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100% found this document useful (4 votes)
659 views54 pagesPiecework 2013-05
bordados de agulha
Uploaded by
Luciana ZylberbergCopyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Traditional Orenburé Warm Shawl * @rochet a Lace Scarf
ry Ba Me. B2
ae XIRe”
tscaniaggare?'y, 4s
SA Nerararaa? 4
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Shakespeare _.
Learn Italian ~ oe
WMeedle Lace:
MN
o My sser 2e7sse a
> piccewrkimagazinelcom
MAN UNE 28 ON THE Cover
Shetland Scarf to- Knit, pooe 12
Phere by Amm Sis
Grenburg Warm Shaw, page 27
Crocheted Lace Scart, nage 23,
‘Master Tatter, poge 16
Bobbin Lace & Shakespeare,
age 4
allan Needle Lace, pores
Departments/ COLUMNS
2 Notions
Letter from the editor
4 By Pow
Letters from readers
Calendar
Upwoming events
8 TRIMMING!
A sampling of vintage patterus
A2 Abbreviations and Techniques
Definitions
%..
ONLINE EXTRAS.
Visie picceworka
sinewons fie free
sada Ke cur eNews
Traditions Toxlay the Bicce Werk dndex;
hs ius Cat tended books
uk fcr
PIECEWORK.
Valume XXT Nember 3
FEATURES/Projects
10 GRANNY CHEYNE: A SHETLAND KNITTER IN NEW ZEALAND
Margaret Stove
12 A’Granny Cheyne Scarf to Knit Margaser Stove
16 Lity Mae BURLEY PATRICK, MASTER TATTER Defoses €
19 A Medallion to Tat pe.
22 Or HEROES, HOOKS, AND HEIRLOOMS Faye Sitton
23 Mia's Lace Collar to Crochet Faye Silom
LisL SCHUHMANN’S LACE TABLECLOTH site Rethech
27 An Orenburg Warm Shaw! to Knit Gatina 4. Klimcteos
34 SPINSTERS, FREE MAIDS, TELLS, AND SHAKESPEARE
Christopher John Brooke Paittips
36 An Endowing Purse to Make cr
38 Terchon Lace to Knit
or Jolin Brooke: Pn Hip
39 Leavers LACE: THE ARISTOCRAT OF TEXTILE FABRICS
J eso
43 AEMILIA ARS AND THE TWELVE PROMISES IN LACE
Jeanine Rob
45 Aemilia Ars Ni
[ merfertt di Amronitts Cansetli amd Jean
dle-Lace Insert to Stitch Assuciasione Culrusale
50 LAURA INGALLS'S KNITTED PETTICOAT LACE Mery Lycam
4 Shell Lace to Knit
57 Susan B. ANTHONY AND A LETTER ABOUT LACE Susan Sramn Ae dR: Tl eNe MOSISSN Ge Si
“This column offers collection of patterns, charts, ancl instructions that have been gleaned feam vintage
magazines and books that are no longer generally available. The pattersss and insteuetionls for these
malt needlework articles are worded exactly as they appeared in the original publication. Use tens
.as they are ar adapt them to euler technigaces—Bbut de have ion with them!
Fuchsia-Design in
Points or Edging
By Nellie H. Youngburg
Use any number of crechet-cotton, fram 50
to 70. For upper petals, white, make an elon
gated ring of (5 double knots, 1 picot) 9 times,
S double knots, close. Leave about one eighth
inch of thread and make another elongated
ring of 5 double knots, fasten in last picot af Ist
ring, (Sdouble knots, I picot) 5 times, Sdouble
knots, close, Leave one eighth inch of thread
and make an elongated ring of 3 double knots,
fasten in last picot of ring just made, 5 double
knots, fasten in next to last picat, (5 double
knots, 1 pivot) 4 times, 5 double knots, clase
Leave one eighth inch of thread and make an-
ther large ring, elongated, of 5 double knots,
fasten in last picot of ring just made, (5 double
nots, 1 picot) 8 times, $ double knots, clase.
Leave about 2 inches of thread and c
For lower petals: Wind bobbin with pink
and fasten to loose thread of first white petal
made, te securely and cut ends. Makean elon-
gated ring of (5 double knots, | pieot) 7 times,
5 double knots, close. Fasten thread through
between two center white rings under one
eighth inch of theead between sings as you
‘would through a picot. Then make another
elongated ring of 5 double knots, fasten in Last
picot of ring just made, 5 double knots, fasten
in next to last pieot, (3 double knots, 1 picot)
S times, 3 double knots, clase:
‘Trish Faublan adopted the instructions forthe tated Fuchsia-Dessgn in Points o# Edoingltiy Nell H,Youngturg
found in the Movernber 1925 issue of Noeatecraft Mogazine, Sho wsed Preseacia Finca Pesle Cotton, size 12, #2730
‘ory Dark Lavender and #0001 White
Photog by Je Gs.
i. SE a a ia ae aa Tie pink ball-thread securely to loose thread of
white ring last made and cut ends. Make a chain of §
Jouble knots, fasten in Ist picot of large white ring, §
Jouble knots, fasten in second picot, (5 double knots,
| picot) 3times, 5 double knots, fasten through middle
picat af pink ring, 4 double knots, 1 long pleat, (1
double knot, I lang picot) twice, 4 double knots, fasten
through center picot of ather pink ring, (3 double
knats, 1 picet) 3 times, 5 double knots, fasten in next
(0 last picot of large white ring, 5 double knots, fasten
in last picat of ring, 5 double knots. ‘Tie threads se-
curely between 2 white rings and cut.
