction of
paired eyelets reversed.

vA ACS FAGGOTING IN CENTER PATTERNS

When arranged vertically or diagonally, the yo-k2tog pair
and its variations are known as faggoting.
4 The entire center of the first bordered scarf (page 76) issimple,
Chart5,Open diamond panel centered faqgoting (all rows worked in pattern).
ae Din ria ONE) Po Vj} 17
10 Ste ol7,_INfo FSi Hy 15 +
ue fois lste Basie a 2a amc he opera £ fichu (page 122)shows faggoting
a ed
in lace knitting
cs Ziel telzteizisfoists 28 vn alternate rows worked in pattern).
ZLOIN;O|N[O CIACIAPAL] vi 9
is siz NIO|N|O O1|4|0|4 ae vi 7 B hth di d dD | hi |
:er bg sfatstottetztotzt He a 5 oth the diamond (page 104)and Voipnin lace (page 106)
‘ett <[o ot7 13 double-bordered scarves have centered faqgoting between
. ee Metre a alternating borders.
6 5 times ’

1b ae Fae Oo} °
lo ce CEES, | iw
5} Straight lines of
faggoting often separate other lace motifs. The
+ . .

160 sit tet-te site Slee eee Se 1s handsome triangle shawl (page32)shows lines of faggoting
jEBOEeEE :C ZAC SLABS Zpol {7tol ts 13 between each motif, as does the melon shawl (page 146), stripes
. Ol 4/0 ol 4[ol7lo Olalo Ol|alo Zio; |7lol pp)11 fs rE
00 Ee ae See ane See and torchon lace (page 158), and the Maltese shawl (page 162).
ee oL fo ° o|7lo O|7 Xo Ol|7 Xx at 7\O a.

Ra lel slolsloralow ots talo SRE e 7191{z{9 bes Zigzag lines offaggoting can outline another motif as in the leat
go. ° ° PAT) ° s & ° 7\0| PAT) ie nd t llis .
2 Om te aan a = is foes, 2 and trellis design (page 54).
L pick up 20 stitches from neckband | / Chart 7, Border
¥ Sons esc :" 6 The entire center panel can be outlined or framed with faggoting,
Zloleiztolel7tofelztor tes - asin the pink sampler (page 58), the Pyrenees shawl (page 68),and
ri 7|0 4] 7 : 3
* Chart8,Diamond border 6 30 Hatalziol® aH 5 the Harebell fichu (page 118).
* izteiztelzteiztelz {tz O|N[O O|7[0|7 PALI 19 a he Fiziol ty3

20 g20 GasSe
pe oro229007)
wild eeeeegeCo
eESec ae See
- 1 a;
aerel ier FAGGOTING ON BORDERS
tS | PATI | 7 ra a Z\9
Faggoting on the outside of borders
. .

oat ZeZeZtee Zottetztetz Ae 1 7 Faqgoting can be the entire border, as in Mrs. Hope's Vandyke
ae eeeeeZe Zot fetzt {fete tot tet face border (vage 4), Miss Lambert's Vandyke border (page 50) and the
aes 7\0 O|7|0|4 4\9 7\|90 a7

i O|7/O|7)o| 7/6] 7/0) 70/7 Zlolzfol | IM] 5 Maltese shawl (page 162).
4|ol7 a i ea a [xox rt
Ola aie ateeste cy Z\OIZ\0 O\7|7\|90 3

aight Ee 7a See weak 8 Or faggoting can border another lace motif, as in the leaf and
trellis shawl (page 54), the scarf with No. 20 edging (page 84), and
scarf with edging 21 (page 100).

130
 “Chart 9, Dolphin lace
2 aoe Ss i ee eo
Tf
iV Chart 10, Torchon lace border 10 fect eae Be
34 i Cz = iz
gLicteteizi
a Bs PA = Ge“| Faggoting and eyelets inside border patterns
1 Z[S/O/O[S[ololNOlo/NoloiNJolol Tol j
32 on s &
7] [¥] 33 6 lesions — bee
ZlO[0[7
ESR to accentuate an outer border pattern.
1 4 SES] RES sa
Zlolol/ |e
:
7100
29 2” Es [
“27
PARK} [
20 > Astitches
Single faggoting is seen in the wide border forthespider pattern
25
(page 24), scarf with No. 20 edging (page 84), and many single
23
| 21 lines of faggoting in the Victorian ruby scarf page 92)
19 + |
. ‘| Chart 11, Border
[| ) | 15
EEE SEROEEE One or more lines of double faggoting is even more common:
A a | 8 Ze|701710 ol7lo 2
Se Z/O/O|NOlO|NJOlols) i¥}|73
16 SESE reaeas
70/7/0710 Tjol7[o
[OF
ae
Miss Lambert's Vandyke border (page 50), leaf and trellis
14 EEE 1 iz
INE |
ofc 111
12 [i
eiz 8716 ee
e a! a a
o|7Z\o
|
Ol 7 1a)
aa
o|7 (2)
border (page 54), wide and handsome border (page 88),open
9 10 ||7lo[/lol/jof
lol Olol7|[oy | ¥}7
Sao
ol7lol7\o
O|7\o
forza)
a and solid diamond (page 90), Dolphin lace (page 106), and
ce Ms Meese i o|7\o| Ba
S/O/O/S/O/OjNIO/ojN 5
SE as
ol/loi7\o Mi=toi
baa
aia
BEI AIKos|
ea melon border (nage 146).
3 6 E opt | Bi [OF a)
CIVALIPAL) | ol7io ¥
] fol 7i Iv} 4 4 fea jopr7s

