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Sourcebook: A Breakthrough Guide to

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 N O R A H G A U G H A N ’ S

Twisted Stitch

Sourcebook

A Breakthrough Guide to

Knitting and Designing

Abrams, New York

Contents

INTRODUCTION 6 Pine Cone Shadow Smocking

30 64

31 Pine Cone Outline 65 Smocking Half Step

32 Zigzag Panel 66 Smocking Grow

CHAPTER 1

67 Smocking Fancy
ESSENTIALS 8

68 Twirl
CHAPTER 3

69 Twirl Allover
SMALL 51

PA RT I 70 Arrows
33 Diagonal Columns

71 Blanket Star
Stitches Braids
34

72 Big Star
35 Mini Os

36 Mock Cables
CHAPTER 2

Hilary CHAPTER 5
37
DIAGONAL 18

38 Houndstooth VERTICAL 95

1 Diamond

39 Rhinestones 73 Starburst

2 Diamond Filled
Rune Spruce
40 74

3 Double Diamond

41 Chevron 75 Spire

4 Double Diamond Filled

42 Interrupted 76 Deco Dragon Left

5 Diamonds Allover
Sprouts Seahook
43 77

6 Stack

44 Perpendicular 78 Deco Dragon Right

7 Pyramids Overlap

45 Carp 79 Pleated

8 Pyramid Columns
Carp Rib Quiver
46 80

9 Pyramid Half Drop

47 Lizard 81 Pine Cone Column

10 Zirconia

48 Lattice 82 Mossy Pine Cone

11 Pyramid Split
Carved Lattice Pine Cone Carved
49 83

12 Triangle Half Drop

50 Crossed 84 Tafoni

13 Triangle Shift

51 Plaid Small Garter 85 Blackwork

14 Slash
Plaid Small Wheat
52 86

15 Plaid Vast

87 Droplets

16 Plaid Medium

88 Carpet Allover
CHAPTER 4
17 Bricks
Carpet Column
89
Bricks Alternate H O R I Z O N TA L 71
18

90 Barbed
53 Tri
19 Brick Lines

91 Cherries
54 Random Tris
20 Woven
Carved Cherries
92
Woven Alternate 55 Multiple Tris
21

56 Flowers Allover
22 Woven Lines

Single Flowers CHAPTER 6

Woven Filled 57
23

Triplet Weave 58 Nested Vortex COMPASS 120

24

59 X & O Lattice 93 Always

25 Triplet Weave Garter

60 Rattan 94 Pi
26 Triplet Weave Filled

Triplet Weave Filled Carved 61 Rattan Filled 95 Damask

27

62 Stars Abound 96 Hugs & Kisses

28 Wonky Weave

63 Diamond Star 97 Swedish Star

29 Wonky Weave Carved
 Swedish Star Allover PA RT I I PA RT I I I
98

99 Chain Mesh
Garments D e s i g n i n g Yo u r O w n

100 Small Mesh

101 Mesh Columns

CHAPTER 10

Infinity Cowl 172

G E T T I N G S TA RT E D 250
CHAPTER 7

Inspiration 251
Deep Yoke Pullover 177
EYELET 130
Library of Elements 252

Eyelet Zigzag
102
Planning Grids 253
Island Pullover 182
103 Open Pyramids
+ Diagonal Grid 254

104 Alberta
+ Diagonal + Horizontal Grid 255
Grandpops 188
Jagged
105
+ Diagonal + Vertical Grid 256

106 Open Lattice

+ Multidirectional Grid 257
Romantic Pullover 195

107 Collision
Design Your Own Specialty Shapes 258

Tents
108
Michelle Sleeveless 198

109 Boxes
CHAPTER 11

Cropped Cardi 202

TEN LESSONS 260
CHAPTER 8

1 Turning Corners 261

EXTREME 139 Topper 208

2 Edge-Defining Purls 262

110 Finger Trap

3 Scale 263

Kilim Hat & Mitts 212

111
4 Taking Away 264

112 Sashiko
5 Line Weight 265
Basic Pullover 217
113 Sashiko Compact
6 Evolution 265

114 Folded
7 Testing Repeats 266
Shortie 222
115 Sketch
8 Pattern Design 267

116 Fountain
9 Take One More Step 268
Extreme Yoke Pullover 227
117 Watch
10 It Should Be Easier 269

Sketch Coat 232

CHAPTER 9

KALEIDOSCOPE 151 Snowflake Scarf

238
A B B R E V I AT I O N S 270

118 Water Lily

119 Whirlwind Hexagon Pullover 242

SPECIAL TECHNIQUES 270

120 Balsam

121 Wheel Folds

122 Droid
ACKNOWLEDGMENTS 271

123 Prism Plaid

124 Spiderweb

125 Snowflake

126 Lotus
I n t r o d u c t i o n

is my favorite thing together and one of them on its own. While the look is
M A K I N G U P N E W PAT T E R N S T I TC H E S

to do. I first discovered this years ago, when I was very similar to a cable, these stitches stand out from the

just beginning to design professionally, and my love fabric in high relief, much more than if the switching of

has only grown since. The “aha!” moment for me came places was worked like a cable, with one stitch held in

after returning home from a magazine’s annual design the front or back while the other stitch is being worked.

meeting with memories of a lovely textural pattern Why do I love twisted stitches? As much as I adore

from the editor’s inspiring slide show. After diving cables, it is very satisfying to be able to knit elaborate-

into stitch reference books to figure out where to looking surface patterns without the interruption of

start, Barbara Walker’s Treasuries provided the tools I placing stitches on a cable needle or performing the

needed. Twisted stitches were what I needed to build machinations of working a cable without a cable needle.

the pattern I was remembering, or what the pattern I am intrigued by how much a few simple motions can

had turned into in my head. I tested the several ways do. On a very basic level, stacking twists on top of each

of making twisted stitches suggested, and the author’s other makes mini cables, and lining them up makes

favorites became my favorite methods as well. I used diagonals, slanting either to the right or left. Combining

these exact ways of forming right and left twists for either or both of these things with knits and purls

several decades, only recently adjusting my left twist opens up infinite possibilities.

to more exactly match the right twist (see page 11). This book is divided into three parts: “Stitches,”

Putting my new skills to good use, I began by inventing “Garments,” and “Designing Your Own.” Part I,

loads of patterns with twisted stitches. I found it “Stitches,” contains 130 stitches, most of which are

so much fun to rearrange a few simple elements— newly invented and some that are fundamental basics.