For the upper part of calyx: Fasten double thread,
white, to first loose picot in center of one of inside white rings, and make a chain af (3 double knots, The engraving forthe
1 picot) twice, 5 double knots. Then a small ring of (5 double knots, 1 picot) 3 times, 5 double knots, _ tated Edging rom the
close. A chain of (5 double knots, | picot) twice, 5 double knots, Fasten threads through Ist loose November 1925 sue of
Needlecraft Magazine.
picot toward center of other small elongated white ring and cut threads.
For the stems and leaves to center flower; Fasten double thread, white, through middle picot of
ring in calyx of flower and make a chain of 10 double knots, | picet, 1M) double knots. An elongated
1g of (S-double knots, | picot) 5 times, 5 double knots, fasten to 7th picot of large petal of flower,
(5 double knots, | picot) 5 times, 5 double knots, close. Repeat for ather side,
For stems and leaves to lower flower: Fasten double thread, white, through center picat of ring
in calyx of flower and make a chain of 10 double knots, 1 picot, 10 double knots. An elongated ring
of (5 double knots, | picat) 11 times, 5 double knots, clase, A chain of 10 double knots, fasten in
center picot of pink petal of center flower, LO double knots. Another leaf. A third chain fastening to
center picot of large white petal for center flower. & third leaf. Tie and cut threads. When upper row
is made, fasten long pink picot at bottom of flower to 3d from last picot of last leaf, with needle and
thread or while making,
For the top row: Fasten double thread, white, through picot in ring at top of flower: Make a chai
of 8 double knots, 1 picot, (2 double knats, 1 picot) twice, 8 double knots. *A leaf (elongated ring)
of (5 double knots, 1 picot) Li times, 3 double knots, close. A chain of 8 double knots, I picot (2
double knots, | picot) twice, 8 double knots. Another leaf, fastening center picat to chain of 2d row:
Another chain, Another ring, fastening center picet to picot of other chain. Ancther chain. Another
ring, Another chain, fasten to another flower. Another chain. Repeat from".
From the Noweuber 1925 issuc of Needlecraft Magazine
You are invited to consribute a vintage pattern (1930 or earlier) for a small article or eclgingg that
you've found and made, Please cmail a clear inage of te article or edging, a scan of the original
instructions, and the source fo [email protected] (please put Trimmings in the subject
ine) or mail a pholograph of the picee, a plrotocopy of the original instructions, ard the source to
Trinamings, PieceWork, 201 E. Fourth St., Loveland, CO 80337-5685: please include « daytime
telephone nscrber. ‘The view from
Sumbargh
Hesdat the
sounern tip of
the Shetland
mmainisnd near
umrossnes,
where Granny
Cheyne mated
snd lived before
immigrating ta
Now Zealand
in 1874,
Pri
Granny Cheyne
A Shetland Knitter in New Zealand
MARGARET STOVE
Jn 2008, the owner of a damaged shaw! asked Margaret Stove to restore the family hvislaom as elosely as possible fo
its original state. The shawl was tikely moze than 108 pears old act had heen kuitted by “Granny Cheyne.” Stove, who
describes the restoration of the Clteyne Shawl in Weapped in Lace: Knitted Hei
2010), here explores the history behind she shawl aut its maker.
loom Designs from Around the World
Colorado: Imerwe
—Editor
N THIS AGE OF INSTANT COMMUNICATION and air travel, itis difficult to imagine how hard life
must have been to prompt several thousand intrepid inhabitants of a grup of tiny islands lying between
‘Norway and Scotland—the Shetlands and Orkneys—to travel literally to the ends of the earth to-settle
ina similar island environment not far from the Antarctic continent. Their months-lang journey would be
fraught with hardship, and there was no guarantee that they would ever return,
‘Because many immigrants from Shetland were erro-
neously recorded as b
‘who among them was the first to arrive in New
An Andrew Cheyne, the master of the brig Bee, is known
to have called in tothe far north af New Zealand in 1841,
‘This Andrew could well have been a member of the fam
ily of Granny
born in Dunrossness, Shetland, in 1840,
np Scottish, it is difficult ww know
Zealand
husband, also Andrew, who was
In 1871, Sir Julius Vogel (1835-1899), who later be:
came prime minister of New Zealand, introduced an as-
sisted immigration scheme. This coincided with th
clearances in Shetland, and as the inhabitants of Shetland
and Orkney were perceived to be bes
Stewart Island, an isolated and inhospitable location off
the south coast of New Zealand, they were specifically
invited by the provincial government ta setile there, As
suited to settle on priority was given to farm laborers and carpenters,
of the male prospective immigrants, who were pri
ishermen, Hsted one of these as their occupation on thei
application for assistance. Women claimed to be dan
fc servants even though no ane an Shetland at the time
was in a position twemploy damestic help.
Although grants of land, boats and lines, and provi-
‘ions for six months had been provided, the settlement
id not flourish, Writings of the time suggest that the new
setters, whose homeland had no treesand whose build-
ings thus were buill exclusively of stone, lacked the skills
for building houses of
A planned fishing industry to prem
fish for the goldfields in Victoria, Australia, also failed de-
spite an abundance of fish in the sea, as the settlers found
the watersef the Foveaux Strait, which separates Stewart I
land from the rest of New Zealand, far too raugh (the strait
ssnotorious for changeable and extreme weather blowing up
from Antarctica), Consequently, most settlers moved fram
Stewart Island to Invercargill near the South Island harbor
of Isl. It was to Invercargill that the spinner and kni
known as Granny Cheyne eventually arrived to join mem-
bers of her family who had become established there carlier.