10
CIPAIPAL)
020 2 £ : _
CIPFA)
ipaaea Eyelets or faggoting can surround a border pattern, as in the
ol4 of ol7io
0.20
Clarence border (page 82) or stripes and torchon lace (page 158).
Chart 12, Diamond lace border
i ey ay I zy
Olol/\Zlololz
Teas
7|0
[oy 7ia)
| 31
COMBINATIONS
a eae ESI a CoPAKe}|
PARNIC}PAPAL) | 29
SESE TESS pore:
[ols
;
wa
| O17 a)
S 27 Faggoting, center pattern motifs, or stripes can extend
PARI) ae ol7te 25
ee 2B
and define lace sections in center patterns or extend the
oe oj 7a) border. Itis easiest (but not necessary) to begin with
Zz Z|OlO| 7/710 | 21
RS TOF:

‘oO
ptf Z\0 Late] a 19 motifs with the same number of rows in their repeats.
Z|OlO|7I 710 M) 17
f 5
710
KPAK
NA} TS:
Two-row faggoting is the easiest to align with any other
ES
Se ss
4/0
BIKA
E so many a4
x! 13 pattern and the most widely used design element.
| ap (elzs
7{olol7|7{o teeta 9
Se
:
o/ 7a)
PAK) A! 7, Faggoting within the center pattern can be repeated in
aS (Ie res
7 oe rail
PSE ory
| 5 the border: seen in the spider pattern (page 24) and the
{ Zy ol hse) 3
i +
ZlololZ{Z\o
of71a
oa
Melon border (nage 146).

°
11 Center pattern motifs can be repeated in the border: also in
the wide border in spider pattern (page 24), the leaf and trellis
{2 Chart 13, Wide and handsome border

ema=
OTF) fis Be BS BR) i tf (page 54), aS well as diamonds and triangles (page 150).

12 Lines of faggoting may be comnbined with background faggoting

as in the open and solid diamond (page 90) and scarf with edging
21 (page 100).

13 Nearly any center pattern motif can be isolated, defined with

faggoting stripes or zigzag edges, and turned into a border: wide
border in spider net lace (page 24), wide and handsome border
(page 88), and Victorian ruby (page 92).

14 The traditional Vandyke border (chart 7andpage 50) can be placed

inside a solid edging as in the cape (page 174) and the melon
shawl (page 146).

14 Chart 14, Border

(036
eb
TB =wunrneo
15
bTpEBYBebRBTEb
cBxBZBZB
pe
Tececeeee Ornate,
= shaped border patterns can be placed between double
or triplefaggoting as in the Harebell lace sandwiched between
faggoting (chart 6andpage 119) or the spectacular derivation of
Vandyke lace between double and triple faggoting in the
15 Chart 15, Border Victoria shawl (page 154). Both of these borders are inspired!
Ya
aN

HC 500s 131
 Wide border, page 24
Narrow border 7{o17O}S}0] | | (fol |_| jolstol_| | Te aEpalo ~
ty ST
TT Tt folly 125) Tt jol7 6
[7jol7joi7|_i7jo| | tol 1 lel7] {7iol 1 fol |
{ | a 6d a
{ i lol71_| BS ESma cz ro)
(Ci4for
Toisto 1 fol7l_fafor It 7jol lol7] To
F a aS CAI a ia)
Ci7folviei7|_i7iel_loizl | taol1 \7jor foi7t | Bao ~
| ede TTol71{ i ae 3 a

HOW 10. nnake your own wide border

(l7for_ jolsjor oso Tol Tt Se) { jor ~~
ia 17) = T lolz] i a C12 La)
[“17fol7iei7l_i#ter_jerzt
Val
{Zio fact
it
tory Ao
AST - it T
Zio
4
ic
| | Pe ha -[
710 710180. T_Torsror_{ Tol7] flo! _iZior |_jol7]_ flo ca
[ |
Hs Ce BE T O7 T [ Tol/ jake
ZiO| 1O;7] t7O| lolz] [Aol joi7 jo Zio! lol7i | io} ~~
i T Litter t lt 11 te} ene
O17101 1 EE) ‘olsio| | | fajo oso; | | to! | ™
i T T T Toft 1 [lo] 7 Paes
fo} [o} lol7] |Aiol joj7| T7iol | fajo! Ttlors [ior fajo| | +
mo tyr Tapa) stefeteleiviniots [1 1 lol7 me
|_lol7jol_| 1 toistoy 1 1 lol7l fafol Iie fF roi7t aot ica
TI T i ee fol7] fT T 1o|7
o1 lol 1oi71_1Zlo] 1ol7t 1 Ialor Tor_tetzi_|_wiol_1_1¥
You can combine lace elements to create your own wide borders. Charted patterns
BGG Dn Sea Sam aay OF
O17]0 [ Torstor_|_|_fato- IN Zio| |
=a I a He a a 9 olF
[ fF for jel jol7] t7lol 1 tio} -lol7t {zie Zio ol
a i aeBS PT O17
1
t
fol7jol_|-1
imi
joizio!
!
lol7t tjo
joi7)
j | joj7{
vio
i] O17)
° Or
zy lols
1710
Aol |
¥
|
make the process easy. Just photocopy the charts you want to use; a scissors and
Combo 1 : removable clear tape make it easy to experiment.

All elements that you put together into one border will have to have the same number
of rows for the border repeat to work. It is easiest to start with patterns that already
have the same number of rows orthat share a common multiple. Ifthis is not the case,
Both elements fitinto an 8-row repeat. Stitches highlighted one of the patterns may need to be extended or reduced to make the number of rows
with green are additional faggoting stitches. fit with the other pattern(s).