knit, purl, right twist, and left twist—into new-to-me The number of stitches is actually higher. I cheated

formations. A few years later my interests broadened a bit in Chapter 3 and knit related small columns in

to include cables. I credit this early dive into inventing swatches together. The first two stitch chapters, 2

twisted stitches with my love of making up cables and and 3, contain stitches built entirely of diagonal lines.

the eventual publication of Norah Gaughan’s Knitted Often, the stitches are shown in a series, with different

Cable Sourcebook . While I’ve incorporated twisted fills and background stitches aiding in the evolution

stitches in my work now and again over my career, of one stitch into the next. The next three chapters

I recently renewed my devotion to these stitches. are defined by the addition of horizontal and vertical

So, just what are twisted stitches? Knitting terms often elements and then a combination of them all. Next,

have different meanings in different circumstances. For eyelets and twists worked on the wrong side add

instance, the term twisted stitch has a few common further complications. Finally, in the last stitch chapter,

meanings. When you knit or purl through the back loop repeating triangles of pattern form hexagons, which

of a stitch, that makes a twisted stitch, but not the look as if you were peering into a kaleidoscope.

kind of twisted stitch this book is about. In this book, The second part of this book, Part II: “Garments,”

twisted stitches are two stitches that change places contains fifteen knitting patterns: twelve sweaters,

with each other, much like a cable, but worked entirely two scarves, and a hat and mitt set. The sweaters are

on the needles in a special way, by working two stitches written in a full range of nine sizes, to fit chests 30–62"

TWISTED STITCH SOURCEBOOK 6

(76–157.5 cm). Size inclusivity has long been a pet issue to use any of the artwork, photos, or charts in anything

for me. The societal pressure to be thin took its toll on you sell. Designers must make their own charts and use

me when I was younger, and I am now very happy that their own artwork and photos.

wonderful clothing can be found in a much wider range As I mentioned in my Cable Sourcebook , to my mind,

of sizes than ever before. there can be no such thing as an all-encompassing

I also believe it’s important for knitters to be able to encyclopedia of any type of stitch. This collection of

express themselves with the pieces they knit and wear. twisted stitches is just a beginning, a jumping-off point

Included at the end of each pattern is information on for making new discoveries. It is an exciting adventure

how to switch out the stitches designated for a pattern, to which I welcome you.

replacing them with stitches of your choosing. To make

substituting stitches easier, I measured each swatch

in the book to see how much the gauge differed from

Stockinette knit with the same yarn and needles. Each

stitch pattern is labeled with a number indicating how

wide that stitch is compared with Stockinette. I call it

the Percentage of Stockinette Stitch, or PSS. Many of

the garments are very easy to customize using this

information. Making changes like these is the first step

to designing. Who knows where it might lead?

Part III: “Design Your Own” is a guide for those

interested in making up their own new twisted stitch

patterns. I talk about how to get started by finding

inspiration, and how every new design is built upon

those that came in the past. Some helpful tools

included are knitter’s proportioned graph paper and

diagonal grids to help with planning out new stitch

patterns. A series of ten lessons range from the basics

of pattern design to details pertaining specifically to

twisted stitches.

A W O R D A B O U T R I G H T S

A N D D E S I G N E R U S E

The stitch designs in this book are meant to be used by

knitwear designers. Feel free to incorporate the stitches

in your own work, and feel free to make your own

variations. That’s how progress happens. That’s what

the book is for. However, you are not permitted, by law,

C H A P T E R 1

E s s e n t i a l s

Twisted stitches are easily accomplished. It’s amazing how

a few simple actions can create so many different patterns.

Before you get started, it’s important to know some essentials,

like choosing yarn, reading charts, and working the twists

themselves, whether you are standard or a combination knitter.

B A S I C S

Choosing Yarn

My favorite yarns for knitting twisted stitches are made While choosing yarns for the garments, I widened

of wool and wool blends; in particular, those with a the field of possibilities and was more adventurous.

smooth, round construction. Those of you who prefer to The chunky-weight single-ply Quince & Co. Puffin, used

avoid wool or animal products can find some very nice in Grandpops (page 188), creates large, well-defined

cotton/acrylic or acrylic/nylon blends that are bouncy twisted stitches, resulting in a pattern of geometric

and light, great qualities for twisted stitches. Whatever flowers so grand that it boldly sprawls across the

the fiber, 3-ply, 4-ply, and multi-ply constructions tend surface of the cardigan. Jill Draper Makes Stuff Valkill,

to be round and springy and really show off the mini used in the Cropped Cardi (page 202), is another single-

cables and diagonal lines, the building blocks of all ply yarn. Valkill is hand dyed in a relatively high-contrast

twisted stitch patterns. I tend to avoid 2-ply yarns when semisolid, with a variety of shades of the same hue. The

I’m working with twisted stitches, because the results contrast of dark and light pushed my limits, but I think

are pebbly and the extra texture doesn’t enhance these it works because of the great definition this yarn gives

pattern stitches. However, single-ply or roving yarns to the pattern stitch. Another semisolid, Neighborhood

can also be great choices. When it comes to color, solid Fiber Co. Studio DK, knit into the Hat & Mitts (page

shades are best. Semisolids can also work well, but 212), is more subtle and doesn’t interfere with the stitch

too much color contrast within the yarn fights with the pattern at all, only enhances it.

twisted stitches for visual dominance, and neither wins. I’ve been mentioning plies a lot, but not all yarns are

The multi-plied yarns I used for the swatches are plied. Rowan Softyak DK is a ribbon, made in a knitted

among my very favorites. I chose them because of how tube, which works up beautifully in the Deep Yoke

well they showed off the multitude of stitches in each Pullover (page 177). As far as other color variation goes,

chapter. there is no need to shy away from tweeds and heathers.

+ Chapter 2: Valley Yarns Wachusett, a lovely, soft, As seen in the Infinity Cowl (page 172), the heathered

round blend of wool and cashmere in worsted weight shade of Berroco Ultra Wool adds some interest but

+ Chapters 3 and 9: Rowan Alpaca Soft DK, a multi- doesn’t detract from the pattern stitch. While I’d avoid

plied blend of wool and alpaca in a traditional twist extra texture, a soft halo isn’t a quality to be afraid

+ Chapters 4 and 5: Brooklyn Tweed Arbor, a DK weight of. Blue Sky Fibers Eco-Cashmere (Michelle Sleeveless,

3-ply of springy American Targhee wool page 198), mYak Baby Yak (Hexagon Pullover, page 242),

+ Chapter 6: Kelbourne Woolens Germantown, a revival and Quince & Co. Crane (Romantic Pullover, page 195)

of a style of yarn first spun in the 1800s, worsted all have a soft halo, especially after being washed. The

weight and multi-plied lightly fuzzy surface doesn’t interfere with the pattern

+ Chapter 7: Quince & Co. Chickadee, a 3-ply yarn spun at all. While I can tell you which yarns I like best and

from soft American wool give you a few hints about what qualities to avoid, the

+ Chapter 8: Brooklyn Tweed Peerie, a fingering-weight best advice I can give is to swatch and swatch some

4-ply made with American-grown Merino wool more. Try several yarns, and test out a few needle sizes

CHAPTER 1 ESSENTIALS 9 TWISTED STITCH SOURCEBOOK

for each yarn. I’ve found that with twisted stitches, a
R T A N D LT I N S T R U C T I O N S F O R

firm tension is better than a fabric that is too loose.