Margret ‘Thomson, bore in 1837, married Andrew
Cheyne in Duncossness in 1862,and in 1874, Margret, An-
drew, and their three children, along with nineteen other
id on the Jessie
family members, migrated to New Ze:
Rececinatt, They arrived at Port Chalmers, Dunedin, on
Getober 26 and then sailed on to Bluff on the Koomerang,
Margret and other family members brought their spin-
ning wheels with them: Shetland wheels are held togethe
with wooden pegs and can be dismantled easily. There is,
no record of their having brought wool. Because Andrew
Cheyne gained employmeat as an inspector with the Inver-
cargill City Council, Margret slid nat need te-earn a lve
hood like her grandmother, Granny Thomson, in Shetland,
who had had to walk for miles to sell her knitting. In fact,
there is no-record that any-of Margret extended family in
‘New Zealand sold their knittings the shawls that they spun
and knitted were all gifts for family and friends,
‘The wool that Margret used came from Woodla
Is
ed as a cattle run in
Station, which had been estal
1858, Romney sheep were kept on the property in 1862,
but feral Merino sheep grazed on adjacent lands, Malcolm
Mowat (dates unknown), who bought Woodlands, used to
put aside fine, blade-shorn fleece for his cousin Margret,
who knitted him woolen spencers (a type of thermal un-
derwear) and long jolins, which were dyed pink. Her ex:
guisite shawls were spun from these fleeces, a3 well.
“The woo! for the shawl that [repaired was spun in the
Shetland yarn tradition for fine shawls: two-ply worsted
with litle twist, Having had the opportunity te spin Shet-
Jand wool from a flack in Unst, one of the North Isles of
the Shetlands, that provided fleece for fine shawls, I have
yeas eee
Mason Bayon
Stewart islands
the Foveaus
Sais which
separates the
Island from the
South land af
New Zealand
Tews here
thar Shetlang
Irnmigrars
fleeing the land
‘clearances in
their homeland
in the 18705
fest setled,
Phogaph by fal
© Shumenes, been able to compare that wool with fleece grown here in
New Zealand. Fine crossbred wool crossed with Merino
is similar indeed to the native Shetland wool, and it is un-
derstandable why Margret would have chosen it for her
shaivl, Although the designs that Margret used were tradie
tional patterns from hee homeland, | learned when work
ing out the patterns for repairing the shaw that she hat
made adaptations to accommodate the number of stitches
and rows in each clement of the design, especially in the
‘borders, so that they all worked in harmony,
Shetland lace patterns fit Mary Walker Phillips's det
inition of “creative lace" perfectly: They are excellent ex-
amples of using knitted lace (pattern every row resulting
ina single thread between the holes), lace knitting {pat-
teen on alternate rows resulting in tse twisted threads
between the holes), and eyelet lace (in which the holes
are separated by knitted fabtic), These variations give the
Knitter the freedom to make the elaborate designs that we
see in these shawl
“The patterns depict the natural environment, but how
they came about has been a puzale that may newer be re-
solved with certainty. In my travels and research in many
countries, I have been intrigued by the many similarities
in patterns wherever lace is knitted. Tivo: points are of pare
ticularinterest: The first is that early patterns were knitted
by knitters “reading” the knitting itself, translating what
they saw and not relying on pattern books. he second is
that most of these knitting communities were associated
with seafarers who no doubt wouild have brought home
souvenirs or gifts of Knitwear to wives and sweethearts
\who in turn would have read and adapted the lace designs
for their own use. I accept that most patterns could bear-
rived at independently; still, he Estonian Twig patterns
and the Print of the Wave patterns of Shetland are so simy-
ilar that I wonder ifthis isan example ofa shared reading.
Granny Cheyne died in Invercargill in 1936, leaving
a legacy of shawls whose complex patterning and excep-
tional workmanship are the equals of the best of the lace
spun and knitted in Shetland. I regard it as a great priv.
ilege to have been involved in the restoration af one of
them, and I hope that it now can be enjoyed by many
mote generations here in the Antipodes.
A Granny Cheyne Scarf to Knit
MARGARET STOVE
[teat this scarf feom patterns used in the border of
the shaw! Granny Cheyne made in the nineteenth cen
tury (see the preceding article). The scarf was knitted in
Artisan Gossamer Lace Merino, a two-ply yarn available
online from Holland Road Yarn Company. Two skeins ate
MATERIALS
Amisan Gossamer Lace Mering, 100% merina wool yam, laceweight, $47. |
yards (500.2 m}/18 gram (0.6 02) skein, 2 skeins of Natural https? |
hallancroadyarn.co.ne
Needles, size 0 (2 mm) oF size needed to-obtoin gauge, and T double
puinted, size-0 (2 men), for grafting
Crochet thread, small amount for provisional cast-on
Stitch holder
Tapestry needle
| Finished size: 48 inches (121.9 em} long and 12 inches (30.5 cm) wide,
after washing and blocking
Gauge: 38 sts and $6-rows = 4 inches (1.0.2 cm) in garter st, blocked
See page 62 for Abbreviations and Techniques
| the charts for this project are available in PDE format at
picceworkmagazine.com/Charts-Ilustrations.
required to make the scarf; a shorter cravat-size scarf may
be made from one skein.