Here are a few combinations that show how the process works.
Center panel Border, page21

KIS
KINESIN Cornelia Mee’s Veil, page 69
Va21210. Or0 0]210. ol7
Combo2 O10 0.4/0
a
0410
v
v
or vy)

1718 v
Ra
aa v
mo 2 3 zCala 2 = MI

He lo! ia ca
a
vinte ste 4 S
t v.
w zi
i v.
: 023 t 2 Pl v,
v
Two plain rows are added to the 10-row diamond for a v
= tate &
z
v)
v
T Zz
12-row repeat that combines with the border repeat. =
r
|
c
r =
¥|

7Z et oIZ}
y]
70 m= 3 Zz

Shetland pattern Border, page 50 n

7 OL
y v
v
2 v7
v
Zz 719 5 Ov
al I v.

Original border pattern’s 12-row repeat and Shetland

pattern’s 8-row repeat both fitinto a 24-row repeat.

182
 Diamond lace border, page 90
7 i a Ko WA
|O| HAI + TSE EZ a rhe 31
> ‘7lolol71 710] |_|] 29
i ESCO
ZLOlOl71
eater ” 710 i 25
ENE OP
Fa + ° " AS 23
Zlolol7{ziol [I] 21
Ne DEE SAAT NAR
Z[olo|
bat totes °
Z|Zo] | |] 17

eke ©
ie i O17}

7lolol/|Zlol | [| 13
BE | fol z{a
i Z\0 Ba 1
MOC)
j i a é

cam 17 Ofte 5
EE joi
7a
al FAK) | wees 3

i mreletivier tr 1
(O51

A section of a border can be repeated. oar 7g

eaae aS

me ete =
ar ree iach
Ce 718 = imc

——— Other Borders

Qiher Borde oS
—_____— Se ne
To encourage your further explorations, here are several Coburg border,page 162
4 : 14 ce ne Eas] OL]
more
:
lace
2
borders. F Each chart is labeled with the page of : 12 eee erate 3 alec °
Mees 7 Z\OlOlZlolZlolZlo
one project for which it is a good alternative.
ZlolZio| [7lo Te

‘ ; ais Rane
jysarielracawararai
Epa Aga oes aS
7ACIPACCI
fa
AC
Anas
Note The instructions for knitting on the original border : ¢ Kaper tenlohebe PAR ACAT ES PAL
may need to be adapted for the new border’s row- I

sp pi ese cade ag.) f lS ol leer Sol,

|7|O/O|7/O|7/0|7/0 Z\Ol|Z/0 LZ |Ol 5

repeatandwidth. Refertopages 184 and 185 for help 7 Sts e°|: * Pldtetat“tetztetdtet tleller ize PT
with this. hy sie ier 1 ~

[| Kon RS, pon WS Wide point lace, page 130

Pon RS, kon WS Zoe ee eee
\ SSK : j border, page 25
Narrow point UO ge° Pare 8 aw mauvaciwa
8917187 aS vale{Ztottor7tol/tol~tol
VE ao ~ 7 ama ZiOlZfol
i B {zt a
Z| K2tog (if worked on RS), p2tog (on WS) 8 So ee ee Hee ae
4) K2tog, or SSK for directional decrease Sy Sse Zia Neal sla ea Se :Z :AAAALHE
- 3 ZIOLO|Z[O/O 4 O17/0/0 7|0|
| K3tog (ifworked on RS), p3tog (on WS) pz 3= OF as wars Biola oie on
K SK2P ven ©18

I S2KP2 ai
0} Yo
“| S/T with yarn at RS Seashell border, page 146
V] S/7 with yarn at WS 12 ere rs ES 7
@ K7 tbl v0 kaka
~ a
on
¥!11

& Bind off 1st m7

Melon st, see illustration on page 147 zg °
ee ch
LL] K7, passsts1-6 over
st7 hy
pass 4th, 5th and 6th sts
over first 3 sts

MH 2001s Ve We Gai Oh Ric he ASN fe tence e TA we oh) &

Planning a shawl with a knitted-on border

The Victorians knit borders separately, gathered the border to provide the extra length needed to round the corners, and sewed them onto
the center panel of a shawl or scarf. We recommend joining a border to the center panel as you work the border. This process, referred to as
knitting-on, is described on pages 174 and 175. It uses Single Joins along the sides and ends, Double and Triple Joins at the corners.

Planning your own shawl may simply involve choosing a yarn, a color, and a pattern. Or you may want to use a yarn of a different weight—a oS
\. 2-3 stitches of
change in the scale of the pattern which may require a different number of center-panel repeats or a wider or narrower border. Or you may »
: 3 i ; : . center panel
want to combine the border of one shaw! with another's center panel (an approach used several times when developing the shawls for this Sy. :
book); or you may want to modify existing lace patterns; or you may want to adjust the shape. Ifso, you need to do a bit of planning. $a
o wv
+
First, choose one center pattern or combine two or three in columns or bands. Cast on at least two or three repeats of your center pattern S
(plus 2 edge stitches plus any framing stitches) to check how you like the design in your gauge. Change needle sizes until you love your Narrow border

pattern, yarn, and gauge combination. Then cast on and work 2 or 3 repeats of your border pattern. (Remember to designate 1 or 2 selvedge
stitches on both center pattern and border to permit clean slipped stitch edges.) ee
| tLe
Kors
Laer &°
Work several repeats of the border you designed around your center-pattern swatch. Experiment with a combination of Single, Double and ° ce
Triple Joins (page 174-5) to fit around the corner without distorting your border or center pattern. Rip the border and begin again ifyou are pees Fa eee
not perfectly pleased, a 5 *scenter panel