S TA N D A R D K N I T T E R S

Don’t skip blocking your swatch. If you think the To work a right twist (RT) on right-side rows: K2tog,

fabric looks a little loose and open, which can happen leaving the original sts on LH needle, then knit the first

with twisted stitches, washing may allow the yarn to st only and slip both sts from needle.

bloom and transform your swatch into the fabric you

To work a left twist (LT) on right-side rows: Slip 1 st

were looking for. Blocking can really improve the look

knitwise, slip a second st knitwise, slip both sts back

of your finished piece and may change the gauge a

to LH needle in their new orientation (just like for the

bit, depending on your yarn. Remember to block your

beginning of ssk); knit into the back of the second st

swatch the way the garment will be treated in use.

(approaching from the back), then knit into the back of

Most knit garments will be hand washed; some, machine

both sts together and slip both sts from needle.

washed. My favorite method of blocking is steaming,

using the kind of garment steamer that has a reservoir I consider working twists on wrong-side rows to be a

of water and a stand for the wand. The result is similar more advanced technique, but it’s really not hard to

accomplish; it’s just hard to see what you are doing.

to wet blocking for many yarns, but special care needs

to be taken when working with superwash and other

RT (WS rows): Purl into the second st, leaving the

shrink-resistant yarns, because they will loosen up and

original sts on LH needle, then purl into the first and

stretch when wet, while more rustic fibers will bloom

second sts together and slip both sts from needle.

and become more full when wet blocked, neither of

LT (WS rows): Slip 1 st knitwise, slip a second st

which can be duplicated with steaming.

knitwise, slip both sts back to LH needle in their new

orientation (just like for the beginning of ssk); purl into

Working Twisted Stitches

the back of both sts together (approaching from the

Are you a combination knitter or a standard knitter?

back), then into the back of the first st only and slip
The instructions for working RT and LT are different

both sts from needle.

depending on how you knit. Some continental knitters

(or pickers) purl in a particularly efficient way, resulting

in their stitches being seated from back to front after

R T A N D LT I N S T R U C T I O N S F O R

working a purl row. In every Twisted Stitch class I

C O M B I N AT I O N K N I T T E R S

teach, one or two knitters newly discover that they are While teaching I discovered that, when it comes to

combination knitters. For our purposes here, we’ll call all combination knitting, it is confusing, maybe meaningless,

non-combination knitters standard knitters . Are you a to talk about slipping knitwise or purlwise on the knit

combination knitter? If you knit using the English method, rows, where the stitches are oriented from back to

also called throwing, you can skip this section. You are front. Instead, I refer to changing the orientation of a

not a combination knitter. If you use the continental stitch. For instance, if the stitches on your needle start

method, or picking, you may or may not be a combination in the front right and go over the needle to the back,

knitter. To find out, start knitting in Stockinette stitch. after you reorient them, the stitches will start in the

Work a purl row, then turn your work over, ready to back right and come over the needle to the front.

start your knit row. Are the stitches on your nonworking

Combination RT (RS rows): Reverse the orientation of

needle starting in the back right and coming over the

the next 2 sts. K2tog, leaving the original sts on LH

needle to the front left? You are a combination knitter.

needle, then knit the first st only and slip both sts

Are the stitches on your nonworking needle starting in

from needle.

the front right and going over the needle to the back

left? You are a standard knitter. Combination LT (RS rows): Knit into the back of the

second st (approaching from the back), then knit into

TWISTED STITCH SOURCEBOOK 10 CHAPTER 1 ESSENTIALS

the back of both sts together and slip both sts from

needle.

The instructions for working RT and LT on wrong-

side rows is the same for combination knitters and

standard knitters. I am repeating the definitions here

for easy reference.

RT (WS rows): Purl into the second st, leaving the

original sts on LH needle, then purl into the first and

second sts together and slip both sts from needle.

LT (WS rows): Reverse the orientation of the next 2 sts;

purl into the back of both sts together (approaching

from the back), then into the back of the first st only

and slip both sts from needle.

T R O U B L E S H O O T I N G Y O U R T W I S T S

Before I tell you how to fix problems and mistakes, I’d

like to ask you not to be too much of a perfectionist.

Look closely and you’ll notice that, on all the swatches

in this book, most of which were knit by me, the left-

Alternate LT for standard knitters (RS rows): Knit into

slanting lines and the right-slanting lines are not

the back of the second st (approaching from the back),

identical. My left slants tend to be smoother than

then knit into the back of both sts together and slip

my right slants. On right slants, my stitches tend to

both sts from needle. Alternate RT for combination

alternate larger and smaller, making the right-slanting

knitters (RS rows): K2tog, leaving the original sts on

line bumpier compared with the smoother left-slanting

left-hand needle, then knit the first st only and slip both

lines. I ignore this. My knitting is good enough. If you

sts from needle.

examine your work too closely, something will always

seem wrong. I prefer enjoying knitting to figuring out the I had trouble getting my left twist to lift from the

causes of small imperfections.

surface when I was knitting the swatch for #43, Chevron

However, there are a few things to watch out for that

(see above), and had better results when I used this

can be easily corrected. It’s important that the right

method. If you look very carefully, you can see that the

slants and left slants appear to lift up from the fabric

legs of the stitches on the left slant are crossed over

about the same amount. In classes where I’m teaching each other (twisted in the other sense) every other row.

twisted stitches, I have worked with some knitters For combination knitters, this problem is more likely to

whose left twists barely lift from the fabric and are not
happen with their right twist, and the solution is the

nearly as evident as their right slants. If this is true

same, omitting the reorientation of the stitches before

for you, try working farther from the tip of your left
working the twist.

needle and make larger motions when pulling your yarn

through to make a new loop. In some cases, you may A B O U T P S S

want to work the left twist the way I did, quite happily, I wanted there to be a way for knitters to customize the

for twenty years, without reorienting the stitches before knitting patterns in this book by changing the stitches.

working the twist:

This would be fairly easy if all twisted-stitch patterns

had the same gauge, but some pull in more than others.

