A few weeks ago, I bought a beautiful skein of sock yarn online. I won’t post details about it because it was purchased with the intention of becoming a gift, but I will say the yarn is soft, squishy, and beautifully self striping. I was looking for an interesting texture or stitch pattern for this yarn to become socks; the yarn would do most of the heavy lifting because the stripes really would shine, and I didn’t want anything to take away from it, but I also wanted to make something more than a vanilla sock. Hours, it felt like, were spent on Ravelry, Pinterest, and googling to try and find something that would be inspirational. Nothing seemed quite right to suit this yarn.
Then, I came across a blog written for Knitty by Franklin Habit, where he used patterns written in the 1840s by Mrs. Frances Lambert to create a sampler, and this got me thinking… was I looking in the wrong places for inspiration?
The story of sock 1, made with the amazing self striping yarn, will continue in a further blog post another day. I found a very simple lace pattern, adding interest to the overall pattern and yet simple enough so as not to take away from the yarn.
I’m currently experimenting with her ‘Simple Pattern.’ As written:
Calculate six stitches for each pattern
1st row – Pearl (sic) 3, O, T, P.
2nd row – Pearl 3, P 3.
3rd row – Pearl 3, P, O, T.
4th row – Pearl 3, P 3.
O means put over the thread
T is knit two together
P is plain 1
I charted this for knitting in the round, because I like charts.
My interpretation of this pattern, it looks like you’re working three garter stitches alternated with three stitches work as lace.
Worked as a sock, 12 or so rows in, it looks like this:
It’s rather pretty and, as the name suggests, fairly simple. This is further spinning my inspiration; the sock I’ve started in the picture is using stash yarn and isn’t intended for anyone. I’m right now knitting it for knitting’s sake and to test this pattern (shocking for a project knitter, I know!). I’m adoring the lace ‘columns,’ but I’m also thinking how I could tinker with Mrs. Cupples’ pattern and make it something new.
I’m not at a loss for inspiration now. The history geek in me should have known at the outset to start with something at least 100 years old!
Hopefully next week I’ll have another sock update!
When historic patterns are on Raverly’s Hot Right Now page, my day is made. This happened last week when the Ladies’ Knitted Hug-Me-Tight, or Zouave Jacket made it to page 1 on Hot Right Now. As any good history nerd would do, I followed the link and started reading the book where it was originally published, made available online at archive.org. The book was The Art of Knitting published in 1892 by the Butterick Publishing Company.
From my quick flip through, it appears to be a fascinating publication. The first part is what we might call a Stitch Dictionary, with many interesting lace work and other stitch patterns to follow. The chapters that follow look at different articles of knitwear, tips on how to work them, and patterns that one could make, provided that knitter is fluent in patterns from the 19th century.
My quick flipping was interrupted in the Useful Articles for Children’s Wear chapter as one pattern provided was for a Child’s Chest Protector. Here’s the image accompanying the pattern:
Why did this pattern catch my eye? Because it looks awfully similar to Godey’s Sontag, a pattern I’ve made so many times now I can basically knit it in my sleep.
Sontag, from the side
Sontag, from the back
The ‘Child’s Chest Protector’ has incorporated the garter ridge into the actual design and pattern notes, rather than with Godey’s where the border (garter ridge or otherwise) was added after the main piece was completed.
The pattern reads:
To begin the protector – Cast on 30 stitches and knit back and forth plain until there are 7 rows
To make the first row of blocks – after finishing the first row, turn and knit as follows: knit 10, purl 5, knit 5, purl 5, knit 5 (in knitting the rows, 5 stitches must be knit plain at each site of every row, in order to firm the boder seen in the engraving). Turn
Knit 10, p 5, k5, p5, k5. Turn
K 10, p 5, k 5, p 5, k 5. Turn
Knit back and forth in this order until there are 6 rows, each formed by knitting across and back. This completed the first set of blocks.
To begin the second set of blocks – (These blocks must alternate with those of the first set). Knit 5, then widen by knitting a stitch out of the next stitch, but to not slip it off the needle; then purl out of this same stitch and slip it off; purl 4, k 5, p 5, k 5, now purl 1 out of the next stitch, but do not slip it off the needle, to widen, and then knit 5. Turn.
K 7, but do not slip off the last stitch; p 5, k 5, p 5, k 7 but do not slip the last stitch off the needle; p 1, k 5. Turn.
Complete this set of blocks after this manner, widening as described at each side between the blocks and border. Then make a set of blocks to correspond with the first set, widening as in the second set, and so on until the widest part of the protector is reached.
To make the Tabs – when the neck edge is reached (in the protector illustrated) pass all the stitches of the border at one side and those of 6 blocks onto another needle; then bind off the stitches of 4 blocks for the neck-edge. Now continue the knitting after the manner directed, to form the tab at one side, making the plain border at each side of the tab and narrowing at the outer border instead of widening as before. Complete for the other tab to correspond.
