A clutch of Colinette (and an intermission of sorts)

Grr. I’ve been a bit slow putting up a post because WordPress (whom I normally love to bits) have suddenly decided to effectively use us as beta-testers for some changes to image editing. These are going down like a mafioso in cement overshoes sinking into the Hudson River, and are being reassessed – apparently – but in the meanwhile my pics are BIG. Or smaller but not consistent.

Think of this as an intermission, the woolly blogging equivalent of an interval in a 1960s cinema. Here comes the usherette, selling ice cream and cigarettes…

Colinette 1

Colinette yarns are comparatively close to me, and their sale room is a temptation. It’s a glorious riot of colour, and it’s easy to lose your head. But I always try and hang on to mine, because I have an ambivalent relationship with Colinette. I’ve tussled with their patterns, wrestled with the sudden appearance of knots in a length of yarn, washed my hands obsessively as they became deep blue with indigo (that was the yarn above, Prism). Grr.

But I still weaken, and my friends know this too. So when a couple of them saw some Point 5 in a charity shop (!!!), they grabbed it:

Colinette 2

and I made a throw out of it. Love the variability, love the colours.

Of course… once a Goth, always a Goth. Even in the face of Colinette’s sale room, I can be relied upon to find something black. Ish.

Colinette 3

but again, love those colours sneaking in. This is their merino double knit, Cadenza. Sooo soft.

I do, however, have an exception when it comes to colour – I would quite happily buy every skein of Giotto that they do. It’s shimmery with rayon, muted with cotton and altogether wonderful and I love it.

Colinette4

Yum. Even when it fades, as this scarf has. Possibly because it’s been worn so much, rather than been kept in the dark, as it obviously should have been. Silly me. But I still love Giotto.

(Er, except in the form of a drape-front cardigan I knitted. Not the yarn’s fault – let’s just say that as a descendant of what my father called ‘the old dark people of the West’, drape fronts are not really my thing. We may have been old, we may have been dark, we may now live or come from the West, but we are also, generally – and I certainly am specifically – short.)

Right, now I must get back to pestering WordPress. If I’d wanted to turn the clock back I’d have gone to –––– hmm. Let’s just say ‘elsewhere’. Where I may end up moving. Noooo…

From the mill, to the stash – to the needles

A couple of posts ago I wrote about my habit of mill-visiting. There’s often an exciting opportunity for unusual stash enhancement when you visit a mill, and I wouldn’t be myself if I didn’t give in. Mill shops – sometimes away from the actual mill itself – can be interesting. I don’t mean giant outlets, selling all sorts of stuff unconnected to the activity of the mill, the local area or indeed the country. I mean a specific mill’s outlet, possibly somewhere more visitable than a glorified shed up a single-track road, selling the products of that particular mill. OK, there’ll be blankets, toy sheep and sheepskin slippers, but somewhere, maybe at the back, maybe round a corner, there will be wool.

A classic example from years ago was the Hunters of Brora shop in Brora itself, which used to be by the station. It was fab, especially in its later incarnation, and had – I think I’m remembering correctly – a whole wall of cones of wool. I bought two, one brown tweedy, one grey tweedy, both Aran weight. That was in 1998, and I’m still using them.

Sutherland1859Hunters closed eleven years ago. It was originally started in Wick (Caithness) in 1901, but moved down the coast a little to Brora, where it was based until 2003. Brora is a small town on the east coast of Sutherland, and was often where we went to do our shopping (the drive coastwards along the glen was particularly spectacular, though not one for bad weather).

In the 1990s and into the 2000s the firm had a patchy history with different owners – plus some ridiculous infighting, chronicled in the pages of the local and national press – and was in and out of receivership twice before it finally died.*  During the last few years there was plenty of public investment (£5.3 million from Highlands and Island Enterprise, and £2 million from European funds) which eventually came to naught – and, inevitably, a consequent loss of ‘real’ jobs in an area otherwise highly dependent on tourism. Hunters was the largest private sector employer in Sutherland at one stage, which makes the infighting seem even more – reckless, perhaps. There are other words…

I loved Hunters tweed – still got a couple of metres stashed away somewhere, must turn it into cushions – though it was the wool which claimed my heart. But the supply in the shop was nothing compared to how the yarns used to appear in the mill itself. I found a wonderful photo on the website of the Royal Commission on the Ancient and Historical Monuments of Scotland, which I just have to share:

Hunters of Brora wool store (RCHMS)

This was added to their collection of images in 1997, and it’s the Yarn Store at the mill.