3
Guidelines forfitting borders around corners ° §
Borders are grouped into four main categories according to the number of stitches cast on: Medium tarde

Border type Stitches cast on Joins for corner Border rows for corner coe
Narrow 9 or fewer 4 to 6 Double Joins 16 to 24 rows eye
Medium 10 to 20 6 to 8 Double and 1 Triple Join 30 to 38 rows oe
Wide 21 to 30 8 Double and 1 to 4 Triple Joins 38 to 56 rows eS
Extra Wide 30 or more 8 Double and 4 to 8 Triple Joins 56 to 80 rows ee

Since each Double Join involves 4 border rows and each Triple Join involves 6 border rows, wide and extra wide borders with 8g %
very few rows in a repeat (striped border, page 80, or French trellis border, page 98), require many repeats to round the corner. A 3C
wide and tall border requires fewer repeats to round the corner (wide border in spider pattern, page 24). ‘ a an
ide oorder

This spider net shaw! makes a good example for fitting a wide and tall border to a small center pattern. Along the sides, one 32- eo
row border repeat attaches 16 times to four 8-row shawl repeats. At the corners, 3 border repeats (48.attaching rows) connect ese
to a total of only 25 side and top stitches, making an average of 16 attaching rows to 8 center stitches—twice as many border Kae ss
rows around the corner as on the straight sides of the shawl. | a.
\. 6-7 stitches of
*. center panel

Block your sample as you wish to block your finished shawl. Measure width of border at widest point " Measure width _
y”
and
x
Ss

height____” of one center-pattern repeat.

of
12-14
rows
panel
center

Experience has now taught you enough to knit a perfectly beautiful shawl you will treasure. It is possible to cast on and work your design Extra Wide border
with no more information. However, ifyou wish a shawl of a specific size and with no surprises, work through the steps on the next page.

134
 CENTER PANEL WIDTH
"shawl width
"2 border widths
"center-panel width
Bold type indicates numbers you provide from blocked swatches and desired dimensions.
" repeat width
Fill in those blanks, then work the formulas. Color coding makes iteasy.
# of repeats
stitches per repeat
Blockedborderwidth —Ss"x2= "border allowance center-pattern stitches
2 edge stitches
Desiredshawlwidth ==" — border allowance = " center-panel width any framing stitches*

Center panel width "= blocked width of center-panelrepeat_ "= # of repeats (round to nearest #) stitches to cast on **

# ofrepeats xStitchesperrepeat = center-pattern stitches CENTER PANEL LENGTH

"shawl length
Center-pattern stitches +2 edge stitches + any framing stitches * = stitches to cast on for center panel **
"2 border widths
"center-panel length
Desired shawllength ———" — borderallowance = "center panel length
"repeat length
Center-panel length___"+ blocked length of center-panelrepeat_ "= __—_# of repeats (round to nearest #) # of repeats
#ofrepeats___—sXrowsSperrepeat— == = _patternrows + anyframingrows*___—=—s =__ total center-panel rows per repeat
rows+2=_ ___ Slip stitches (or joins) on edge of center panel center-pattern rows
any framing rows*

Borderrowsperrepeat =» +2= slipstitches per border repeat total center-panel rows

center-panel slip stitches

Knitting border onto sides of center panel BORDER

rows per repeat
Slipstitches on edge of center panel + Slipstitches per border repeat = +7= slip stitches per border repeat
# of border repeats with remainder of............. center-panel slipstitches
BORDER AT SIDES
center-panel slip stitches
slip stitches per border repeat
# of border repeats
Knitting border onto top and bottom of center panel
-2=
border repeats between corners
Stitches in center panel ~ slipstitches per border repeat =
with slip stitches remaining ***
# of border repeats with remainder of............. center-panel stitches +2=

BORDER AT ENDS
stitches in center panel
* Any garter, stockinette, or other stitch used to frame the center lace pattern. slip stitches per border repeat
** Remember, there isone fewer loop undertheneedle than cast-on stitches over theneedle, so adjust # of border repeats
Stitches in lace cast-on or in last row to make these numbers equal.
border repeats between corners
*** ln most cases, at least two border repeats will be used plus any remaining slipstitches to attach border at corners; adjust ifnecessary.
stitches remaining***

185
HH v00s Ve Gummo: Ur oir sAe IN Amtek E 7 0
 i

a
:
=
a 1

a
¥

COLOPHON:
Jane Sowerby’s Victorian Adventure|
In Stonely, just west of Cambridge, in East Anglia, Jane Sowerby’s home is chock-full of
shawls. They're stuffed in a large wooden trunk, draped on beds and chairs, festooned
from lamps, hanging from curtain rods, cascading from hangers, covering the floor.
Shawls haven't just taken over Jane’s home, but her life. “These shawls are my
babies,” Jane says. “Hundreds and hundreds of hours have gone into all the charting
and knitting. |know it may sound peculiar, but |feel almost that I’ve gone back into
that era, to the people who knitted them. I’ve sieved through their patterns, taken
them apart, corrected their mistakes. By the tim fin ished many of these shawls, it
fap)

was almost like |had given birth to them.