CHAPTER 1 ESSENTIALS 11 TWISTED STITCH SOURCEBOOK

Those with a higher concentration of twists, and the to forget to work those stitches, and most often you’ll

stitches that incorporate a lot of ribbing, pull in the most. discover the mistake when you get to that spot on the

Almost all of them have a tighter gauge than Stockinette next row. It is definitely worth learning to drop one

stitch when knit in the same yarn with the same size stitch down a row in order to rework it, and it is still

needles. I thought a clear way to note the difference in worth it to drop a couple of stitches for a couple of

size, regardless of yarn weight, would be to show how rows. Try it. You have nothing to lose, since the other

big that stitch would be compared with the same number option is ripping clear back to your mistake.

of stitches in Stockinette stitch. First, I determined the I don’t recommend dropping down to change a large

Stockinette stitch gauge of yarn used for each chapter number of twisted stitches to Stockinette or vice

knit on the same needles used to knit all the swatches. versa. The twists take up more yarn than Stockinette

Then, I measured the pattern portion of each swatch, or stitch does, so if you drop down to change twisted

a wide pattern repeat within a swatch, and took note of stitches to Stockinette, your stitches will grow sloppy

how many stitches made up that width. I calculated how as they take up the extra yarn. If you drop down to

wide that number of Stockinette stitches would be, and change stitches from Stockinette to twist, you won’t

I divided the width of the twisted stitches by the width have enough yarn and the new twists will be tight. I’ve

of the Stockinette stitches to see what percentage the learned this from experience.

twisted stitches pull in.

For example, for Zirconia (#10), 40 stitches = 6.75" W O R K I N G F R O M C H A R T S

(17 cm). My Stockinette gauge with the same yarn and If you are what I call a spreadsheet thinker, your ideal

needles is 5.5 stitches to 1" (2.5 cm), so 40 sts = 7.27" in pattern is written out row by row. When you’re done

Stockinette stitch. I divided 6.75 by 7.27, which = .92. So, with a row, you cross it off on your pattern. When

Zirconia pulls in the width of approximately 90 percent of instructions aren’t detailed enough for you, you make a

the Stockinette-stitch gauge. I rounded up and down to spreadsheet, or even write out each row yourself.

the closest 5 percent. If you are what I call a chart thinker, you like to see a

You can easily substitute stitches with the same visual representation of what you are creating. Following

Percentage of Stockinette Stitch (PSS). If the PSS is off a symbol that looks like the cable you are knitting is

by 5, your garment will be off by that 5 percent around much easier for you than reading words that describe

the chest, which is close enough for loads of folks, each action.

but not for the most exacting personalities. To give I almost always prefer to work from charts rather

you an idea, if the entire surface of a 44" (112 cm)– than row-by-row instructions, especially when working

chest sweater is worked in a twisted-stitch pattern, twisted stitches or cables. When using a chart, if

and the new stitch is 5 percent smaller than the you put your knitting down and come back later, it is

original, the new chest measurement would be about much easier to see where you are in the pattern than

42" (106.5 cm). If it were 5 percent larger, the new if you are following written instructions, because you

chest measurement would be about 46" (117 cm). To can compare your knitted fabric with the chart. When

help you make substitutions specific to each garment following written instructions, you can make a mark on

pattern, you’ll find notes about substitution and some the instructions that tells you where you are leaving

suggestions at the end of each pattern. off, but, in practice, I have found that many knitters

with the best of intentions don’t succeed at doing this

F I X I N G M I S TA K E S consistently and then struggle to figure out where they

There are several reasons you might want to drop are in the pattern.

down a row to fix a small mistake. Although I tried to Charts make it so much easier than written

keep it to a minimum, some patterns introduce reverse instructions to figure out if you have made a mistake

Stockinette stitch on wrong-side rows. It is very easy and how far you have to rip, or drop down, to fix it. Just

TWISTED STITCH SOURCEBOOK 12 CHAPTER 1 ESSENTIALS

look at your knitting and compare it with the chart. right-side row numbers

Since twisted-stitch chart symbols are designed to look

8
like the twisted stitches themselves, once you get used

to them, you can decipher them at a glance. 6

repeat these rows

5

As hard as we might try, designers do make mistakes, for the pattern

4

taeper wor-8
3
and even after the technical editor and proofreader

have gone over a pattern with their discerning eyes, 1

wrong-side
sometimes mistakes make it into print. But once you

row numbers
8-st panel
start knitting, if you see the mistake in your knitting,

work wrong-side rows work right-side rows

from left to right from right to left

by looking at the chart, you’ll likely be able to figure

out what to do to correct it because you’ll be able to

work these stitches

discern what was intended. for the pattern

Compared with working from written words, it is much

easier to understand how to decrease or increase in

8
a twisted-stitch pattern when working from a chart.

Whereas written instructions may tell you to “work in

6

5
pattern” and leave it up to you to understand what

that means, charted instructions provide visual clues 3

because you can easily see what came before and what
1

comes after.

these lines define the these additional stitches outside

Once you understand the basics, reading a chart beginning and end of 6-st repeat of the heavy-lined pattern

the pattern repeat repeat are intended to balance

becomes second nature. Here are some general

both sides of the pattern; work

repeat these stitches

them at the beginning and end
guidelines:
for the pattern
of the pattern only

+ The chart is drawn to represent how your knitting

will appear when you’re looking at the right side of

the fabric, the side that will be on the outside. All of the row is worked from the edge labeled “left” to the

the symbols represent how the stitches look on the edge labeled “right.” The chart is also worked the

right side. way the piece is labeled, from left to right. If you are

+ One square on a chart represents one stitch. having trouble wrapping your mind around this, don’t

+ Right-side rows are worked from right to left on the worry. Sometimes a full understanding of the concept

chart. Wrong-side rows are worked from left to right comes after you’ve been knitting for a while.

on the chart. + The chart key may give one definition for right-side

+ The row number is placed on the chart where you will rows and another for wrong-side rows. Because the

begin the row. Right-side rows have the numbers along symbols on the chart represent how the fabric will

the right edge of the chart, and wrong-side rows have appear when looking at the right side, you must do

the numbers along the left edge of the chart. the opposite on a wrong-side row. For instance, a knit