I am currently engaged in a campaign to make inroads on my stash. When I started spinning I was warned that my stash would increase enormously, and so it has. I have banned myself from buying more wool (hah!) until I at least use some of what I’ve got, and what I have got is some from Hunters. The last from Hunters, no doubt. The two cones were washed and skeined and hung outside the croft to dry, and flew back to London with me (they had to be skeined; I failed completely to persuade various family members to drive them south and couldn’t fit them in my bag). They then matured a little in my stash, as is normal.

sweater repairI eventually made one into a giant cardigan, and the other into a big sweater, and I still had plenty left. But not enough for one garment. I toyed briefly with the idea of sleeves in different colours, but decided it would look even madder than usual. So I went stash diving.

There was a lot of Aran-weight brown tweed, which I remember buying years and years ago at the Otterburn Mill in Northumberland. Some of it was knitted up but the vintage pattern was so remorselessly 80s that I frogged it. Got lots of that. And then there were the leftovers from Hunters. And some blue tweedy aran-weight I bought in my by-now-standard last-minute buying frenzy at Wonderwool: not enough to do anything with, but I liked the colour. And it was all in good condition: by no means a given.

The Otterburn stuff was quickly discarded: it was more of a worsted weight, slightly thinner, plus the colour was a bit too red in tone to work with the others. But the rest went well.

Stripes!

IMG_8314

Oh, I know I’ll have fun weaving in the ends, but it’ll keep me quiet. I don’t knit them in as I go because I feel it gives more bulk on one side and makes a piece difficult to block, but I don’t mind sitting calmly watching telly, weaving in ends and swearing occasionally that I’ll never do it this way again. Of course I will… Ahem. It’s going to be a cardigan, with blue (got more of that that the others) ribbing, loosely based on a Rowan pattern. The challenge will be to rework the sleeve cap so the stripes match (they don’t on the original, as far as I can tell from the pics).

But I am so enjoying using the yarn. It’s soft and the colours are gorgeous and it’s Sutherland on my needles, here in Snowdonia. Gorgeous. And irreplaceable. Now.

stripe detail

* Hunters brand was bought and the tweeds have been relaunched, but it’s now based in Coldstream in the Lowlands; Brora, the cashmere brand, is unrelated though the founder’s family did own Hunters at one point.

Women can do anything they want…

and that includes spinning and knitting. And yo! for knitting on International Women’s day…

women knitting

Once upon a time I was stridently criticised by a particularly angry women for knitting. Apparently I was letting the side down. Apparently no feminist (for such we both were, and in my case still am) should contemplate doing such a thing.

Not right on enough, you see.

40s showgirls knitting

Of course, I was dressed like this at the time…

But even though I was actually wearing my dungarees – pocket useful for holding yarn, IMO, even if it did give you an attractive and unusual third breast – it was not good enough. Knitting, you see, was a Weapon of the Opressor. Women, apparently, just knitted for men and/or because men told them to.

Yeah, right.

WW1 women knitting

WW1 knitters, from Knitters of Yore, Interweave DVD

OK, these rather redoubtable women are knitting for men – for soldiers in WW1 (though perhaps some of the socks and scarves may have found their way to the nurses and VADs). So, quite possibly, are these women from WW2, who appear to be mending as much a creating:

women knitting in WW2

I wasn’t dressed like this either, when we had our argument, but on balance I feel more attracted to the ribbons and the shoes and the rather strange triangular hat worn by the dancers.

Once I’d stopped laughing, I could see she sort-of had something: women have knitted and spun and weaved and worked with textiles as part of their everyday lives, and done it to bring in income. They’ve been exploited doing it. But at some point everyone has, male and female – the deprived and exploited sock-knitters of mid-Wales, for instance, were men as well as women. That wasn’t what she was thinking of, though. After thirty minutes of abuse I snapped. I suspected that her attack on me had more to do with her relationship with her mother, an opinion I chose to share (hey, it was the mid-80s and she was into Marxist self-examination, so I felt I was being helpful, OK?). I might have gone a bit far, but I did mange not to stab her with my needles – long, metal and sharp, of course – which I consider to have been quite restrained.

Quite seriously, for me – raised by a stroppy feminist and true to my own roots – feminism broadly means I can do what I want and be what I want to be, providing I don’t harm anyone else, and that nobody has the right to tell me I cannot (it means many other things as well, but let’s not get distracted). OK, if I wanted to take up pole-dancing I might like to think about it a bit, but if I want to knit, I can knit. If I want to spin, I can spin.

NSW women spinning, WW1

Women spinning yarn for soldiers’ socks, New South Wales, 1915; Wikimedia Commons

If I want to be a brain surgeon, an astronaut, a farmer – I can. Society might not always agree, but by and large things have moved on a bit from the time I was told I couldn’t join a BBC cameraman [sic, and I was] training programme because I was female.