“It was an evolving process, never really intended to be a book; that just hap-
pened. |did one shawl, then another, and it was like, ‘lmustdo another, |can’t see the
end of this yet.’ It became an obsession. There seemed to be an avalanche ofVictorian
knitting patterns waiting to be found. Everybody was knitting then—including the
Queen—itwas the in thing.
“So |got myselfareader's card at the British Library in London, the equiva-
lent of The Library of Congress in Washington, and started doing research. |
found Weldon’s Practical Knitter, and other early kn iting writers. One of them
produced ten books in ten years! These weren't the Victorian wallflowers we as-
sume women were at that time. These were career women—not Victorian-wife
stereotypes, warming their husband's slippers—who didn’t care about Victorian
(Opposite page, clockwise from bottom left) The longest-reigning British monarch held the royal scepter and
orb—and knitting needles—The Queen Victoria Memorial. Symbols of an age—gilded gates of Kensington Palace,
Queen Victoria’s birthplace; a pub sign portraying her majesty; “V & A’s”everywhere: intertwined monograms carved
on the gates of Buckingham Palace, the most famous V & A, the Victoria & Albert Museum, embellishing a lamp on the
Victorian Embankment; the gleaming Prince Albert Memorial; iron Victorian floral motif: an icon of the Underground,
Victoria Station; Lavenham’s 16th century Guildhall, half-timbered framing ona grand scale.
(This page, from top), Author Jane Sowerby, in the garden at Belton House; Belton House, the magnificent 17th
century, 1,300 acre, Lincolnshire manor familiar to Jane Austen fans as Lady Catherine de Bourgh’s Rosings Park in
the BBC's 1995 ‘Pride and Prejudice.’

(Clockwise, from above) Dressed in purple: at Hyde Park, and the Royal Albert Hall; lions
guard a fountain at Belton House; the 1830 orangery, and a quiet spotinits greenery;
alacy passion flower; a Grecian temple at Kew Gardens; orangery pool residents; a fern
unfurls; crowned in ferns; Belton House Regency interiors; aphoto shoot among the
topiary; self-powered lawn mower.
Ann
convention, and did what they wanted. |really admired them—and |really
wanted to learn more.
“When you read their books, you begin to absorb a little of the character of the
person. Most of these women seem determined, dogmatic characters, and you can
almost imagine them rapping your knuckles ifyou made a mistake. They're very prim
and proper, even though their patterns may not always be clear or correct, so difficult
to understand. Nobody had ever done this before: there was no system for abbrevia-
tions, pattern instructions, for drawing charts. They had nothing. They had to start at
the beginning. |felt a kind of duty to have their voices heard.
“It was a learning process, and their books gradually got better. Still, fora
modern knitter, deciphering it all would be just dreadful: now we say, ‘Knit 2tog 17
imes. This was 1840, and they would write, ‘Knit 2 together’ literally seventeen times,
and it might take many lines. |used to get dizzy reading some of these patterns, it
was a nightmare. Even up to 1886, it was all there, but you had to be so on the ball. |
can imagine those knitters in groups, in their drawing rooms, in the afternoon, trying
to decipher these patterns. |can’t imagine lone knitters would have got anything else
done, because it took me hours and hours and hours. Once |broke them down, |real-
ized the patterns were incredibly simple.
“The Victorians went in for hugely strong colors, much stronger than those of
y shawls, actually. There was a change going on from natural to chemical dyes, so
the colors became a lot bolder. |chose bright colors that the Victorians would have
0 ved, but |also love natural colors and fibers, and yarns that make a fashion state-
mM
ent. That's why |wanted to see these Victorian shawls brought to life, into the 21st
century—not have them look like lovely museum pieces. Your idea of photograph-
n
g them on models, in historic settings, is perfect. At the time these patterns were
written, a black and white engraving is all a knitter got to see. From that point of
yj
ew, ifone of these knitting writers came back to our photo shoot as a ghost, |should
imagine she would be thrilled to bits.
N
Could any visiting apparition be halfasthrilled as Jane’s visiting photographer
at seeing the glossy postcards, brochures, fliers, and leaflets filled with story-book
locations? This feast—along with a cup of tea—awaits at Jane’s table: ‘Melford Hall,
one of the most satisfying Elizabethan Houses in East Anglia, built sometime between
1554 and 1578... Kentwell Hall & Gardens, a little great house of magical beauty, one
of the loveliest Elizabethan Houses...’ ‘Audley End House & Gardens, one of the most
magnificent stately homes in England...’ ‘Peckover House & Garden, a lovely Georgian
brick town house, with a charming two acre Victorian walled garden: herbaceous
borders, roses, orangery, fernery, and delightful summerhouses..’ ‘Newby Hall &
Gardens, one of Yorkshire’s renowned houses, a very fine example of 18th century
interior decoration: Gobelin’'s Tapestry Room, a gallery of classical statuary, some of
Chippendale’s finest furniture, 25 acres of award-winning gardens full of rare and
beautiful plants...’ ‘Oxburgh Hall, Norfolk, a magnificent moated house, with a great
Tudor gatehouse, built in 1482... ’.
The next magnificent location—"Belton House, Grantham, Lincolnshire,
undoubtedly one of the finest examples of Restoration domestic architecture with 36
acres of gardens. ..’—looks familiar, and the brochure tells you why: “Opening ofthe
NW

refurbished Blue Bedroom and Dressing Room: you may recall Mr. Darcy writing to
Miss Bennett at the desk in this bedroom in the BBC's Pride and Prejudice . .."
Jane Aus en? You can imagine the excitement of this English-major-turned-pho-
+

tographer. With Jane’s husband, David, at the wheel, you're out the door, heading north
on the Al, on the ‘wrong’ side of the road. Does one ever get used to driving on the eft,
you wonder. But not for long. The murmur of the engine, the relaxing d ive through fields
covered with yellow oil seed rape in full bloom, and the jet lag, put you to sleep.
When Jane awakens you, you're driving through the winding streets of
Grantham, about an hour north of Stonely. Soon you spot a familiar sign that bears
the oak leaves logo of the National Trust, the conservation charity which ‘protects
special places in England, Wales, and Northern Ireland, for ever, fo everyone.’ The
fe