InsTRucTIONS
Searf
With crochet thread, use the provisional method to
CO 20 sts. Work Set-Up Row of Beginning Edging Chart,
Work Rows 1-16 of Beginning Edging Chart 9 times
Work Raw I of Corner Chart as fall: Work 19 sts in patt
pick up and k 72 sts along the straight edge of edging
back to the provisional CO, unravel the crochet thread,
and place the 19 sts onto the dpn, work in charted pat
toend—110 sts, Work Rows 2-22 of Corner Chart—1 14
sts, Work Rows I-14 of Body Chart once, then rep Rows
99-114 eleven more times—47 points total around edges
along botiom edge, 1 at each comer, and 18 along each
side. Place all sts om st holder,
Work a 2nd piece the sime as the Ist and then graft
the 2 pieces tog, matching the shapes of the patt, Notes: As
the pieces are knitted in different dircetions, compromises immigrated to. Will need to be made while grafting the two pieces togeth- ABQUT THE AUTHOR AND DESIGNER. Mangarc! Siove lives tir
inantly female, Bones referred either to babbins turned andl
«carved from beef shinbones or ta fish bones or other small
sharp bones with heads fashioned from sealing wax that
those who could not afford handmade metal pins at one
old British penny each used wher making bobbin lace. (A
common name for babbin lace was bone lace.)
In the commercial production of lace, speed was par-
amount. Many lacemakers were children, some as young,
as seven or eight years old, Te hold their attention and
keep them working, designs were formed and pins placed
by rote: chants, or tells, such as the following examples,
helped to establish a rhythm:
Asch: Pricking for an Aragon:stye lace edging. Coliection of Diana Smith, Rothwell, Nerthamptanshite
Photograph coutery ofthe hen,
nisciwokn: (Heliweacinnaeeed
HAKESPEARE’S TWELFTH NIGHT isa play of swapped identities first performed in 1602 but set in ancient
ilyria (an area of eastern Europe comprising parts of modern-day Albania, Croatia, and Montenegro). In Act
a, deseribes a song sung to him the previous evening:
Needlepin, needlepin, stiteh upon stiteh,
Work the old lady aut ofthe ditch,
If she is not out as soon as |,
A rap on the knuckles will come by and by,
A horse to carry my lady about,
T must nat look off until twenty are eur,
‘The “lady” is the lace pillow; the "horse," the pillow
was what you got for
nud a “rap on the knuckle
not keeping up,
One, two,
Buekle my shoe:
“Three, four,
‘Shut the door;
Five, six,
Pick up sticks:
Seven, eight,
Lay them straight
Nine, ten,
A big fat hen;
Eleven, twelve, Dig and del
Thirteen, fourteen,
Maidsa-courting:
Fifteen, sixteen,
Maids in the kitchen;
Seventeen, eighteen,
Maids a-waiting
Nineteen, twenty,
My plate’ empty.
“Pick up sticks” and “Lay them straight
describe the movement of the bobbins, “A
big far hen’ is the lace pillow. ‘The verse be-
is believed t©
ginning “Eleven, twelve ..
bea social comment regarding the status of
women but may also be a veiled comment
on the status of lacemakers. (This rhyme
also heard in Ipswich, Massachusetts,
where lace for the market
Boston and
Portsmouth, New Hampshire, was being
produced in the late eighteemth century.)
“Jack Be Nimble" also-has a lacemaking
leaping stemmed from
4 game of jumping over fires, partof the old
pagan traditions ducing May Day celebra-
tions. The dangers were self-evident, and
connection. Cand
the game eventually was banned. In Wen-
dover, Buckinghams!
many lacemaking schools, it was customary to dance
around the lacemakers' candlestick at Candlemas; the
practice led to jumping over the candlestick without dous-
ing the flame, the goal being to ensure good lick for the
yeat, Not so easy when wearing long skirts and pinafores!
In the evenings in most lacemaking communi
many as eighteen girls worked by the light ofa single
low candle. In the middle of the room stood a candle
or pole-buard, The pole-board had four or six holes in a
in the center hole was
‘where there were
ies, as
circle around one in the center;
along stick with a socket for the candle. The other holes
held bulbous bottles made of very thin glass. When these
bottles were filled with water, they magnified the light of
the candle, The most skilled lacemakers got to sit nearest
Rothwell, Northamptonshire.
soTTOW: Lace worked ina variation of the Aragon style, Maker unknown. Calection of Bina Smith. lhwel, Northampton:
Phas covery af the aon
inthe Aragan style by Mrs..unikley, showing the label mith the price and lengy
the light, and so on in order of merit.
Before the 1530s, bobbin lace came to
England primarily from Venice and subse-
quently from Feance, Spain, and the Spanish
Netherlands (Flanders). Queen Catherine
of Aragon (1485-1536), first wife of Hen-
ry VIII (1491-1547), may have inteoduced
bobbin lacemaking to England, Confined at
Ampihill in Bedfordshire from 1531 to 1533
while awaiting divorce from Henry, she is
credited with teaching local women the art
of bobbin lace to help relieve rural pover-
ty: Although there is no proof that Cathe-
rine knew how to make bobbin lace herself”
or that she would hay
with the poor, itis possible that members
of her retinue were lacemakers and that she
instructed them to pass on thei skills. Rue
mors abounded that Catherine burnt her
own lace while at Ampthill, creating the op-
portunity forthe newly initiated lacemakers
consorted directly
to make replacements.
English lacemaking history through the
sixteenth and seventeenth centuries is well
documented, Throughout France and the
Low Countries, religious conflict regular-
ly erupted between Huguenot Protestants
and Catholies. Waves of Protestant refugees,
fled, many crossing the English Channel to the ports of
Dover, Deal, and Sandivich, where they spread out to set
‘ile in London and other areas. Many lacemakers from
Flanders and northern France eventuall
ast Midlands, possibly attracted by a local supply of lax
and/oran already established lacemaking tradition.