And if I want to knit, I’m ******* knitting.

wartime knitters

Wartime knitters – courtesy BBC / Getty

I am going along to have coffee with some women I know today in a local cafe, just to mark International Women’s Day. They are older than I am and most were once members of the Socialist Worker’s Party. I wonder if times really have changed? I shall take my knitting and find out!

(But I will not, as a public service, be wearing the dungarees, happily thrown out years ago. Bechod.)

Straight from the mill to my stash

otterburn millI’ve had this terrible weakness for years, almost before I knitted regularly. I’m a bit hooked on mill visiting, you see (this is the old Otterburn Mill in Northumberland). All I need is a sign assaying something like ‘historic woollen mill’ and I’m off down tiny lanes and up steep slopes, in complete defiance of oncoming traffic and hedge-cutting tractors (yes, my car is dented).

Actually, it’s not just mills – it’s almost any factory. I do hope it’s not just me – and it’s not some misplaced socialist romanticism either; I’ve worked – albeit briefly and as a student – in a chocolate factory. Put me off choc for at least ten years; I can recommend it as aversion therapy.

My girls’ grammar school was a perhaps untypical – not a hint of divided skirts, beefy games mistresses and people crying ‘Good shot, Ginger’ at lacrosse matches. Well, OK, a hint. More than a hint in the case of the first two but definitely not the third, as I was the only ginger and I was crap at lacrosse. Ahem. Sorry. Got distracted there: lacrosse leaves its scars. And sometimes teeth.

It was untypical in that it believed in giving the girls a broader view of life – and so we went on visits to things like printing works and newspaper offices and the aforementioned chocolate factory. This was obviously influential since at some point in my life I ended up working in all three. It’s something about the behind-the-scenes revelation, the ‘oh, that’s how you do X or make Y’ that has always fascinated me. Plus, there’s a real fascination is seeing people do what they do really well. (There’s also the entertainment factor, of course: I was a pre-uni intern in a really old-fashioned – even then – newspaper office when a printer dropped a forme and there was type all over the floor. Learned some really interesting words on that occasion, despite the elderly sub shouting that there was ‘a lass in t’office’. It made a change from checking names at funerals.)

Nat Wool MuseumBut for me there’s something really special about a woollen mill – which I suppose is predictable, even though I’m not a a weaver and probably never will be. I lack the patience. Completely. But do I admire those who have more application and attention to detail.

One of the saddest places I know (and one which I would undoubtedly try and buy if I won the lottery, though I’d have to buy a ticket first) is a woollen mill which is just ticking over. It’s such a shame; their weaves and patterns – especially their Welsh tapestry blankets – are gorgeous, and I love their colours. There’s so much that could be done with it – look at the success of Melin Tregwynt, for example, or Trefriw in the Conwy Valley. Or, indeed, the splendid work done by the National Wool Museum (that’s them above; would it were Melin X).

I spent a happy time at Trefriw once watching the looms – one was being warped, which was awe-inspiring – and wandering around the mill. Ah – and locking myself in one of the sheds accidentally, but we’ll draw a veil over that. Another loom was being used for weaving and I loved seeing the pattern gradually appear; it was not dissimilar to watching photographs materialise in the red light of my father’s darkroom. Quite hypnotic.

Welsh weaving is a living tradition, a thriving one in the right hands, and it’s such a shame to see Melin X almost vegetating. They’ve got some sensational equipment going back to the 1900s, including a fantastic mule, apparently still working. What they have not got is a tea room, a flock of acrylic sheep or other tourist tat but I don’t think they need those things. Unfortunately enthusiasm also seems to be lacking in the remaining members of the family (and that’s why I’m not naming the mill – I might be wrong; hope so).

Quite often mills sell knitting wool as well as cloth (and those beanbag sheep and mint humbugs and slippers and mugs with ‘a present from Wales’ written on them). I know that nine times out of ten this wool may be scratchy and better used in cloth, but it doesn’t stop me buying it. Sometimes I get lucky.

trefriw wool

Sometimes, despite being a bit itchy, I get beautiful stitch definition as well as lovely colours (and thanks, Trefriw, for this 4 ply yarn which made a triangular shawl – best worn over something, but hey).

And sometimes I get really lucky.

Take Jamieson’s of Sandness in Shetland – predictable that we should end up at the mill during our stay on Shetland a couple of years ago, but theirs is mainly wool for knitting, so it’s not quite the same – no way is there that lottery element, that ‘will it be so scratchy I won’t even be able to bear knitting with it’ dilemma (partial answer: wash it well). But when I set to go through my stash, in a vague attempt to at least use some of the All-Wales Yarn Mountain, I was surprised at what else I had. And they were all still fine – not a hint of deterioration. No snapping, no fraying, no breaking and (shhhhhh) no hint of moth. Now then – what will I do with them? There’s not an awful lot of anything – I wonder…

PS: Synchronicity, or what?

tapestry blanketJust after posting this I popped into the nearby town to do some shopping, called in on a friend who runs a charity shop. While we were talking a man came in with a donation – two vintage Welsh tapestry blankets.