1,300 wooded acres of this special place, Belton House, are dotted with wildflowers:
bluebells, primroses, daffodils, cowslips, snowdrops, and forget-me-nots. After the
gatehouse, you reach what appears to be the mansion. But, as it turn 5 out, this grand
building featuring niches, tall windows, and pedimented doorways is the former
Stables that now houses a restaurant. It’s cloudy and rather chilly, and Jane suggests
lunch and a cup oftea.
“It has been quite wet here lately,” she says, and your heart skips a beat at the
thought of rain during your upcoming photo shoot. But thoughts of inclement weather
vanish as you walk across the immense lawn that spreads in front of Belton House.
When, after about ten minutes, you stop and look back, the incredible view takes your
breath away. Belton House stands amidst a sea 0 green, its magnificent go den facade
te

punctuated with acres of glass. A central pediment crowns the front of the house, an
airy cupola soars above six gables and eight tall chimneys, and a carved balustrade
runs the length of the roof, lending a lacy feel to this impressive, stately home.
Jane has brought along a few shawls, and she’s encouraged to stand in for a (Counterclockwise, from right) Belton
model. She walks up the front steps and smiles on cue, but the clouds that fill the sky House portrait; orangery oranges;
Belton House facade, transformed into
darken the light, and it casts harsh, unpleasant shadows across her face. When we
alace niche; Kew Gardens temple; a
do this for real, you think, you'll have to have sun. And what about all those tourists yellow beauty; lacy leaves; author at rest;
in those bright raincoats? Perhaps, a telephoto lens with a very narrow angle of view among the dahlias; Queen Anne’s lace;
would leave most of them out of your picture? a cactus bloom.

(Clockwise, from above) A lacy, fan-vaulted ceiling; one of the finest examples of
English Medieval architecture, King’s College Chapel, completed by King Henry the
VIII; bridges to academe: the Bridge of Sighs, the Mathematical Bridge, Clare College
Bridge; the Tudor Courtyard and Cloisters at Queen’s; St. John’s; King Henry VIII, his
emblem, the portcullis, and swallows.
But there’s no time to contemplate these photographic niceties. It’s time to resume
what Jane ca Is our ‘recy’ (short for ‘reconnoiter’). Through picturesque country anes
bordered w ith—honestly—Queen Anne's lace, we drive on. Ifthere were any remotely
Suitable ocation withi na day’s drive of Stonely, you saw it: windmills in Sussex, |ight-
houses in East Anglia, a ace MUSEUM d nd lace villages in Bedford, timber-frame houses in
historic Laven ham. And then there was Cambridge.
Camb ridge dates from Roman times, growing wh ere the road crossed th e River
Cam (hence i 5 name). thas been home to dons and students for over 700 years: the
mathematici an Isaac Newton; the nat uralist Charles Da rwin; the diarist Samuel Pepys;
the poet Jo Milton; and John Harvard, a student who went o n to found his own col-
hn
ege in the ew World, just as so many English Kings and Queens had done at his alma
mater. Cam bridge is filled with magnificent Tudor, Medieval, and Gothic buildi ngs, and
their sculpted pinnacles resemble go den lace borders agai nst the blue sky. Even the
incomparab e fan-vaulted cei ling of the King’s College Chapel—completed by King
Henry the V lin 1515 and home to the world-famous King's College Singers—seems
to be made up of lace carved in stone.
“Itis impossible not to marvel at the skills of builders al those years ago," Jane says.
“You're walki ng down the narrow lane that leads from King’s College Chapel to King’s
Parade, the busy heart of the city. |love it here: the atmosphere of activity, the bicycles,
the eccentrici ty, the visitors, the Students. Cambridge is a city which is truly alive.”
But Cambridge's town and gown bustle is only a memory as you cross the river
and reach The Backs, the college lawn sand green fields that border the Cam. Here,
amidst the willows and gardens that line th e riverbanks, King’s Parade is replaced
by another: that of waterfowl and punts gliding below. These flat-bottomed boats
are propelled, gondola-like, usually by a col ege student who finds gainful employ-
ment as punt chauffeur. It’s an idyllicscene oflazy school days, but a bucolic one as
well—catt e graze near King’s College Chapel.
“The sight of the morning or evening mist rising along The Backs and their beautiful
gardens, is so memorable,” Jane says. “The River Cam runs behind Queen's, King's, Trinity,
and St. John’s Colleges, and I've contacted them about shooting there. They have been
quite nice,but being very academic, they wondered what the connection is w ith lace. So |
explained what you saidabout the colleges’ architecture complementing Victoria n lace.”
You're tracing you r steps through Cambridge again, but a few months
have elaps ed, and now you and Jane are joined by th e XRX photo team : Editor
Elaine Rowley, Photo Stylist Rick Mondragon, Second Photographer ike Win-
kleman, and Photographer Alexis Xenakis. And every day, the train from King’s
Cross brings a new lovely model from London. “Is this photo shoot going to be
anything like the absolutely frantic pace of our reccy?” Jane asks with a laugh.
“I've never seen anything ike it. |was lagging behind by day two. It was
absolutely exhausting!”
But who can rush through the beauty of Queen’s College—founded by Lady
Margaret Beaufort, mother o f Henry VII, and Elizabeth Woodville, wife of Edward IV?
Time seems to stop in the stiIIness of the Cloister Court. A model, wrapped in a shawl,
stands between ancient wood columns that supportahalf-timbered alcove; a shawl
is draped on the centuries-o d wooden steps that Erasmus once climbed on his way
to his chambers; a bright scarf vies for attention with muted hydrangeas; an author
writes in her journal.
Under the nearby Math ematical Bridge, a model steps onto a punt and poses,
seemingly surrounded by water. But the punt is chained to the bank, and it’s only
through Rick and Mike's exer tions that itseems to be floating down the Cam (see
photo, above).
In St. John’s College— also founded by Lady Margaret-—the picturesque
Bridge of Sighs, an echo of its Venetian inspiration, is mirrored in the Cam; the Kitchen
Bridge provides a backdrop for a shawl; and the quadrangle with its columned arches
becomes an ideal setting for ace scarves.
And along the way, the re were so many gilded statues to photograph, so many
fantastical carvings, So many arched doorways, so many old clocks and sundials, so
many flowers. But by now th e sun—did anyone mention the sun? In all there were,
count them, fourteen consec utive days of sunshine!—had fallen behind the tall
trees that grow along The Ba cks, shading the cows grazing there, and bathing King's
College Chapel in the softest gold (see photo, opposite page). It is a short drive through
Cambridge to our quarters near the rail station. Another model and another day at
Belton House await.
As does our author, wit h her station wagon stuffed with lunch baskets, a por-
table stool, and her ever-present journal. You'd think Jane’s hand is somehow guided
by an unseen one—her journal entries would make any Victorian proud: “Monday,
6th September: Belton House is ours while closed to tourists. It is now owned by the
National Trust, but once was the home of the Brownlows, from the 16th century.
It is surrounded by beautiful parkland, with a wonderful long straight driveway for
carriages which leads to the front entrance. Sheep graze peacefully in the fields round
about, and the silence is magical. For two days we had the grounds to ourselves—
courtesy of the wonderful staff and The National Trust—and were transported into
(Counterclockwise, from above) Cows graze on The Backs—when notsheltering from
another world. The teamn wandered at will, giving out exclamations ofdelight as they
the rain under a giant umbrella; punts anchored to terra firma; modeling on the water,
found new places to photogr. aph. and by the River Cam; a punt chauffeur; Trinity College’s other attendees; prepping a
“There had been thunderstorms the night before, and an early mist shrouded shot; a lord and lady at Hampton Court; lace dandies; draped in lace; the stately home
the landscape, soon to be replaced by more sunshine. The orangery, built in the 1830s, of Thomas Lester, Lace Merchant.