By the end of the sixteenth century, lacemaking in-
volved thousands of workers and formed a major som:
ponent of the English economy. It is easy to understand
that the lute of extra income and massive demand fu-
hols” grew up in the
towns, villages, and hamlets, ostensibly for the improve
y settled in the
eled a desire to inerease output,
ment of poor children but primarily for the teaching of
lacemaking ski
indicated, Collectionof Diana Smith, Early English Lace
One of the earliest records of English-made lace is in a letter from
Elizabeth [sham of Lamport Hall, Northamptonshire, written to her futher
about 1630. Attached to the letter are five small samples of lace with their
‘individual pries penned alongside, from 4to 10 old pence (25 tof cents)
per yard (0.9m).
CLEP.
Working conditions were brutal, Women and young
children worked long hours for a pittance, in most un-
pleasant conditions, to satisfy the insatiable demand of
the rich for this lusury. Demand fueled the industry, and
industry fulfilled the demand,
Handed dovn from mother to daughter over the years,
many bobbin-lace patterns have survived for mare than
three centuries. One, the Catherine of Aragon, wasa design
‘that in likelihood was flourishing as Shakespeare made his
‘way to London, Lace historian Diana Smith of Northamp-
tonshire, England, has an cxample of a pricking for the
edging styleand.a sample ofthe filling that came with prov-
‘enance, including the maker's name and los:
‘There are no proven likenesses of Shakespeare created
rime, He was a commoner, and as sumptu-
An Endowing
CHRISTOPHER
jou
11 England, from the Renaissance to the late seventeenth
century.a rich bridegroom bestowed upon his bride on
their wedding day a quantity of gold and silver coin con:
MATURIALA
ve-wale corduroy, Tan, embroidered with Light
Tan read, falc of choice, Ya yard (0.2 mat Ye |
yard (05m) il fabric has a nap (corduroy or veves |
|
|
|
teen) oF directional design
Edging, Torchon lace with heart motif, or edging of
choice, ¥4 inch (1.9 cm) wide
Sewing thread to: match fabric
Finished size: 13% inches (34.3 cm) long and
3% (9.5 em) wide, excluding ties
cca eee
“The letter that Elizabeth sham wrote to-her father with ace samples and,
their prices affixed. Circa 1630. Callection ofthe Lamport Hall Preservation
‘Trust, Northamptonshire; England.
Reprotve wath she kind peo of re Tenses of Lamport Hilt Preston Tat,
‘Niuohampoonsin, and the dou Pore Mic, Lan,
ary laws restricted the wearing of lace to the nobility and
the very rich, itis possible that he never wore lace him-
self, Nonetheless, Shakespeare certainly was familiar with
Tacemakingso Tet us let him have the last word: “The fash,
fon wears out more apparel than the man”
Bartlets, Liz, Laue Villages, 1991, 24 ed, Suffolk, Englas
Arima, 2106.
Channer, Cather MLE. Raber, Lae Making ii the
Adland: Rut vend Present. 1900, Repent, Charleston, Somth
Carotina; Nabu Press, 2010,
Cole. Alan S. Report ou Nevthamplow, Bucks, and Beds Lace Making.
London: Eyre & Spottiswmade, 1891. Out of print.
Palliser, Mies Bury: Historp of Lave. 1848, [Leprint, Mineola, New
York: Dower. 2012.
Purse to Make
N BROOKE PHILLIPS
tained in an endowing purse, Not only did the cash give
theshape
of the well-filled purse left little to the imagination in re-
her an element of independent wealth, but
symbol af undying love and a fruitful marriage.
spect to that symbolism,
“The purse customarily was made (woven, knitted, of
sewn) bya female member of the genom’ family and een-
bellished with a variety of needlework, including lace,
Shaped like a tube or sleeve, it was worn folded in half and
tied at the waist overa belt, cord, or chain, Ofien it would
‘be concealed below the outer skirt and accessed by a slit,
in the skirt’s side seam. The small opening in the purse it~
self prevented easy access and kept the contents secure. InsTRUGTIONS
Note: Use Vé-inch (mm) scam allowances, unless ath-
cevwise stated.
Purse
Cut 2 purse pieces 14 « 4 inches (38.6 5 10.2 em) each,
a facing 4 4 inches (10.2 > 10.2 em), and 2 pieces L4 x
14 inches (35.6 x 3.8 em) for the ties,
On the two large rectangles, earn and stitch a %-inch
(6-mm) hem on the 4-inch (10.2- em) sides. On the
wrong side of ene plece (the front), measure 244 inches
(5.7 cm) from ene turned hem and centered side to side;
draw a straight line 2% (5.7 em) inches long feom this
poing toward the opposite hemmed side.
Place the facing fabric on the front piece, right sides to-
gether, and stitch aroeind the market ine, 4 inch (6.4 mm)
from line, Cut along the marked line to create aslit apen-
ing: “nick” the corners at 45 degrees being careful not to
stitching threads, Turn the facing through the
1g to the wrong side, essentially exeating a large
bound buttosbole: steam press
| traditional
| endowing purse
| embellished
| wth torehon
| bobbiniace
| made by
| the authars
vie, Poecla
| Ann Filia.
| Bisguntdy
| Crs
|
|
|
Fold each remaining tie piece In half lengthwise with
wrong stitch along long sides and one end to
forms a narrow tube. Tuen each right side out steam press.
Lay the front plece out right side dawn, Check the fac
ing for fit to ensure that the facing edges-de not extend be~
yond the long edges of the front. ‘Trim if necessary, bearing
in mind that short edges of the facing will be held in place
by the stitching that closes the side seams. Place the frost
and back with right sides facing and stitch the long sides
(securing the buttonhale facing): turn right sides ens.