For the outer Edge – Use Angora wool and crochet shells along the border as follows: 1 single crochet and 2 doubles all in the same space, selecting the spaces so that the shells will be perfectly flat. Fasten ties of ribbon at the sides as seen in the engraving, to tie the protector about the waist.
There are slight differences to the patterns – Godey’s has an increase of one stitch every row while Art of Knitting increases 2 stitches every other row; as well, once you reach the arms, or ‘tabs,’ Godey’s has you decreasing on the inner edge while Art of Knitting decreases on the outer edge. These slight changes aside, following either pattern will result in a garment which will keep your torso warm while your arms are free to move about as you want.
If 100 year old patterns are your thing, or if you’re simply interested in an old read, I’d recommend checking out The Art of Knitting, available to view online.
A number of months ago, I completed my Woolen Undersleeves. The pattern is from 1862 from Godey’s Ladies Book, and like with other historical patterns, I had to muddle my way through the historic lingo when creating my own undersleeves. I created these undersleeves to wear with my historic costume for work, knowing they would come in handy during any outreach I have to do in the cold weather.
This weekend, I had my first opportunity to use the undersleeves. My co-workers and amazing volunteers and I got dressed in our Victorian finest and marched in our local Santa Claus Parade. After a very warm Friday, the temperatures dipped on Saturday, much more appropriate for Christmas weather. Undersleeves were a necessity.
I am very happy to report that I was able to 5+ kilometres in the chilly weather, and thanks to my woolen undersleeves, I was very toasty warm. I can happily report, the undersleeves were a success.
The pattern I used was from Godey’s Ladies Book, 1862
For the modern interpretation of the pattern, please read my original post.
A few months back, I found this pattern in Godey’s Ladies Book, and I knew that woolen undersleeves were just the thing my Victorian costume needed, especially since in March, we have a table at a local maple syrup festival, which means talking to people dressed in 1860s fashion, in the cold. Because, Canada.
It was a few months between pattern discovery and casting on because of holiday knitting. I was DETERMINED to finish my dad’s sweater and all the other wonderful gifts before starting new selfish knitting. Once I got going with the undersleeves, they were a fast project with a lot of garter stitch, a great mindless project to work on.
The pattern reads:
Materials: A large pair of boxwood knitting needles, one-quarter of a pound of white and six ounces of a pretty share of violet single Berlin wood.
This warm and pretty article is comprised of two kinds of wool, and is knitted to form two small and one large puff. It is nearly entirely made of plain knitting, and is therefore quickly done. It is best when knitted loosely, to give it a very elastic appearance. It is worked in the following manner, and is commenced from the bottom by casting on 36 stitches in white wood, and knitting twelve rows. The violet wool is then joined on and 24 rows knitted with this color. After these are completed the commencement of the work should be taken up upon the needle to form the first puff. The white wool must then be joined on and 2 rows worked, the first knitting two stitches together to fasten the puff. Two rows of violet and 1 of white, and 23 rows of violet are then worked. After the bank is worked the second puff is commenced in the same manner as the first, with the white wool. This puff is also fastened like the other, and 2 rows of violet, 2 of white, and 1 of violet worked for the band. For the third puff, which is the largest, 40 rows must be worked with the violet wool, and in the first row 24 stitches must be made, so that at the end of the row there are 60 stitches on the needle. This increase is made by knitting 2 stitches into 1 stitch at intervals along the row. After the 40 rows are completed, join on the white wool and knit 1 row, taking 2 stitches together, and so decreasing the number till there are only 30 stitches left on the needle. The top of the sleeve is then knitted to form ribs, which is done by knitting 1 stitch plain and 1 stitch purl alternatively to the end of the row. After knitting 24 rows in the same manner the sleeve will be the required size; it should then be cast off and sewn together on the wrong side, with some of the same colored wool. The colors may be altered to any the worker may like, such as pink, scarlet, blue, or green.
What a set of directions!
I followed the instructions to the best that I could understand them. It started very easy with casting on and knitting plain. I was thrown for a complete loop, however, when it said: “After these are completed the commencement of the work should be taken up upon the needle to form the first puff. The white wool must then be joined on and 2 rows worked, the first knitting two stitches together to fasten the puff.” What in the what?
Here’s how I interpreted this – I picked up stitches along the cast on edge, and knit two together across the row.
And for the second puff, “commenced in the same manner as the first,” I picked up stitches on the wrong side and knit two together across the row.
The first two puffs and how to construct them was really the only challenging part of this project. The rest of if, increasing, plain knitting, decreasing, ribbing, was all very straight forward. I did make my own adjustment for the top arm band, however. Before each puff, there is a lovely striping of the white and purple, which doesn’t seem to have continued for the top band. The pattern says to switch to white and nowhere does it say to switch back. So for consistency and to match with the rest of the undersleeve, I knit two rows of white, two of violet, two of white, then the remainder in violet, so to match the rest of the undersleeve’s patterning.