+ Imagine labeling everything as if you are seeing it stitch is represented as an empty box on the right

from the right (or public) side of your work. Picture side. When you see an empty box while working a

those labels pinned to your knitting. Once the right- wrong-side row, you purl it, because when you purl on

side row is complete, you’ll need to turn the piece the wrong side, it will look like a knit on the right side.

over to work on the wrong side. The yarn is now on This is clearly defined in the key as “knit on the RS”

the edge you have labeled as the left-hand edge. You and “purl on the WS.”

are working from your right to your left, as always, + If you are working in the round, your round always

but since you are on the back of the knitted piece, begins on the right. The charts in this book can all be

CHAPTER 1 ESSENTIALS 13 TWISTED STITCH SOURCEBOOK

 worked in the round, and the keys have been written S Y M B O L S

with that in mind. (Note that the text has been

The symbols in this book were designed to tell you

written for working back and forth in rows, not in

as much as possible at a glance about the twisted

the round; if you wish to work in the round, you will stitches, fills, and background textures that you are

need to work from the charts.) If you see a symbol about to work. They are based on standard symbols

with an explanation for working both on the wrong generally used within the knitting community. To help

side and on the right side, but the symbol is placed guide your eye, the symbols have been color-coded. This

on a wrong-side row, work that symbol following the key contains all the symbols used in this book. Refer

directions for working on a right-side row, since if

back to this key for every chart.

you are working in the round, there are no wrong-

side rows.

Knit on RS, purl on WS.

It’s fine to make a photocopy of the chart you

are working on for your personal use (but not for

Purl on RS, knit on WS.

distribution).

K1-tbl on RS, p1-tbl on WS.

+ Enlarge the chart when you photocopy it if your

vision isn’t great. Sometimes it is necessary to

MB: (K1, k1-tbl, k1, k1-tbl, k1) into one st, slip the 5 sts

back to left-hand needle; k5, slip the 5 sts back to

photocopy the chart in two pieces if it is long; just
left-hand needle; k5, slip the right-most 4 sts over

the left-most st.

make sure that you don’t leave out any rows when

you do so. For a chart that is really wide, it might Yarnover

help to photocopy each half of the chart, then cut

K2tog on RS, p2tog on WS.

and paste the halves into one full chart so that you

Ssk on RS, ssp on WS.

can read across the rows without having to consult

two separate sheets; again, be sure you’re not

P2tog on RS, k2tog on WS.

missing any stitches in the center.

P3tog on RS, k3tog on WS.

+ A magnet board, highlighter tape, washi tape, or

a large sticky note placed above the row you’re

RT (RS rows): K2tog leaving the original sts on LH

needle, then knit the first st only and slip both sts from
working on brings your eye right where you want it

needle. (See pages 10–11 for combination knitters.)

to be and makes referencing the chart much easier.

RT (WS rows): Purl into the second st leaving the original

However, if placing it below works better for you, sts on LH needle, then purl into the first and second sts

together and slip both sts from needle. (See pages 10–11

that’s fine, too. The one disadvantage to placing it

for combination knitters.)

below your current row is that you’ll be obscuring

LT (RS rows): Slip 1 st knitwise, slip a second st knitwise,

slip both sts back to LH needle in their new orientation

the previous row, which you may need to refer to

(just like for the beginning of ssk); knit into the back of

while you are working. Place a photocopy of the the second st (approaching from the back), then knit

into the back of both sts together and slip both sts from
chart in a plastic sleeve if you plan to use any kind
needle. (See pages 10–11 for combination knitters.)

of adhesive tape as a row marker. That way you

LT (WS rows): Slip 1 st knitwise, slip a second st knitwise,

slip both sts back to LH needle in their new orientation

won’t risk marring the original printed page.

(just like for the beginning of ssk); purl into the back of

both sts together (approaching from the back), then into

the back of the first st only and slip both sts from

needle. (See pages 10–11 for combination knitters.)

TWISTED STITCH SOURCEBOOK 14 CHAPTER 1 ESSENTIALS

E D G E S A N D D E C R E A S I N G I N P A T T E R N

When knitting flat, I like to have at least one Stockinette

stitch at the edge, making sewing pieces together much

neater and easier. If you find yourself decreasing into

the pattern stitch, keep the edge stitch in Stockinette,

and when you can’t work a whole twist, work the

remaining stitch as knit.

W O R K I N G I N T H E R O U N D

With the exception of the charts in chapter 9, which If there are stitches before and after the repeating

are intended to be worked in the round, almost all the stitches, omit those stitches outside of the repeat,

charts in this book are written to be worked flat. They and work only those within the repeat. In the example,

are easy to work in the round as well, if there are no Plaid Small, to knit in the round, cast on a multiple of 12

stitches before and after the repeating stitches. Here is stitches, start knitting with the second stitch, and keep

an example: knitting the 12-stitch repeat, never working that first

stitch that’s outside of the repeat.

16 20

15 19

14 18

13 17

12 16

11 15

10 14

9 13

8 12
taeper wor-61

7 11

6 10

taeper wor-02
5 9

4 8

3 7

2 6

1 5

10-st repeat
2

12-st repeat

CHAPTER 1 ESSENTIALS 15 TWISTED STITCH SOURCEBOOK

 P A R T I

S T I T C H E S

This is the core of this book: 126 twisted-stitch patterns, organized

into eight chapters, opening with stitch designs made solely

with diagonal lines, increasing in complexity with the addition of

horizontal elements and then verticals before combining them all. The

subsequent chapters explore further, using lace stitches in tandem

with twists and then, breaking new territory for me, twists worked

every row. The final chapter sees a return to my long-standing love of

the kaleidoscopic magic made by placing patterns into hexagons.

 C H A P T E R 2

Diagonal

In this chapter, I begin to

explore the variety of forms

possible using the diagonal

lines created with right and

left twists. Slashes, triangles,

pyramids, and diamonds are

refined, expanded upon, and

sometimes combined. Many

more stitch patterns explore

the illusion of weaving created

by alternating right- and

left-leaning forms with many

variations. It’s amazing how

much a diagonal line can do.

Another random document with
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 Selection of Animals for Slaughter

§ 6. Health

In the selection of animals for slaughter health should be given first

consideration. Even though the animal has been fairly fed and
carries a prime finish, the best quality of meat cannot be obtained if
the animal is unhealthy. If the animal has fever or serious
derangement of any kind, the meat will not be wholesome. There is
little direct evidence of harmful results from the use of animals in the
first stages of such diseases as tuberculosis, cholera, plague,
rinderpest, and such diseases, but the only safe course is to
discourage the use of any animal for food that is known to be in
imperfect health. The keeping qualities of meat are always impaired
by fever or other derangements of the system. Bruises, broken
limbs, and like accidents all have the same effect on the meat as ill
health, and unless the animal can be dressed immediately after such
accidents, it is best not to use the meat for food. This is especially
true if the rise in temperature, which usually results from such
accidents, has been 2 degrees F. or more. A rise in temperature just
before slaughtering usually results in a stringy, bluish meat, which is
difficult to cure. Animals should not be butchered while in heat, as
the meat of such animals will be strong, and cannot be cured, as it
sours quickly.

