Monday, 15 December 2014

A Victorian Pence Jug



I have just knitted a little pence jug from a Victorian pattern.  Useless (at least I haven't thought of a use for it yet) but very charming and decorative.   The pattern came from a little book that John bought for me at the York Antiquarian Book Fair - The Knitter's Friend by Mrs Hope.  The book is not dated, but I think it must be 1847 or 1848 - there is an ad in the back for Hope's Protective Labels for directing passenger luggage (a fascinating read in its own right), that quotes several favourable newspaper notices, all dated 1847.


Illustration of pence jug from The Knitter's Friend
I have seen several patterns for pence jugs from 19th century publications, and we have several actual pence jugs in the Knitting & Crochet Guild collection, so I decided to try this pattern.  The first question  was what yarn and needles to use.  The pattern specifies size 18 needles and "German wool".  Size 18s are about 1.25mm, and I do have a set of four, in steel, that I think are pre-First World War - I wrote about them here.  But I don't think I can knit with them.  And "German wool" obviously doesn't just mean "wool from Germany" but had a specific meaning - possibly the same as "Berlin wool".  But in either case I don't know what the modern equivalent would be, and anyway there would be no point in finding yarn that needs to be knitted on size 18 needles if I can't manage that.

The pattern suggests using four different colours of yarn - like many of the pence jugs I have seen, combining a few shades of one colour is a feature of the design.  So I thought of some of the space dyed yarns that are available now.  A pence jug will only use a small amount of each colour (the finished jug weighs about 10g.), so I thought that with the right yarn there would be a long enough stretch of each colour for the jug - effectively treating one ball of multi-coloured yarn as lots of mini-skeins, all of just one colour.

I chose Zauberball sock yarn, in the Oktoberfest colourway.  (Which is actually made in Germany, and so in that sense is "German wool", after all.)  It can be separated into six distinct colours so I decided to use them all (why not?) - one for each of the ridges in the body of the jug, and then repeating one for the neck and another for the rim and handle.  I knitted it on 2mm. needles, so that the fabric is quite dense - it needs to stand up by itself.



I reduced the number of stitches to compensate for the fact that I was using larger needles and presumably thicker yarn.  The pattern doesn't say what the finished size should be, and the jugs in the KCG collection vary quite a bit, but I think my finished jug is probably about right - it's just over 7 cm tall.

What did the Victorians use pence jugs for?  I think if you  had asked one they would have said (translated into modern parlance): "To put pennies in, dummy."   But beyond that, it's not at all clear. Some patterns, like this one, have a flat base, and appear to be intended to stand on a flat surface - like a jug, in fact.   But others were not designed to stand up by themselves and seem to be intended more as a purse for putting in a pocket or a handbag. Perhaps a jug like mine stood on a mantelpiece, as a combination of an ornament and a place to keep money.

The photo of the jug at the top shows it alongside some Victorian pennies.  They are 3cm in diameter - marginally bigger than a £2 coin.  And judging by the fact that in 1914, the suffragettes were calling for a minimum wage of 6d (six pence) an hour for women (see here), a penny would be roughly equivalent to at least £1 now.  A jug full of pennies would be a significant amount of money.

The pennies do easily go into the jug, by the way - the neck of the jug is in double rib and very stretchy.  In fact, the whole design is an object lesson in how different stitches behave.  The ridges around the body are alternate bands of stocking stitch and reverse stocking stitch, which gives it enough rigidity to stand up.  The neck is done on the same number of stitches, but the double rib pulls it in to create that elegant curve.  The only shaping is to create the lip of the jug, by adding extra stitches in a V-shape.   The rim and handle are all done in stocking stitch: the rim pulls the neck of the jug out again, and because the knit side is inside, the rim curls over to that side.  The handle is just an extension of the rim, on a small number of stitches; because a strip of stocking stitch naturally curls inwards from the sides, the handle is nicely rounded, even though it's just a flat strip of knitting.  