Place one tie, centered side to side, at each end; the
open end of each tie will be enclosed inside the purse
ihe seams are sewn. Stitch short ends closed.
the lace of edging of your choice so that its outer
‘edge is ever with the edges of the purse; gather or fold the
lace al the corners, sew in place. Remove pins steart press,
AIOUP THE AUTHOR AND DESIGNER. Christie fu Bue
‘rl as a ayaa awe a Pls Ann ae
Tie, Spin. and Bsn acs dais mates of
Isic atest. Bo vel he ate ety he ws,
Mardune 2015 FIECEWORK ” aves deock
ised instractions
fom Addie W.
Heron's Fancy
Work for Pleasure
‘Profi (1894;
reprint, Chicago:
Thompson &
Thorias, 1905)
so knit this
torchanslace
edging. Use tas
an alternative to
bobbin lace
onyour
cedowing purse.
Torchon L
ace to Knit
[eis ea cheer Fail inatrustons fr
making an endowing purse incorporating handmade
torehon lace when I discovered a pattern for knitted tor-
chon lace in Addie W. Heron's Fancy Work for Pleastrre
& Profit (1894; reprint, Chicago: Thompson & Thom-
as, 1905). Although the ttle page boasts that the text is
“Elaboratel
color plates, there was no illustration for the k
chon lace, Curious, 1 cast on and was pleased with the
Illustrated” and there are some charming
ited te
pretty edging that appeared, As no gauge, thread, or nce-
Tused Handy Hands Lizbeth 100%
cotton thread, size 20, in #603 Ecru, and size | needles.
dle size was give!
Next time, Pll use size 0 or 00 needles fora finer lace,
The instructions for Knitted Torchon Lace are below,
produced exactly as they appeared in the original ("over
equals yarnover; "narrow" equals knit bwo together).
ren Brock
Cast om 18 stitehes. Knit back plain,
Ist row, sl. 1, k. 2, over twice, p. 2 together,
row, over, k. 3, over, k. 3.
The 2nd and alternate rovrs are ake: Le, knit plain un
til there are only 5 st
ce, p. 2 togeth
nar.
hes on the left needle; then over
kB.
twa
Ad row, sl. 1k, 2,over twice, p.2 together, k 4 narro%
cover, k. 5, over, k.3.
Sth row; sh 1,2, over twice, p. 2 together, k. 3, narrow,
over, kl, ka
7th row sl. 1, 2, over twice, p. 2 together, k. 2, navror
over, k. 1 narrow, aver, k. 3, over, narrow, ke 1. oven k 3
‘th. row; sl. 1, K.2, over twice, p.2 together, k. 1, narrow,
arrow, over, ke 1, over narrows Ky 1.0
over, narrow, k, 1, over, ks 5, over, narrove, ky 1, over. K. 3.
11th now, sl 1, k.2, over twice, p, 2 together, k. 2, oven
narrow, k. 1, over, narrow twice, over, k. I, narrow, over,
kK. 1, narrow, over, k. 3.
13th row, sl 1, k 2, over twice, p. 2 together, k.3, over,
K, Lover, narrow, k. 1, narrow, over. k. 1, narrow,
aver, narrow, k, 2
15th row, sl. 1, k.2, over twice, p. 2together,k. 4, over,
arrow, k. Laver sl. 1, narrov, lip the slipped stitch over the
one last knitted; then over, k. 1, narrow, over, narrow, k. 2.
17th row, sl. 1, k, 2-over twice, p. 2together, k. 5, aver,
narrow, K 3, narrow, over, narrow, ke 2
19th rows, sl. 1, k. 2, over twice, p. 2together, k. 6, aver,
narrow, k. 1, narrow, over, narrow, k. 2.
21st row, sl. 1, k. 2, over twice, p. 2 tagethcr, k. 7, aver,
lL, narsow, draws the slipped stitch over the one last krit
hen, over, narrow, k, 2
Repeat from first row
narre extile Fabrics
\ristocrat of
SAN
77 OR CENTURIES, LACE HAS BEES
FH synonymous with elegance and ex
also by recognizing Ince manufacturing’:
That her lifes art y : :
Might not be lost
Alace-maker's heart
economic importance to a countey.
Ihe seventeenth and eighteenth cent
the Age of Enlightenment
pense, celebrated in paetry and art,
Bobbin lace, formed aver a pillow, and
needle lace, painstakingly built thread
ries ushere
Soc and the Industrial Revolution, catalysts
upon thread, decorated the clothing of the | Andwhenitiscold _ fo social upheaval in Europe and Amer
wealthiest individualsand theeeclesiastical She makesrarelace __ica, Differences in economic positions fell
linens of the church, Sumptuary laws insti- Which is never sold away with the violent revolutions in France
tuted in Europe in the fourteenth though On the market-place and the United States, and shifting finan
cial systems helped develop athriving mid-
dic class with a strong consumer-oriented
seventeenth centuries emphasized the eco-
Le
fee ky luring | 1 Mace
nomic status of lace by limiting Hts OWM> A aac ice Maker”
ership to those af higher sucial status and power, Lace became readily available to this
—From
Frost patton of a Walls and Lengdon Leavers Ince marhine capable of producing lace in bulk. Circa 12889, Collection of the Leavers Lace
Corperation, West Greenwich fhode island. new middle class with
the advent of machine-
made lace. It all b
gan with a lacemaking
machine invented in
1813 by John Leavers
(1786-1848).
Leavers (whose name
Is sometimes spelled
“Levers") integrat
ed ideas from a num-
ber of earlier inventions
to overcome the most
challenging aspect of making lace by machine—changing,
the direction of a single ar multiple threads while form-
nga stable base fabric. Leavers expanded on the bobbinet
or netmaking machinery first patented by John Heathcoat
(or Heathcote; 1783-1861) in England in 1808, Heathcoat’s,
device produced a net ground thal was then darned or eth-
erwise embroidered by hand to produce a lacelike fabric.
