Fourth Needle

Serving Girl Knitting
Attributed to André Bouys (French, 1656–1740)
Oil on canvas 36 1/4 x 28 1/2 in. (92.1 x 72.4 cm)
Mr. and Mrs. Isaac D. Fletcher Collection, Bequest of Isaac D. Fletcher, 1917 (17.120.211)
Metropolitan Museum of Art, New York, New York







I have written about this painting before (http://historyknits.blogspot.com/2008/03/knitting-in-art.html) I like the it very, very much, not only because of the knitting but for the details of 18th century clothing. The image of it from the Met’s site was, at that time, however, small and only available in black and white which not only did not let us clearly see the fabrics’ colors and textures but also hid the fourth needle from my eyes on my laptop’s small screen. T he current image from the Met's site, used here, is now much sharper. In an effort, though, a few years ago, to get what I hoped would be a better version of the image, I ordered an electronic version of the painting directly from the Met or, rather, the linked service which provides such things. I cannot legally use that image on this blog so the images here are, again, from the Met’s regular Internet site*, including the section showing the knitting.

The “ordered” image, although also in black and white, is, however, richer in the details of the painting. I can now see the beautiful cap and handkerchief of the sitter as well as a huge ball of wool on the table next to a basket containing a work bag with striped ribbons. Both of these items previously looked like food to me in the smaller image on the Met’s Internet site and I was wondering about that dangling thread from the table. With the zoom feature, I can get an even better look at them and hope to reproduce the work bag at some future time. I was also amused by the size of the ball of wool as it is larger than most in most paintings from that and the surrounding centuries.

Most exciting of all was the fourth needle. It lies against the girl’s inner arm where, thin and bent, in the smaller image, it had looked like a crease in her sleeve if it could be seen at all in that older image from the Met’s site. The girl has just started a new row with it so it is largely empty, perhaps only holding a few stitches which are covered by the hand clutching the knitting. What is, though, the curious curl at or near the end of the needle? A wrinkle in her clothing or something attached to her clothing – a part of something similar to a chatelaine?

Oh, dear – a needle found but another mystery, too.



*http://www.metmuseum.org/works_of_art/collection_database/european_paintings/a_serving_girl_knitting_attributed_to_andre_bouys/objectview_enlarge.aspx?page=26&sort=0&sortdir=asc&keyword=&fp=1&dd1=11&dd2=0&vw=1&collID=11&OID=110000323&vT=1&hi=0&ov=0

Hervor Cap and Mittens

Although I define most of my passions dating from the long 18th century, I am also interested in Celtic and Viking history and culture. The first garments I made, after leaving off knitting for my toys, as well as simple caps, scarves and mittens in my teens, was a series of Arans. Thus it is an easy leap to Elsebeth Lavold’s book, Viking Patterns for Knitting (1998) which contains many, many beautiful things to knit as well as lots of fascinating reading. Like the pattern for the Sideways Spencer (http://historyknits.blogspot.com/2008/02/sideways-spencer.html), Lavold’s patterns blend history with knitting. I knit the Hervor cap in Tahki Yarns Kerry (sage green/2 skeins), 5.0mm/8US needles. I am not all that keen on lots of purl side fabric on the outer side so I reversed the pattern and did a plain/stockinette stitch for the outside of the cap, made the top a tad puffier (in an attempt to avoid *hat hair*) and widened the outside band by two extra rows, also not in purl. I would, however, like to do the hat again, this time in a tweed wool, following the original pattern more closely as I think the purl stitch outer fabric would look better with a tweedy wool. As I was working, however, with a blend of alpaca and wool with a bit of a halo, I preferred a flatter stitch. In finishing, instead of the purled and tacked hem around the face, I knit four rows and folded the edge over, and knit that into a existing row giving the cap a rolled brim.

























I love this hat, the wool, the pattern. I first wore it, in fact, before I had sewn in all of the ends, tucking them inside, during a snow emergency. It is very, very warm and snow resistant. I couldn’t just wear the hat, though, so I made a pair of matching mittens using the same cable pattern, “Lattice repeat” on the same size needles Instead or a ribbed cuff, I gave the mittens the same rolled brim as I did with the Hervor cap. The thumb has a draw-string top closure and the palm of the mitten is plain , the whole ending in a point which rounds out around my fingers when I am wearing the mitten.

Peterson's Hood from 1861

Peterson’s Magazine, September 1861, Vol. XL, No. 3, pages 223-224

I have sudden need of a warm, mid-19th century head covering. Since this hood with its long “strings” does double duty as keeping one’s neck wrapped up, too, I settled on this pattern especially after reading it through and finding out that it is all mindless knit rows (garter stitch) one after another. Quick and easy project, I thought.

I have a new procedure before I start any new pattern, namely, check on Ravelry to see if anyone has already knit it. This I did and compared various yarns, needle sizes and experiences of several people who have made this hood. A run through the posts on this hood in the two CW Needleworkers Yahoo groups yielded more useful information.

The original pattern calls for “Shetland” (lace weight) wool in blue and white. I happen to have loads of that in my stash but I didn’t want to use it as a) I need this hood very soon and the Shetland was not immediately accessible at 10 pm on the night I was starting this project, b) I worried that it might come out too small (as one person had complained) and there was/is no time to rip and knit the hood again and c) I recently purchased some Lion Brand’s Fishermen’s Wool which is actually more of a DK weight rather than a heavy one, and could start knitting immediately as I had it at hand and, perhaps, more reliably in terms of tension/gauge. The colours are Oatmeal and Brown Heather, two natural wool shades.