§ 7. Condition

First class meat cannot be obtained from animals in poor flesh. The
proper amount of fat must be present to give juiciness and flavor to
the meat. It is more important, however, that the animal should be in
good physical condition than that it should be very fat. “Never kill an
animal when it is losing flesh” is a maxim followed by butchers.
There is a good deal of truth in the saying. When the animal is losing
in flesh, the muscle fibers are shrinking in volume and contain
correspondingly less water. As a result, the meat is tougher and
drier. When an animal is gaining in flesh, the opposite condition
prevails, and a better quality of meat results. Also, a better quality of
meat will be obtained from an animal in medium flesh, but gaining in
weight, than from a very fat animal that is neither gaining nor losing
in flesh.

§ 8. Breeding

Because of careless selection of breeding stock, most of the hogs in

the region of Canton have low backs, large bellies, scant hams,
never produce the best quality of meat, and have a low dressing
percentage. The improved hog with a level or slightly arched wide
back, long, deep, smooth sides, full hams, and short neck and head,
has meat of the best quality, and such hogs have the highest
dressing percentage. Fine bone, soft hair, and mellow flesh, qualities
generally found in well bred animals, are desired in all animals used
for meat, as they indicate meat of a good quality, with a minimum of
waste.

§ 9. Feeding

The kind of food the hog gets during the last six or eight weeks of the
fattening period largely determines the flavor and the character of
the meat. During that period, it is best not to feed very much of rice
bran, or peanut cake, as when such feeds are given they produce
very soft, oily fat. Wheat bran and corn produce a firm fat, and one or
the other, or both together, should constitute a large part of the grain
ration for the fattening hog.

§ 10. Age and Size for Killing

It is a well known fact that meat from an old animal is very likely to
be tough and difficult to cook sufficiently to make it tender. On the
other hand, meat from very young animals is watery and often lacks
flavor. An old animal in good condition is to be preferred to a young
one in poor condition. Hogs can be killed for meat any time after six
weeks, but the most profitable age at which to slaughter is from eight
to ten months. Hogs at that age have a higher dressing percentage
than when younger. Gain in weight is made at a lower cost in young
animals than in older animals. For this reason, it is not advisable to
keep a hog much longer than twelve months, or a beef animal more
than two years, unless feed is very cheap.
If the pork is to be cured, the hogs for butchering should weigh from
one hundred and thirty to two hundred pounds. Larger hogs can be
butchered conveniently, although a hog much heavier will be more
difficult to handle.
In southern China, where the day temperature is seldom below sixty
degrees Fahrenheit during the butchering season, a difficulty in
cooling the meat will be experienced, unless ice is used, and if the
meat is not properly cooled it will not cure well.
Chickens have the most tender meat at the age of three to six
months, depending on the variety, and at that age sell for the highest
price. Poultry that have just reached maturity are best for curing.
 Preparation of the Animals for Slaughter
It is important that the animal to be slaughtered should not be given
food from twenty to thirty hours before slaughtering. If kept on full
feed until just before it is killed the circulatory system is gorged, and
the blood, loaded with assimilated nutrients is driven to the
extremities of the capillaries. In such condition, it is impossible to
drain the veins thoroughly, and a reddish colored, unattractive
carcass will result. Food in the digestive tract decomposes very
rapidly after the animal is killed, and when the dressing is slow the
gases from such decomposing food are apt to flavor the meat.
Water should be given freely up to the time of slaughter, as it helps
to keep the temperature normal and helps to wash the waste matter
from the system, resulting in a nicely colored carcass.
The care of the animals before slaughter has considerable effect on
the meat. They should not be excited in any way sufficiently to raise
the body temperature. Excitement will prevent proper draining of the
blood vessels, and, if extreme, will cause souring of the meat on
curing. An animal should never be killed immediately after it has
been heated by a hard run. It is better to let such an animal rest until
the next day rather than to run the risk of the meat spoiling, as the
meat of an animal that has been overheated will not keep well. Such
meat is usually of pale color and very often will become sour or
putrid within three or four days after it has been dressed, even
though kept near the freezing point while it is being cured.
Care should be taken not to bruise the animals in handling them just
before killing. Bruises cause the blood to settle in the part of the
carcass affected, presenting an uninviting appearance, besides
affecting the curing qualities of the meat.
Before killing, a twenty-five hour fast, plenty of clean water, careful
handling and rest, are all important items in securing the best quality
of meat, either for cooking fresh or for curing purposes.
 Bleeding and Dressing Hogs

§ 11. Tools

The essential tools for doing good work at killing time are: A good
sticking knife, a cleaver, a 14-inch steel on which to sharpen the
knives, hog hooks, bell-shaped scrapers, meat saw, and gambrel.
More than one of each tool is necessary if many hogs are to be
butchered and handled efficiently. A block and tackle will reduce
labor in hanging the hog for gutting.

§ 12. Scalding Equipment

In China, the water for scalding is heated in a sort of a furnace

commonly called t’ong chue ts’o. (劏豬灶). The furnace is made of
brick and concrete, or concrete only. It is usually about thirty-six
inches wide, six feet long, and twenty-eight inches high at one end,
gradually sloping to about twenty-six inches high near the other end,
where a large brass or iron basin for holding water is placed over a
fire grate. The basin in which the water is heated is usually about
twenty inches in diameter, eight inches deep in the center, and
diminishing in depth from the center to the rim. The shallow basin
with large contact with the fire obtains quick heating and saving of
fuel. The top of the furnace is made to slope from all sides toward
the bowl so that, when hot water is poured on the hog which lies on
the table, the water runs back into the basin.

§ 13. Killing the Hog

All tools and apparatus used in killing and handling the animal
should be ready before it is killed. The knives and saws should be
sharp and clean. The water should be near the boiling point and the
block and tackle ready, if one is to be used.
The common and most satisfactory method of killing the hog is by
severing the large arteries and veins in the neck of the animal with a
sticking knife about nine inches long. The animal should be laid on
its back and held firmly while it is being stuck. Two men can handle a
large hog if they work intelligently. By reaching under the animal and
grasping the opposite legs and suddenly jerking the legs, a heavy
hog can be easily turned over on its back. One man standing astride
the animal with his feet close against its sides, and holding the front
legs, can easily control it while the other does the sticking.
 Fig. 5. Tools Used by Chinese in Butchering.