A satisfying (and quick) knit.   I'll put it on the mantelpiece and admire it, until I think of a use for it.

Thursday, 11 December 2014

This Year's Books

Last night, one of my book groups had our annual Christmas dinner, and exchanged Christmas cards.  As is by now traditional (i.e. I have done it for the past three years), I made a card showing the books that we have read this year.     



We usually read eight books in a year.  This year's were mostly novels, apart from Chris Mullin's diaries of the last stretch of his career as an MP, and Michael Ondaatje's memoir of growing up in Ceylon and his family's history there.  The books I enjoyed most, and the ones I am planning to keep, are Stoner by John Williams and Strange Meeting by Susan Hill.  The Stone Diaries by Carol Shields would also be a keeper, except that I borrowed  it from the library.    Chris Mullin's Decline and Fall and Barbara Pym's Excellent Women were also library copies - making a Christmas card means that I have to borrow them again to make the card (which might give you a clue as to why you can't see the title of the Barbara Pym book).   It also means that I am not often tempted to get a Kindle - books on a Kindle would not make a good picture.

We each got a Christmas present at the dinner from our Secret Santa - a book, of course.  Mine was The Lacuna by Barbara Kingsolver.


I have read it before, from the library, and enjoyed it very much.  It's great to have my own copy (and a very nicely-produced copy, too) and I'm looking forward to reading it again.   I knew when I read it that Barbara Kingsolver must be a knitter, and I subsequently read a feature on her in Vogue Knitting.  Here is her account of a non-knitter (her character Harrison Shepherd) talking on a long car journey to another character, Mrs Brown, about her knitting:
 "... I thought it was an indigo porcupine."
 She had a laugh at that.  She has eleven nephews and nieces, I learned, and meant to outfit the tribe on this journey, working through socks from top to toe, all from the same massive hank of blue wool.  The coming holiday shall be known as "The Christmas of the Blue Socks from Aunt Violet."  She worked on a little frame of four interlocked needles that poked out in every direction. as she passed the yarn through its rounds.
"Aren't you afraid you'll hurt yourself with that?"
"Mr. Shepherd, if women feared knitting needles as men do, the world would go bare-naked."

And later Mrs Brown knits Mr Shepherd a pair of gloves for Christmas, taking the measurements from a grease stain he left on a piece of paper,  He is astonished because he has never had a pair of gloves that he can wear comfortably before - his fingers are extraordinarily long.  But she has made a pair that fit him perfectly, in pure merino wool.  

 A good read.

Wednesday, 3 December 2014

Wainwright


I finished knitting a thick cardigan for myself months ago - sewn up and everything.  Except it didn't have any buttons.  Then I sewed the buttons on.  And I have been wearing it quite a lot since the weather turned colder.   So it's about time I wrote about it.

The design is 'Wainwright' by Bristol Ivy.  It's described as "an asymmetric cardigan whose construction takes traditional chevrons for a joy ride."  It's a really interesting construction. ( I do like a design with an interesting construction.)   You start by knitting two triangles separately, increasing in the middle of each, one bigger than the other.  The middle of each triangle marks where the side seam would be, if there was one. Then you join them together, so that you knit along the top edge of one triangle and then the other, decreasing where they join to form the off-centre 'seam' up the back. And so on - you end up with one piece that combines the entire back and fronts of the cardigan, including the front button bands and welt.   The raglan sleeves are knitted separately and then sewn in, and then you pick up stitches around the neck edge and knit the collar.    


I made a couple of changes to the pattern. First, I made it longer - you'd think that would be difficult, but actually it isn't, and the pattern tells you where to make the change.  Second, I used the garter ridge stitch pattern from the body on the sleeves as well - the original design has plain stocking stitch sleeves, but I thought that it would look better if the garter ridges extended over the sleeves.  Finally, and inexplicably, I had to make the right front wider than it should have been, otherwise the front would have been narrower than the back.  I don't know why - I checked the instructions, and they seemed quite correct.  If I had followed them, the front should have been wide enough.  It wasn't.  Baffling.  