Heathcoat’s patent on this earlier machine was so similar
to Leavers’s device that Leavers never attempted te pro-
tect his own invention, fearing that Heathcnat would ae
inches (6.3 = 11.4 em)
White paper, 2¥2 4¥ inches (6.3 « 11.4 cm)
Bristol cardstock, 2¥4 x 4¥s inches (6.3 » 11.4 er}, 3 pieces
INSTRUCTIONS
Insert
‘Center and trace the design (Figure 1) of the white pa-
pet Layer the vellum, the traced design, ant all cardstock
pieces in this order; round off all corners. Using the size
Finished size: Ve x 3% G.8 = 8.3 em)
‘Lp aiaa pie aa
MC Cordonnet Thread, 100% cotton thread sire $0, 286 yards (261.5 m)f
read, size 40, 300 yes (274.3 my
John james Needles, embroidery, sizes 9 and 10; ww.colonialneedie
LEFT: Detail of one
sfthecitelar
embroideries
fond ofthe altar
sloth. The text
‘round the
cembioidery
‘wanslates tl
sive thomalithe
gracenecessary
for their state ef
fe 2008.
Collecionof
Saciecuers
Bologna.
Phoespah by
Andres is
cir Students of
the"Work Seco”
-atSacro Cuore,
Bologna aly
with teachers
Olpacrasst
(0986-1943) at
left and Adagisa
arava (1884
1985]ateight.
Circa 1916.
Phatographer
unknown.
Colletion ofthe
Assaciarione
Cultezale"
srertett di
Antonia ante
Bologna, ay
tga
ewan
Cle “tres
a Case" Thencedlelace
ingot stitched
bby members of
the Asseetaaione
Culturale“l
eet
Antonia
Cantein
olegna, tly
oti is based
frome Aer
‘salto cloth,
ong
fe cs
Figur
Figures 1-26
courtesy of
the Associazione
Cilawate?
‘meee
Avrora Cartel.”
pues may be
‘Notes: To ereate the motif outlines of laid threads, run
the working thread under the support stitches, Do not pull
so tightly as to distort the design shape, but these threads
should follow the design lines without any slack, Button.
hole stitches are always worked from left wight and usu
ally over tun padding threads, unless stated otherwise.
‘Turn the work accordingly to exceute the stitches proper-
Jy, Abandoned threads are feft on top of the lace tobe bur
ied and cut when the work for the area is finished, Often
these threads may be utilized as padding threads for but
tonhole stitches executed ata later slage. Try to- keep the
working surfaceas neat as possible by encling threads that
are no longer needed right away, Bend the cardstock over
your finger to better execute the stitches. ‘The three layers
ofcardstock make for a strong burt flexible sport that can
‘withstand movement during the stitching of th
Using the Cordonnet thread, start stitching the design
with the central rose motif by passing 3 times under the
support stitches around the circumference of the circle
at the flower's center, Werk a row of buttanhole stiteh-
es with 2 padding theeads around the
the aid threads. Toclose the circle,
tonhuole stiteh,
umference over
o the Ist but
ch
Pass once around the outlines of all petals un-
der the support stitches. Work rows forward (lett
to right) and then retuen (right to left) of Vene
tian knotted stitches inside each petal (Figure 3),
For the main design line, run a line af Cordonnct
tiyread under the support stitches 3 times between
Points Vand 2 (starting at | to 2,2 to 1.and again
1 102) and abandon the thread (Figure 4)
“Turn works star at Point 2 (Figure 3) and work the end
of the curl with 5 buttonhole stitches for the Ist row; enclos-
ing the threads, Carry the thread back to the left and
skip the Ist buttonhole stitch of the Ist rom, stitching into
the festoons {base loops) of the previous buttonholestitch:
5, Work 3 stitches for the 2nd row, enclosing the carried
‘aver thread, Whipstitch the festoon of the next buttonhole
stitch to travel, coming out inside the festoon of the last
stitch ofthe previous row, Continue to wack more button
hole stitches ever th
Ting until ars
laid threads along the main design
¢ picot, Work a picot and canting
with the buttonhole stitches until arriving at the base ofthe
1st leaf stem, Abandon the padding threads; they will be
picked up later when continuing with the main design line.
Run the thread under the support stitches of the leat’
intesior outline to Point 3 (Figure 5), Bu il coun
terclockwise around the outer reetangulae perimeter of the
‘entire design, returning to Point 3 (Figure 5). From Point 3
pass under the support stitches along the other si of the
leaf"s interior outline, ecturning to the base of the stem.
Pass twice more under the support stitches around the i-
{crioe linesof the leaf siopping to execute the overcast bar
in the center om the last pass by carrying the threacl across
the center of the leaf under the suppart stitch on the ather
side and over the lad threads and then back to thestarting
point, going over and under the laid threads, Overcast the
threads just laid and pass under the overcast stitches
turn to the starting pois, Continue rewrning to the base-of
the stem (Figure 6). Starting from the base afthe leaf stem,
work a row ef buttonhole stitches overthe Lad threads with
2 padding threads to the central tip ofthe leaf (Figure 2)
Work an overcast bar attached to the enter rectangu-
Jar perimeter of the design; and retuets under the over
he
cast bar to carry the thread back to the point where
the leaf starts to begin a 2nd row af buttanhale stitch
, Stitch through the festoons of the buttonhole stitches
in the previous row. Cover the carried-over thread when
‘completing the 2nd rov, stopping. few stitetes less than Figure 19
Figure 20 the Ist row, Carry the thread back to begin the 3rd row,
Before beginning 3rd row, run the thread under the sup
port stitch at the tip of the Ist lobe and retwen to the be-
ginning of the row, then work an overcast bar, hooking
into the raw of previously completed buttonhole stitches
along the main design line, returning under the overcast
stitches. Work a short row of buttonhole stitches over the
laid threads to form the first lobe of the leaf (Figure 8).