Lower Row Right to Left.

Sticking knife.
Cutting and scraping knives.
Heavy knife for cutting meat.
Knife for cutting bone.
Cleaver.
Funnel for Stuffing sausage casing.
Hook used in handling meat that is being roasted.
Tool used in roasting meat.

Upper Row Right to Left.

Cork with needles for pricking casing when it is being filled in
order to let out the air.
Hooks for handling carcass.
 Fig. 6. Hog scraped and hung up for gutting.

Fig. 7. Scraping the hog on the “t’ong chue t’so”.

It is a common custom with Chinese butchers to lay the hog across a

narrow bench for sticking. This requires more handling of the animal
then when the animal is simply turned over on its back on the floor,
or on a low table or box for the sticking.
The sticking knife should have a blade eight or nine inches long. In
America, a knife with straight edges, which at the end tapers to a
point is used, while in China, a knife tapering from two inches wide at
the handle to a long, narrow point is used. Either type of knife will do.
The knife should be thrust diagonally into the neck for about six to
eight inches of its length, depending on the size of the hog. It should
be inserted on the middle line of the body, about three or four inches
in front of the sternum, with the sharp edge of the knife toward the
rear and the knife pointed in the direction of the loin of the hog. One
hand of the operator should be held on the lower jaw of the hog to
help hold the animal steady. It will require a little practice to stick
properly. If rightly done, the large blood vessels will be severed, the
animal will bleed quickly, and be dead in less than five minutes.
In large packing houses, where each man has a certain piece of
work to do, the hogs are hung by one leg upon a moving over-head
track. As the hogs move by the killer, he grasps one front leg with
one hand, and, with the other hand, does the sticking. Such an
arrangement is practical where a large number of hogs is killed daily.

§ 14. “Watered” Meat

There is a very common practice in China of increasing the weight of

the dressed hog carcass by forcing water into the meat as soon as
the blood has drained away and the scraping is finished. Water is
forced in through the large blood vessels leading away from the
heart. To do this properly, care is taken in sticking not to sever the
large blood vessels from the heart. This is accomplished by using a
long, narrow sticking knife, which is thrust into the heart itself. The
animal thus stuck bleeds into the chest cavity, which is not desirable,
as the bleeding will not be as thorough as when the large blood
vessels only are severed. The carcass of the hog may be increased
several pounds by this treatment. It is difficult to detect from the
appearance of the pork whether or not it has been watered. On
roasting, watered meat shrinks more than normal meat. Watered
meat will spoil quicker than normal meat, and will not cure well. The
practice of “watering” meat should be discouraged.

§ 15. Scalding and Scraping

An soon as the hog is dead, it must be scalded and the hair and
scurf quickly removed. The animal is then placed on the top of the
t’ong chue ts’o. The head and shoulders are scalded first. They
should be immersed in the water, which should be from 185 to 190
degrees Fahrenheit. If the water is hotter, the hair will set. Care
should be taken to keep the carcass constantly moving by turning it
from side to side, in order to get a uniform scald and not to allow the
carcass to stay in contact with the bottom of the bowl in which the
water is being heated. Occasionally it should be removed from the
water and the hair “tried”. As soon as the hair and scurf slip easily,
the scalding is complete. The hind quarters are scalded in the same
manner. The head and feet should be scraped first, as the hair sets
on those parts first. Two or three pounds of wood ashes put in the
water will help loosen the scurf. Proper scalding and scraping require
fast work. If the carcass gets cold before the hair has been removed,
the hair will set and have to be removed by shaving with a sharp
knife. For scraping, the candle-stick or bell-shaped scraper is best.
What cannot be removed with it, can be removed with a sharp,
curved knife.
In America when only from one to three hogs are butchered at a time
the custom is to heat the water in a large kettle over a stove or out-
door fire. The hot water is poured into a barrel which is tipped at an
angle with the top of the table, the top of the table being level with
the lower side of the top of the barrel. The hog is slid into the barrel,
first the head end, and then the rear end. The body is kept in motion
by pulling it up and down until it is scalded, and the hair and scurf
slip well. This is a quick method of scalding as much of the hog can
be immersed in the water at one time, but it requires more labor than
does the method of scalding with the t’ong chue ts’o.
In large packing houses, the hogs are automatically scalded and
scraped, by being drawn through a tube filled with water of the
proper temperature. Stiff brushes on the inside of the tube remove
the hair and scurf as the hog passes through.

§ 16. Gutting

The entrails of the hog may be removed with the hog lying on a
table, as is the common practice in the Canton region. The hog
should be propped so that it lies on its back. However, it is more
conveniently done with the hog hung up by its hind legs. To hang up
the hog requires what is known as a gambrel, which may be simply a
strong stick, pointed at the ends, about an inch and a half in
diameter and eighteen inches long, a block and tackle, and a secure
place over-head, about nine feet high, for attaching one end of the
tackle. With a sharp knife, the cords in the hind legs just above the
dew claws are separated from the bone enough to allow inserting the
sharpened end of the gambrel, and thus spreading the legs. The
gambrel should have a hook or ring in the center for attaching it to
one end of a block and tackle. The carcass is then lifted so that the
head end clears the floor or ground about four inches. A better and
more convenient gambrel may be made of iron and adjustable for
hogs of different sizes.
After the hog is hung up, clean water should be poured on it and it
should then be scraped clean of all remaining patches of hair, scurf,
or dirt. The head should then be removed by cutting through the
flesh to the atlas joint where the neck joins the head, cutting entirely
around the neck about an inch back of the ears. If the head does not
drop off, it can be easily removed by grasping it by the ears and
twisting it.
If removing the entrails, first cut through the flesh between the hind
legs, to the bone, and split the pelvic bones with a saw or cleaver.
Cutting through the bone is easily done if the cut through the flesh is
made on the midline between the hind legs, as the bone is very thin
at that point. Cut through the flesh down the midline of the belly
toward the head, to the breastbone. In doing this, care should be
taken not to cut the intestines, which lie just beneath the thick layer
of fat meat. By shielding the point of the knife with the left hand and
guiding it with the right, there is little danger of cutting the intestines.
The entrails are now exposed, and the fat from around the stomach
should be removed. This fat is strong in flavor and should not be
mixed with the leaf fat. Cut around the anus close to the tail and strip
the rectum from its attachment to the back bone. A string should be
tightly tied around the end of the rectum and the urethra so that there
will be no danger of the contents of the intestines or bladder soiling
the meat. If the animal is a male, care should be taken not to cut the
penis in making the cut down the midline of the body and between
the hind legs. The penis should be stripped from the fat in which it is
embedded, and thrown over the back of the animal out of the way of
the butcher. Then remove the stomach and intestines by cutting
across the gullet, after first pulling the gullet up into the chest cavity.
Remove the liver from its attachment to the intestines and remove
the gall bladder from its attachment to the liver. Care should be taken
not to cut the gall bladder. Now cut through the breast bone,
beginning at the front end and cutting upward with a knife through
the flesh to the bone. The bone is best cut with a saw, and the cut
should be made upward. The “pluck”, which consists of the heart,
lungs, and gullet, is removed by cutting across the artery which can
be easily seen running down the backbone, and by cutting around
the diaphragm close to the ribs. Split the backbone with a saw to
facilitate cooling. In cutting, a knife should always be used for cutting
through the flesh before the saw is used. If the saw is used for
cutting the meat, the cut surface of the meat will have a rough,
unattractive appearance.