Because of this quirk, the neck opening is wider than it should have been.  I don't think I would want to wear the collar as a cowl (i.e. buttoned up), even if it was the right width, and I haven't put any buttons on the collar (although I did make the buttonholes).

When it was finished, I wasn't quite sure at first that I was happy with the wide asymmetric collar (especially since it was wider than intended).  But the more I have worn it, the more I like it.  It has a slightly 1950s look, I think.

The yarn is Wendy Traditional Aran, in charcoal grey.  It is a good to knit with and very cosy to wear.  Altogether a successful knit.        

Sunday, 30 November 2014

"Centenary Stitches" exhibition in Lincoln



Yesterday I went to Lincoln, to see the 'Centenary Stitches' exhibition, of clothes that were knitted for the "Tell Them Of Us" film.  I have written previously (here and here) about providing copies of patterns from the Knitting & Crochet Guild collection to be passed on to the huge team of volunteer knitters that were working on the project.  So I have been wanting to go to see the exhibition ever since it opened on November 8th - and as it closes on December 6th, I nearly ran out of time.  But it's been a very busy month.  (And if you want to go to see the exhibition and haven't been yet - be warned that the Lincoln Christmas Market starts on Thursday and it will be packed.)    

The display is amazing - the middle of the room is filled with suspended rails, with coats, jackets, sweaters (anything with armholes, really) hanging off them, so that you can walk in between them and examine everything.  At the back of the room is a similar display of shawls.



 And there's a shelf of disembodied heads with hats on (that I unaccountably forgot to take a photo of).  A few special garments for the main characters in the film are on stands at the sides, including two that were reversed engineered from photos - a impressive feat.

I recognized one of the garments from the patterns that I provided - the blue coat and hat for a little girl is from a Patons pattern leaflet, Helps to Knitters X.

    
And I am sure that a man's sports coat in the exhibition, in white with navy trim, is from Paton's Helps to Knitters XIX.  (It's called a 'coat sweater' in the leaflet - now we'd call it a cardigan.)

Paton's Helps to Knitters XIX
There are several more garments in the exhibition, I understand, that were knitted to the patterns from the Guild collection, but I haven't identified them all.  (There is a book of patterns, Centenary Stitches, to accompany the exhibition, and I'm assured that none of the patterns in the book are based on those from the collection.)

I was disappointed that there was no mention anywhere in the exhibition of the Knitting & Crochet Guild and our support for the project.  I thought it was a pity, too, that the garments' labels did not give any information about the original source of the pattern.  Sometimes the label said something like "a gansey in a 1916 book", but often there was no information at all, and surely there are other people as well as me who would like to know which 1916 book.

Lincoln Cathedral

Tuesday, 25 November 2014

Mystery Crochet

A new idea the Knitting & Stitching Show this year was a 'Stitch by Stitch' feature - a series of free demonstrations put on by the various stall holders.  The Knitting & Crochet Guild members on the Guild's stall did a Stitch by Stitch demonstration every day of the show, and I did the Saturday one.

The main KCG stall had a display of knitted and crocheted lace, and we used the Stitch by Stitch demonstration to show more lace from the Guild's collection.  



One of the items we showed is a beautifully crafted crochet piece, but otherwise a bit of a mystery.  It was bought for the collection in a charity shop, so we have no other provenance for it - we have no idea who made it, or when, and no way to find out.  It is crocheted in very fine yarn, which I thought at first was cotton, but now we think it might be a mixture of cotton and some sort of synthetic yarn.  It might be a tennis shirt.  It is hard to assign a date:  it could be 1930s, though 1930s tops tended to be much shorter.  It could be 1950s, though I would expect more shaping around the waist.  It could be later, though crocheted garments in such fine yarn would be unusual by then.

If we could identify a pattern for it, that would give us a lot more information.  Even finding similar patterns would help.  It's a long shot, but if any reader does recognise it, do please let me know.