191
 provided a perfect backdrop for most of the morning shots. Blue agapanthus in huge
tubs clothed its frontage and a lower level, in the sunken Italian Garden; in front,
masses of crimson geraniums with black/green leaves, between huge stone ‘pine
apples’ (Victorian spelling) set the mood for the purple Scarf with the Clarence border,
the red-brown Hexagon, and the Melon Shawl (the cover).
“More tubs of myrtle, herbs, and fuschias were dotted outside, and the orangery
itself was full of exotic Victorian plants, which in those days would have been brought
back from The Grand Tour. There was even an indoor pond, in front of which Elaine
sat eating her lunch and enjoying the cool shade of massive ferns. The rest of the
team spread out on the orangery steps, and, for a short time, we all had escaped into
another world.”
Fortified by Jane’s sandwiches, Mike gets adventuresome: “The afternoon comes,
and there’s a tense moment as Mike hovers precipitously over the pool ofthe lion’s
mouth fountain trying to hang the cream Sampler on the wall above. He makes it
without falling in—and the shawl stays dry. Sighs of reliefallaround! In front of the
fountain with its faded red-pink plasterwork, Patricia models the Beginner's Sampler
with the sound of running water in the background.
“Next, more shots in front of the round pond surrounded by blue Veronica and
yellow tagites, and, finally, under the archway below the clock tower Miss Lambert's
Shetland Shawl, with a flowing charcoal silk skirt. The light is now growing softer, and
another day of shooting is drawing to a close.
“Tuesday, 6th September: Another day at Belton. Still hot, but clouds over at the
end of the afternoon. Alexis tries to get some indoor shots before we lose the light.”
‘Some indoor shots,’ include an hour or so in the Blue Bedroom of
Mr. Darcy
(Colin Firth). Getting there means walking up dark staircases, down long corridors,
through grand rooms. Your guide's flashlight reveals traces of fine plasterwork,
exquisite wood carvings, rich tapestries, veined marble floors, brass balustrades,
tall clocks, and Regency furniture, and, for a moment, Belton House resembles an
elaborately appointed movie set.
When your guide throws open the tall shutters of the Blue Bedroom, shafts
of sunlight pierce the darkness and this splendid room, with its bed’s soaring
canopy (see photo, right) becomes the setting for the Alpine Knit Scarf (see page 34).
Your last memory of Belton House outlined against a velvet sky, is from the edge
of the oval driveway, where you take your last shot. Patricia, wearing the Shet-
(Clockwise, from above) The manicured gardens of Belton House; a marble nymph; a
land shawl, throws open her arms—and, with Belton House as your backdrop,
stone lion; a blooming lace bush; a model poses where once Elizabeth Bennett (Jennifer
you have your back cover. Then it is time to say goodbye to the magical world
Ehle) strolled; on a pedestal: a red shawl, a photo stylist, a triangular scarf; grand
of Belton House and its friendly, welcoming staff, and say hello to Maria, who is
staircases; a carriage arch; an author stands in for a model, works just one more row;
arriving tonight in Cambridge.
the soaring Belton House—Blue Bedroom, but no Darcy (Colin Firth).