Return to the beginning of the 3rd row underneath
the stitches of the leaf lobe and work the 3rd row of but-
tonhole stitches. At the tip of the 2nd lobe, pass a thread
under the support stitch of the outer rectangular perime~
tec of the design as stitched for the tip af the leaf, work an
‘overcast bar and return to make a small row of bultonhole
stitches for the 2nd lobe. Wark the 3ed lobe with a small
‘overcast bar at the tip in the same manner, Pass back un-
der the stitches of the overcast bar to begin a new row of
buttomhole stitehes on the other side of the leaf (Figure 9}.
Work the other half of the leaf, Nate that the initial
and ending buttonhole stitches of this row will share the
same “vein” as the stitches an the other side of the leaf.
‘When arriving atthe lea stem, proceed in the samme man
ners for the initial part of this row, sharing the central
“vein” and creating buttonhole-stitch festoons an cither
side (Figures 8 and 9),
Using the previously abandoned thread, continue the
row of buttonhole stitches along the main design line by
stitching into the festoon of the last executed stitch and
with 2 padding threads until arriving at Point 4 (Figure
10), Carry the thread aver to Point $ and work a row of
buttonhole stitches with 2 padding threads stitching into
the festoons of the previous row and covering the car-
ried-over thread.
Continue the buttonhole stitches along the main de-
sign Tine until arriving at the base of the next leaf, Work
the next leaf as before but do not stitch the overcast bar
that connects the lobe to the buttonhole stitches of the
‘main design line, This bar will be stitched when working
the buttonhole stitehes of the main design line after the
leaf is completed (Figures 11 and 12).
Fa a,
Figure 24
Alter completing the leaf, continue the row of button.
hhole stitches along the main design line, stopping to work
‘the overcast bar that connects'to the lobe of the leaf be
Jow. Continue to the picot, work the picot, and continue
to the end at Point 6 (Figure 13), Work the end of the evel
as before: a raw of 5 buttonhole stitches and then a sow
of 3. Turn the work and work row of buttonhole stitch-
es with 2 padding threads until arriving a Point 7 (Fig-
luce 14). Abandon the thread,
‘With a new thread and 1 padding thread, start at Point
‘8 (Figure 15) and work a row of buttonhole stitches wnt
arriving at the overcast bar that conneets the curl to itse
work this bar, Praceed to the next overcast bar that con-
nects the tip of the leaf labe to the main buttonhole stitch
raw; work this bar. Proceed to the picot, work the picot
and continue to the base of the smaller curl. Almost im-
mediately after the picot where the thread was abandoned
al Point 7, work butlonhole stitches over the central “vel
as for the leaf stem (Figure 16)
Run the thread under the support stitches and back
thread base for the
and then up again to create a 3
smaller curl and work the end part as before for the larg-
er curl; abancon the thread (Figure 16).
At the base of thy ture 17), begin a row
of buttonhole stitches with 2 padding :
Jow around to the end, sharing the “vein” of the 5 previ-
ously worked buttonhale stitches at the end (Figure 18}
abandon the thread, Work a 2nd row of buttonhole stitch-
es from the base of the small curl (Figure 18), starting a
couple of stitches in to form a tapered edge. Stitch around:
the end part, remembering to stitch the overcast bar that
‘connects the smaller curl to itself, Lmmediately after the
‘end part, this row of stitches will share the centra
curl
itehes that will fol-
‘on the return trip dawn the other side (Figure 19)
Continue with the main design line af buttenhole
as the previous stitch:
stitches, sharing the central "wei
5, until arriving at the by
other side of the design; abandon the thread (F
‘Work and finish the curls on the other side, starting with
the 3 laid-thread base for the smaller curl, Ifeoming to a point where the buttonhole stitches cannot be worked
from left to right, abandon the thread and start again
clsewhere. Remember to use the abandaned threads as
padding threads when opportune. For the last row of but-
ronhole stitches to complete the larger eurl, use 1 pad=
ding thread.
Whipstitch all the petal outlines of the rose with ong
stitches and at the same time remember towork all over=
cast bars connected to them (Figure 21). Wark buttonhole
stitches with 2 padding threads around the petal outlines
(Figure 22). When the last petal is completed, whipstiteh
the outline of the central circle and work a row of bul
tonhole stitches with 2 padding threads around the
cle, working picots where shown (Figure 23). Close the
circle by entering into the festoon of the Ist buttonhole
tch and bury the working thread enc under the button-
hole stitches before cutting. Pass twice more under the
support stitches of the design’s outer rectangle perime-
ter ina counterclockwise direction and work the ower-
cast bars that connect the inner motifs when arriving at
each (Figures 23 and 24), Por the pleots at the intersec-
tion of avercast bars, sce the Spider Webs with Picots di-
agram, Work buttonhole stitches with 2 padding threads,
over the laid threads of the auter rectangle perimeter of
the design (Figure 24).
Make sure all working thread ends ate buried under
the buttonhole stitches and trimmed close ta the finished
lace, Cut and remove the support stitches on the back of
the cardstock; remove the lace.
Finishing
‘Wash lace; iron with a pressing cloth face down on a
thick towel,
rest enetian Kote Stich
A a 5
2
:
f z 3
(BRE
Ne: s
=H =
=f —— optional supper ten
vera tteh Saleer eb Pes
wx
Buttonhole stiteh
Alarich dgrams by feuine Reet
ens “R418