We showed about 20 items in the Stitch by Stitch demonstration, and knew more about most of the other items than our mystery shirt.  (Though in some cases it was only that the style allowed us to date them more confidently.) The items that the audience found most interesting were three Irish crochet pieces - we don't know anything about the individual pieces, but they were almost certainly made commercially in Ireland before the First World War, and bought in this country.  The final piece that we showed was the best - an Irish crochet jacket.  It featured in the article on Irish crochet in Rowan magazine 55, and the photo was taken for that article.  It must have taken an immense amount of work, and the women who made it were probably paid very little.  But it is magnificent.




Sunday, 23 November 2014

Harrogate Knitting & Stitching Show

I went to Harrogate yesterday for the Knitting & Stitching Show.  I was based at the Knitting & Crochet Guild's stall for most of the day, but had time to look around the rest of the show when it got quieter towards the end of the day.  (Didn't buy anything though.  Not a thing.  I really don't need any more yarn, but I don't always manage to remember that.)  

I spent a lot of time looking at the finalists' entries for the 2014 Knitted Textile Awards - a UK Hand Knitting Association scheme.   Here are a few of the entries I particularly liked (and managed to get a decent photo of, too).  

I liked Camille Hardwick's Oxymoron piece - she won first prize, I later discovered. 

Camille Hardwick

Becca Tansley's jacket was inspired by the rusting steel and rivets of a Victorian railway bridge.

Becca Tansley

And Claire Sams knitted pigeon, scavenging discarded food, is fun.

Claire Sams

Tuesday, 11 November 2014

Knitting History Forum

I was in London on Saturday for the Knitting History Forum conference - I've been busy ever since, so this post about it is later than I intended.

The conference was at the London College of Fashion, off Oxford Street.  There was a diverse programme of talks, beginning with Angharad Thomas talking about her researches into the history of two-colour patterned gloves, leading up to the Sanquhar and Yorkshire Dales gloves that she is particularly interested in - see her most recent blog post about Sanquhar gloves, Glove Heaven.  Tom van Deijnen (aka Tom of Holland) talked about his Visible Mending Programme and showed the cardigan in the Knitting & Crochet Guild collection that he mended for us a few months ago - I wrote about that here.

I had not met Amy Twigger Holroyd before, though I had seen some of her work the previous day at the Fashion & Textile Museum's Knitwear exhibition - more on that later, possibly.  She talked about her Keep and Share programme  and brought along some of the things that she has made, or re-made, in that programme.  (And she was wearing a very nice cardigan that I recognised later in her on-line store.)   She passed around some of the pieces that she has worked on - commercial knits that she has re-worked into something special, including some 'stitch-hacked' pieces where a plain piece of stocking stitch has been converted into an embossed design in reverse stocking stitch on a stocking stitch background. As every stitch in the area she is working on has to be redone by hand individually, it is painstaking, slow work, but the results are amazing. She passed around a fine-knit vest that she has stitch-hacked - the images are from here.

Amy Twigger Holroyd's stitch-hacked vest.

Detail of  stitch-hacked vest.
The last two talks were on  war-time knitting - I gave a repeat of my talk "Useful Work for Anxious Fingers', on Knitting & Crochet in the First World War 1, that I gave at the Knitting & Crochet Guild convention in July.  This time, I showed the crochet handbag that I made to a Woman's Weekly pattern from 1917.   


And finally Joyce Meader of The Historic Knit showed a selection of garments for soldiers and sailors that she has knitted, following original knitting patterns from the Crimean War onwards.  She had brought some of the pattern booklets, and passed them around.   There were several different versions of a Balaclava helmet, socks, pullovers, sweaters, and so on.  Some odd ones, like knitted puttees, which I think may have been intended as leg-warmers to wear on chilly nights when the days were hot, e.g. in Mesopotamia.   
   
Some of Joyce Meader's WW1 patterns - image from The Historic Knit 

An enlightening and enlivening afternoon.  (Although battling afterwards along a thronged Oxford Street in the rain was not much fun.)