Logged in as. Log out? The overlapping leaves in this pattern make it a perfect choice for a border treatment. The gracefully sinuous quality of the main stem gives this pattern the effect of a climbing vine. The pattern can be repeated horizontally or used as an isolated motif. This allover openwork leaf pattern emphasizes the negative space between the leaf veins.
Here, leaves blend into the lacy background, giving the effect of leaves on the surface of sun-dappled water. This twin-leaf panel results in a beautiful scallop at the lower edge. The panel can be repeated or used singly for an understated yet decorative detail at the sides of a garment. Single leaf motifs, separated by garter-stitch diamonds, make for an interesting border at the lower edge of a garment. Vertical leaf motifs with a single garter-stitch edge can be used to attach an edging to an existing garment, or stitches can be picked up along the straight edge and worked perpendicularly to the border.
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Cancel Reply Post Comment. Many such caps were trimmed with ribbons to imitate more expensive silk versions. The size of one cap suggests it may have belonged to a young boy.
It is closely knitted in wool and was probably once red possibly dyed in madder , a fashionable colour of the time. These caps were generally constructed in one piece in the round — the method still used for knitted berets today. Knitted silk jackets were fashionable in the early 17th century, worn as informal dress and known as 'waistcoats'.
Our collection includes a particularly fine example of a knitted silk jacket from this period. It was knitted by hand in plain silk yarn and silk partially wrapped in silver thread, in contrasting colours of blue and yellow. The back and two front pieces have been knitted flat before being sewn together, with the abstract floral design imitating the appearance of woven silk textiles.
It's been suggested that knitted panels, typically used in the construction of such jackets, were imported from Italy and were put together by the client. The jacket is finely finished with silk-lined sleeves and silver thread buttonholes.
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A hand-knitted petticoat in our collection, dating to the first half of the 18th century, demonstrates extraordinary knitting skill, unparalleled in any other known collection. The cream-coloured petticoat has a surface decoration of trees and animals, including an elephant, a lion, an ostrich and a rhinoceros. It has been knitted in the round with no seams and has a circumference of over three metres at the widest point. It's not known exactly how or why a piece of such size and detail was made.
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Knitting guilds developed from as early as the 14th century and another virtuoso example of 18th-century knitting in our collection is a carpet or hanging, believed to be an example of a journeyman's work. It took three years of training to become a a trained apprentice or journeyman. To gain full membership of the Hand-Knitters' Guild of Strasbourg, journeymen knitters had to produce 'masterworks' — knitted pieces demonstrating their skill — including a cap, a woollen jacket, a pair of gloves with fingers and a wall hanging patterned with flowers. The Museum's carpet or hanging shows Adam and Eve beneath a central panel depicting Jacob's Dream, from the Old Testament, with a German inscription that translates as "God will continue to send help in despite of mine enemies".
The stocking frame was the first mechanical knitting machine and was invented by William Lee of Calverton, near Nottingham, in As its technology developed and the stocking frame became more refined and efficient, factories opened and the rural knitting industry began to die out in Britain. Although it continued in some poorer parts of the country, over the 18th century hand-knitting mainly became the domain of wealthier ladies who had the time to devote to developing the skill.
By the midth century, so-called "fancy" knitting was flourishing as an elegant drawing room occupation.
Decorative objects such as net purses or pincushions were made by well-to-do women to demonstrate their taste and skill. A pincushion from our collection has been knitted on fine steel needles from cream silk and silver gilt thread. The initials "EW" appear on one side, with the date "" on the other, and a decoration of flowers and birds. As well as being part of a refined lady's repertoire, knitting was deemed an acceptable way for gentlewomen in personal need to earn money.
Also seen as a useful skill for poorer members of society, it was taught in orphanages and poor houses. The first recorded knitting schools had been established in Lincoln, Leicester and York in the late 16th century and hand-knitting for income continued in Yorkshire until well into the 19th century.
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The Ackworth Quaker School in Yorkshire was established in for girls and boys "not in affluence". According to records, its female pupils knitted stockings in alone. The National Society's Instructions on Needlework and Knitting was the first British publication of its type on knitting. It was a handbook for use in the Church of England charity schools run by the National Society, a body seeking to promote Christian education, especially among the poor.
The pupils would also have been shown how to sew and knit by a teacher as the instructions in such early books were difficult to follow for anyone unfamiliar with the craft.
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Hand-knitting featured prominently in the knitwear section of the Great Exhibition, held in Britain in A number of the submissions were from children and disabled adults and were noted for the remarkable proficiency that they demonstrated. Some of the more unusual entries included a knitted landscape, a shawl knitted with a prayer for the Houses of Parliament and a pair of cuffs, hand-spun and knitted from the wool of French poodles!
Particularly popular were the kind of hand-knitted and beaded lace items that couldn't be copied by knitting machines.