When I started making these, I had no idea we were going to be enjoying such a mild Spring. Previously at this outdoor maple syrup festival, we had to wear layers on top of layers and hope that the mercury didn’t dip too low, so warm woolen undersleeves would have been a perfect addition for this event. The temperature for this past Saturday was in the teens (Celsius, because, remember, Canada), a perfect early Spring day. The woolen undersleeves weren’t required, but they are the perfect addition to my Victorian costume for when the weather gets cold again.
Here is my written interpretation of this pattern, including my modern needles and yarn used.
Yarn: Cascade 220, white and Cascade 220 Heather Purple Brown (but really, you can use any worsted weight in whichever colours float your boat)7
Needles: 4.5mm (Size 7US)
Cast on 36 stitches
Knit 12 rows (garter), using white
Switch to the Purple Yarn; Knit 24 rows (garter)
Next Row, with white yarn, pick up stitches along cast on edge, one at a time, and knit picked up stitch with a stitch on the needle (k2tog = 1 c/o st and 1 live st) – knit across needle in this manner (36 stitches on needle)
Next Row – knit across with white
Knit 2 rows, garter, in purple
Knit 2 rows, garter, in white
Knit 24 rows, garter, in purple
Knit 12 rows, garter, in white
Knit 24 rows, garter, in purple
Next row, with white yarn, pick up stitches along the 1st row of white which was knit for puff 2, from the wrong side, one at a time, and knit picked up stitch with a stitch on the needle (k2tog = 1 picked up stitch and 1 live stitch) – knit in this manner across the needle (36 stitches on needle)
Next row (WS) – knit across in white, garter
Knit 2 rows, garter, in purple
Knit 2 rows, garter, in white
With purple, *KF&B, K1* across needle (54 stitches)
Next row, KF&B 3 times, knit to last three stitches, KF&B 3 times (60 sts)
I did the thing again guys… I found a historic pattern on Ravelry and made it. This time, I made a Sortie Cap.
Compared to the challenges the Sontag presented, this Sortie Cap was such a quick knit. I started it on a Friday night (wild and crazy life I lead, I know), and finished it later on Saturday. In a nutshell, you knit 9 alternating rows of stockinette and reverse stockinette, then, before you cast off, you drop (yes drop) every alternate stitch, so when you cast off, you are casting off half the stitches. Work the dropped stitches to the cast on edge, and you are left with an open and gauzy finished object. I was simply amazed at how the piece grew in length after dropping the stitches. I need to get better at photographing my work in progress because a before and after photo would have been great to insert here…
After initially completing it with i-cords to tie in the back, I removed them and replaced them with ribbon, like the pattern called for. I’m rather happy with how the piece turned out, even though it is a little large for my head. That’s okay. Bobby pins will keep it in place while I’m wearing it.
The pattern came from another Godey’s magazine, this time it dates to 1858. Many thanks goes to koshka-the-cat.com for sharing this pattern, along with her notes on knitting it. While I knew that it came from the right time period, I wanted to know more about the history of this accessory.
I started with my good friend Google and searched for ‘Sortie.’ It comes from the French for ‘exit.’ In military terms, a ‘sortie’ is a sudden deployment of a unit, usually for a specific mission. The cap was intended to be worn by a woman; I highly doubt there is a military association with this accessory. So I searched for other examples of ‘sortie’ clothing.
In 1861, Godey’s again makes reference to a sortie de bas, or opera hood, and later in the year, they wrote about evening party etiquette, saying,
When your guests take leave of you, it will be in the drawing-room, and let that farewell be final. Do not accompany them to them to the dressing-room, and never stop them in the hall for a last word. Many ladies do not like to display their sortie du soirée before a crowded room, and you will be keeping their escort waiting. Say farewell in the parlour, and do not repeat it.
In the 1864 edition of Godey’s, there was a column on “Chitchat on Fashions for February”, where they described “A beautiful sortie de bal,” saying it was “of a new cloth, white lamb’s back, with a silken surface that seems to be covered with fine soutache. The shape is an improved burnouse, rounded in front, and laid in deep plaits behind. It is trimmed with a fringe of white chenille and gilt.”
While the common search result for ‘sortie’ is a military action, I believe that the sortie cap, and the sortie du bas, have their etymology in the French root – meaning to go out or an exit. A sortie cap is a cap that would be worn on an outing.
The cap it rather reminiscent of the fanchon bonnet, fashionable after the 1860s, although it represents a rather simplistic version. The mid-1800s saw the size of bonnets decrease, and the sortie cap fits in with this fashion.
My Sortie Cap made its debut at an event for work Friday night. The heavens opened up and it ended up pouring as the evening went on, but the event was a success and so was my latest accessory!