192
 “Cambridge is shrouded by the early morning mist,” Jane writes in her ournal,
“Dut by the time we arrive at Lavenham, in Suffolk, at 9:15 a.m., the sun hasjust
broken through, giving a bright, but mellow, autumn light. Fourteenth and sixteenth
century houses are everywhe re, some pain ted in pale pastel shades, a ways in tradi-
tional Suffolk colors. Lavenham is a tiny old wool town steeped in history, ori ginally
the home of wool merchants, yeomen farmers, and cottage hand spinners. Maria
models the red rose-leaf trian gle on the steps of Mrs. Hardy's house, 0. 8 High Street,
whilst the church bells r ng and most of the town is only just waking up.
“Later in the morning aria wears th e yellow Victoria shaw and red Scarf No. 8
in front of the Greyhound Pub, where red- hot geraniums drip from hanging baskets.
It isn’t just the flowers that are hot—we are too, as the day prog esses and the
sun shines relentless y. Itis a true English heat-wave, with temperatures around 90
degrees Fahrenheit. Although East Anglia i5 reputed to be the driest area in the United
Kingdom, this summer has been unpredictable, and we kept ourfingers crossed in
case the weather changed, especially after the XRX team landed at Heathrow.
By lunchtime, the town begins to get very busy (it’s a popula tourist spot) anda
“

playfu wind gets up, which makes photography difficu t. But, somehow, the sampler iPLATFORMQ3,
shawl moves with the breeze, with great shots in front of the Merchant's Row. A faded
oak doorway provides another beautiful back drop. Afte r unch at the Swan, undera
shady tree in the garden, the team advances | nto Church Street, Water Street, and Lady
Street where it is quieter. By 3:45 p.m. people are begin ning to follow us around the
town, asking us questions. Mademoiselle de e Branchardi ére would have been proud
to see her semicircular veil photographed in f on t of the o d Wool Hall where fleeces
had been sold years ago. Ice-creams all around, then up the hil towards the Guildhall,
where Alexis spots a delightful orange-red cottage—t isjust the spot for the Cherry
Leaf shawl. Maria sits on the steps, looking as th ough she lives there.”
Jane’s, and your, Victorian adventure continues, for 14 glo ious, consecutive days
of sunshine. Before leaving, there’s one more adventure to go: you treat yourself—and
the XRX photo crew—to a ride on the London Eye, the popular ferris wheel that tow-
ers above the English capital.
London’s panorama spreads at your feet. There are the Houses of Parliament; Hyde
Park; Kensington Palace, Queen Victoria's birthplace; and the Queen Victoria Memorial
in front of Buckingham Palace. England's longest reigni ng monarch holds the orb and
(Clockwise, from bottom left) Anew photo assistant; lace prepping; clocks dot the hori-
scepter, but from high above, the latter looks a lot like a knitting needle —Alexis Xenakis,
zon: London's Big Ben, 1679 Cambridge dial, Belton House clock tower; Jane serves lunch;
Sioux Falls, South Dakota
feasting on the steps of Belton House; Jane’s veggie and cheese snacks, dahlia petals on
the side; lunch board; Alexis and Mike stand guard; remember, look to the right before
crossing; phone home; wrong platform—we’re going to Cambridge, not Hogwarts!
 Belton Manor House

CATION
AT} f* KI

Bridge ofSighs

Belton House Orangery King’s Chapel

‘=i,

Oa<<

West entrance—Belton House Belton House gate


BELTON HOUSE
Darcy's blue bedroom page v
Red drawing room pages 10-11
Formal garden pages 38-39, 159
Entrance pages 4—9
Urns pages 55, 107
The Orangery pages 108-109, 147
Balustrade page 136
View from driveway pages 140-141
Mathematical Bridge pages xii-xiii
The River Cam
>? 4BOOKS
Belton House lawn and garden
LONDON & BRIGHTON
Victoria & Albert Museum pages 74-75
Queen Victoria, Brighton page 111
THE CECIL HIGGIN’S LACE MUSEUM
Laces and interiors pages viii—xis
CAMBRIDGE
LAVENHAM
River Cam page 17
Guild hall pages 2-3
King’s College Chapel page 26
Lady Street page 96
A window—adjacent to
the Bridge of Sighs page 93
Clare College Bridge pages 148-149, 151 Lavenham
Queen’s College pages 164-165
King's College Chapel Back of Queen’s College
195
Acknowledgements

The British Library, London (rare books reading room)

Jenny Lister, Fashion Curator (1800-1914) —Victoria and

Albert Museum, London

Vanessa J. A. Carr—The National Archives, Kew, London

Douglas Sulley—The Royal Archives, Windsor

Elizabeth Elvin—The Royal School of Needlework,
Hampton Court Palace, Surrey
Kathy Woodrell—Library of Congress, Washington D. C.
Decorative Arts Specialist (Rare Books and Special collections)
Richard Rutt—A History of Hand Knitting
The National Trust (England),
and the staffatBelton House, Lincolnshire, England
The University Colleges of Queen’s and St. John’s,
Cambridge, England
The Cecil Higgins Lace Museum, Bedford, England
The residents of Lavenham, Suffolk, England
The owners of Kimbrook House,
Stonely (Thomas Lester-lace)
Elaine and Lizbeth, for meticulously refining my. versions
of the old patterns.
Alexis, Mike, Rick, Sue, and all the team at XRX for bringing
this book to life.
My family, for their encouragement in difficult times,
and their patience with my obsession.
.
 Santa Clara Count
LIBRAR

Renewals:
(800) 471-0991
www.santaclaracountylib.org
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