"No. 4 wooden pins of the bell gauge size are used for this knitting” states the pattern. The modern equivalent would be 5.5mm/9 US. I tried that size and worked my way up to 6mm/10 US with a tension/gauge of 4 stitches to the inch which, gave me the needed measurements to go round my face and strings long enough to tie comfortably. To do the latter, however, I had to add 20 more stitches to each side of the strings, increasing from 40 to 60. Longer strings match the illustration, too.

Still thinking that I could whip the hood up in a few days, I started knitting and four episodes into Brideshead Revisited, plus the mini-documentary, and quite a few Radio 4 programmes later, I am almost finished with the first piece of mind-numbing knitting, which is why my choice of electronic companionship and encouragement had to be stimulating and gorgeous to look at (language, clothing, architecture, furniture, landscape and the young Anthony Andrews.) Once completed, I get to knit the whole bally thing again but at least this time with the added excitement of changing colours in the middle of the piece.

With five days to go.....................................

Non-Historical October Knitting

October is my favourite month of the year. I love autumnal colours and I usually end up knitting something that reflects the season. Pumpkin Man was this year’s project. His head and leaf is from Autumn Pumpkins by Jan Lewis (a free Ravelry Download.) I embroidered the eyes and mouth. The bat on the pullover is from Monica Gausen’s Bathat
(http://www.ravelry.com/patterns/library/bathat.) I had to place it sideways as the bat would not fit across the chest. The pullover and body parts are my own design which I made up as I knit.



The body is stuffed with a Soft Touch Polyfil Supreme. Every part was knit on 2.50mm/1 ½ US size needles except for the pullover which was knit on 2.0mm/0 US needles. The wools were Brown Sheep Nature Spun Fingering (Pepper), Dale of Norway/Dalegarn Baby Ull (Bright Orange, Green and Dark Brown, Elsebeth Lavold Silky Wool (Gold), Knit One Crochet Too Gourmet Collection (Creme Brulee), Morehouse Farm Merino Merino Lace (Henna.) . I used a vintage, unknown crewel yarn for the leaf.



Pumpkin Man stands 6 3/4” high, not counting the stem.

A friend who has one year old twin girls asked me to make the hats below and I was happy to oblige – more autumnal knitting! The pattern for the hats is my own - just a simple ribbing and a knit 6/seed stitch repeat. I decreased at the top with the brown and knit an I-cord stem. I used Julie Dietz’s Leaf Knitting Pattern For Pumpkin Hat (http://www.knittingonthenet.com/patterns/holpumpkinleaf.htm)
for the leaves on 4mm/6 US needles, and added an I-cord vine from the crocheted edge around the leaves to wrap and sew around the stem. The wool was Plymouth Yarn Encore Worsted 1233 (green) and 1383 (orange), Brown Sheep Nature Spun Worsted (Butterscotch.)

Godey's Knitted Garters

This pattern comes from Godey's Lady;s Book, June 1862 and came out 10” long in the cream part, stretched out. I need ones a tad longer to go around my leg twice and then slip through the loop and then have enough length left to tie, so I will be making a second pair, possibly in grey and red. The pattern is very, very easy, and the tassels can be made in five minutes.

I knit these in Morehouse Natural and Wedgewood on 0.75mm/US 6/0 needles.

September and School

The Benevolent School
English School
Bristol City Museum and Art Gallery
Bristol, England
Image from The Bridgeman Art Library

I love this piece of art because it is simple, charming, fascinating and dates from the late 18th century, possibly early 19th century.* I have not seen it in person nor can I find out much more about it so I cannot list its dimensions, etc. I also cannot get a really close look at what everyone is doing in it in spite of zoom features on two of the sites where it is available. I think one of the girls may be knitting at the top of the picture and two woman may be winding wool in the foreground. Nevertheless, it is fun to follow the line of pupils and instructors around the room and look at the hats and bonnets on the walls and the view of the building outside of the window.

Click on the image for a larger version.

*I seem to recall the date of 1800 assigned to this but I cannot remember where I read that, and that date may be one of creation rather than representation.

18th Century Long Wool Mitts

I have knit two versions of these mitts inspired by the pattern, 18th Century Women’s Knitted Mitts, by Mara Riley (2006 - http://www.marariley.net/)

I knit them in two different weights of wool and adapted the pattern to fit my arms. The grey pair, in Brown Sheep Nature Spun Worsted Charcoal used two skeins although there was a fair bit left over from both. Mara Riley’s pattern calls for two skeins of Brown Sheep Nature Spun Sport wool which is what the second pair is knit in Burnt Sienna. The Charcoal pair was knit in a few days (one of those emergency projects which only allowed for a quick choice from whatever was available from the stash) on 3.25mm/US 3 needles with
7 stitches to the inch.

They are 15 ¾” inches long and 5” (10” around) wide at the top, tapering down to 3” (6” around) at the wrist and 3” (6” around) across the fingers. The Burnt Sienna pair has the same measurements but was knit on 2.75mm/US 2 needles with 7 ½ stitches to the inch. In both cases, I had to cut down Mara Riley’s original number of stitches to two different sets. The seam stitch runs along the inside of the arm, extending along the hand and thumb, and is reinstated along the side between the forefinger and the thumb.

The mitts look tight but since they are knit in wool there is a lot of give and they are completely comfortable to wear and very warm.

Now I am inspired to make linen ones like the ones on the lady holding the upright rake in this lovely painting with its haymakers fancifully garbed:

Haymakers (1785)
George Stubbs, British
(1724-1806)
Oil on wood
Tate Collection
Tate Britain, London, England
Purchased with assistance from the Friends of the Tate Gallery, the Art Fund, the Pilgrim Trust and subscribers 1977

Click on this link to see the complete painting:

http://www.tate.org.uk/servlet/ViewWork?workid=13991&tabview=image