§ 17. Cooling the Carcass

As a rule, the butchers in Canton cut up the carcass immediately

after gutting. This may be necessary in a warm climate where no ice
is used to facilitate cooling, in order to prevent the meat from
souring, but the meat handles much better if it is cooled before it is
cut up. This may be done during the cold weather of the winter
season by butchering in the evening and allowing the carcass to cool
over night, or by placing the meat in a refrigerator, at a temperature
of from 34 to 40 degrees Fahrenheit. Freshly killed meat absorbs
odors very readily and there should be no fresh paint, tar, kerosene,
or like substances near the fresh meat.
Fig. 8. A good lard hog. Note the full back and hams, short
neck, deep sides, short legs, and excellent quality.
 Fig. 9. Dressed carcass: 1, hams; 2, bacon; 3, fatback; 4,
shoulder; 5, jowl; 6, shoulder butt; 7, leaf lard; 8, ribs; 9, fat
back and chops; 10, head.

§ 18. Cutting up the Carcass

After the two halves of the carcass have been cooled, they may be
placed on a table with the meat side up. The front legs are removed
about an inch above the knee and the hind legs about an inch above
the hock. Immediately remove the leaf lard and the kidneys, all in
one piece, so as to facilitate cooling, using the hands to strip the leaf
lard from its attachment to the sides. Strip out the tenderloin. Divide
each half of the carcass into three parts, the shoulders, middle and
hams. For cutting through the flesh, a heavy knife with a curved
blade is best. A saw should be used in cutting through the bone.
Cutting should be across the grain of the meat as much as is
possible, in order that the meat will carve better after cooking.

§ 19. Shoulders

The shoulder cut is made between the fourth and fifth ribs, where the
ribs leave the backbone. The cut should be made at right angles with
the top and bottom edges of the middle piece in order to make a
rectangular middle piece. This necessitates a diagonal cut across
the end of the fourth rib. If the shoulders are to be cured, remove the
ribs and the backbone from the shoulder piece. Cut close to the ribs
in removing them in order to leave as much meat on the shoulder as
is possible. Cut off the top of the shoulder with about one and one-
half inches of the cartilage and bone at the top. This removes most
of the fat meat and trims the shoulder for curing. The shoulder
should be further trimmed by cutting off rough parts with a sharp
knife.

§ 20. Middle Part

Separate the hams from the middle by cutting just back of the
beginning of the rise in the backbone. The ribs should be separated
from the side meat. If it is desired to make pork chops, care should
be taken to leave the long muscle on either side of the backbone
attached to the backbone and ribs. The end of the ribs should then
be cut off with a cleaver, leaving about three inches of the ribs
attached to the backbone to form part of the chops. In preparing the
chops for roasting, cuts should be made through the meat between
the ribs and between the vertebrae.
It is the custom for butchers in Canton to remove all the meat from
the ribs and backbone. The sides are then cut into strips about one
inch wide, cutting from the top to the bottom, and used, fresh or
cured. The ribs and backbone are then cut into small parts and
prepared in a very tasty way with a sweet dressing. The dish
prepared in this manner is known as chue p’aai kwat (豬排骨).
If the side meat is to be made into cured bacon, the first method of
separating the ribs from the meat is followed. This leaves the side
meat about one and a half to two inches thick. The strip of pure fat
meat along the top, known as the fat back, the strip of belly fat at the
bottom, up to, and including the teats, should be removed. The
middle piece which is left after thus trimming, is used for making
cured bacon. The fat back and the belly strip can be used for lard.

§ 21. Hams

If the hams are to be cured, all sharp points should be smoothed off,
giving a neat, rounded shape to the ham.

§ 22. Trimmings

The small pieces of meat cut from the shoulders, hams, and middle
pieces in trimming, maybe used fresh, or made into sausage. The fat
of the trimmings may be used for making lard.

§ 23. Head

The fattest part of the head may be used for lard, or cut into strips
about three quarters of an inch wide and cured, or it may be used for
making sausage or head cheese. The snout, ears, and tongue may
be used fresh or pickled.

§ 24. Feet

The small amount of meat on the feet is considered very delicious.

The feet may be either cooked for immediate use, or they may be
pickled.
 Killing and Dressing Beef

§ 25. Tools

The following tools are necessary for killing and dressing cattle: an
ax, an 8-inch sticking knife, a skinning knife, a steel for sharpening
the knives, a 28-inch meat saw, gambrel, and a block and tackle for
hoisting up the carcass.

§ 26. Stunning

The first step in killing and dressing beef is to secure the animal so
that it cannot possibly break loose. A strong halter, or new half-inch
rope, tied around the neck and with one end tied to a ring in the floor,
or to a tree, works very well. If the animal has a ring or a bar through
the nose, as most cattle have in China, it should be further secured
by tying with a strong rope attached to the ring or bar. The animal
should be tied very short so that it cannot move its head to any
extent.
Stunning is done in two ways. One method is to strike a heavy blow
with a stunning ax, weighing about three pounds, made especially
for the purpose, with an extension head about an inch in diameter
which readily crashes through the bone covering the brain, and into
the brain itself. The blow should be struck in the center of the
forehead. An ordinary ax with a long handle, can be used, although
the kind described above is best, in that it is sure to stun the animal,
and thus is most humane. The other method which is commonly
used in southern China, is to strike just back of the poll, and
dislocate the atlas joint. This is just as effective as a blew on the
forehead, if the blow is struck with enough force. Water buffalos have