Single bed size, in a soft daffodil yellow, bottle green and cream. I was able to persuade her to put them aside until there are more people about – Easter would be ideal – and to price them accordingly. I don’t imagine they’ll rise to the heights of some of the vintage textiles on Jane Beck’s  wonderful website devoted to Welsh textiles, but at least they’ll raise a good sum for cancer relief. Unfortunately (and incredibly) none of us had a camera on us, so this blanket detail is from Ceredigion Museum, and is from the equally wonderful Gathering the Jewels website.

Storms, snow, sunshine – and spinning

Last weekend, or Before the Hurricane as we like to refer to it round here, we had a long-expected party. Oh, all right, a long-expected spinning retreat weekend, but it did bear a resemblance to Bilbo’s 111th birthday party in that there was general celebration and lots of cake.

cakeAnd flapjacks, caramel shortbread, trifle, crumble, baked spuds, casseroles, soups, wine, beer, whisky, home-made loaves and marmalade – though when it came to the fireworks we had to make do with the weather. In all fairness, it did its best to entertain and I don’t think we missed anything out, except possibly fog.

Ahem. Did I mention we were spinning?

The Dolgellau Sunday Market Spinners have a problem in January and February; there’s no farmers’ market and the cafe where we usually spin is therefore closed. We tend to try and squeeze into each other’s houses but it’s not easy; most of us live in variations on the theme of the Welsh cottage, and they’re not noted for their big rooms. So this year we booked a local self-catering place for a long February weekend and, with a bit of organisation on the cake food front, we were well set up for a fibrous weekend.

LlandanwgInitially the weather lulled us into a false sense of security, which was great as it meant that we could unpack our cars into the Hall without getting any of our fluff wet. This was just as well, as most of us appeared to have brought our entire stash, as well as every single piece of spinning equipment we owned.

Let me see. There were seven spinners (and two friends of spinners). We had four drum carders, one set of wool combs, an infinite number of niddy-noddies, lazy Kates, and a skein winder; two Hansen mini spinners, two Ashford traddies, a Louet Victoria, a Louet Julia and a couple of Lendrums. That list means nothing to a non-spinner, but I’ll translate – eight spinning wheels. Yes, one person brought two. You know who you are…

Saturday’s weather could only have been described as disgusting. High winds, torrential rain, occasional cracks of thunder: vile. We sent the non-spinners out to fill the log baskets (well, they’d just have been hanging around otherwise, ho ho) then lit the stoves and the open fires and settled down for a day’s spinning and nattering.

doglets

I have to say that the combination of bad weather, roaring fires, good friends, spinning and knitting, and eating cake is a hard one to beat. And the lads’ terrible performance in the rugby failed to dent our enjoyment. Largely because most of us would rather spin than watch rugby (some would stick knives in their heads rather than watch rugby), but it was beautifully cosy.

Hm.And we learned how to use wool combs too (and make beautiful baguettes) – and, incidentally, how to remove a miniature Schnuazer from a Suri Alpaca fleece; no ordinary sheep’s fleece for Madam, oh no. Well, those ceramic tiles were distinctly chilly on a girl’s bot.

I now, but of course, think I need a set of wool combs. I do not. I do not. I have just bought a Classic Carder. I do not need wool combs too. (Could do with a Suri Alpaca fleece though, it was yummy.)

There’s a traditional Welsh ditty about fleece which seemed entirely appropriate. I found it a few months ago when I was doing a bit of research into the local sock-knitting business in Dolgellau local history library:

Mae’n bwrw glaw allan
Mae’n hindda’n y tŷ
A merched Tregaron
Yn chwalu gwlân du…

It is raining outside
It is dry in the house
And the girls of Tregaron
Picking black wool…

OK, we’re probably not ‘girls’ as such (I always hear the voice of Maggie Smith as Miss Jean Brodie when I hear that word – ‘girrrrls’) and some are even – shh – male, but there was certainly some picking of black(ish) wool going on. And lots of other things too…


Let’s hope they’ll have us back next year – It would be lovely. But possibly without quite so much weather

Arsenic and old sheep dip

I’ve been thinking about arsenic a lot lately. It’s not just the gloomy weather that’s made me think of poisons and violent death; I’ve been fiddling about around this for a bit.

It all started with a brief reference I came across – a nineteenth-century shepherd’s wife had accidentally poisoned her husband when she mistook some ‘white powder’ (settle down) for baking powder and made a cake with it. It was dried sheep dip – and it was lethal because of the arsenic it contained. At first I put this down to stupidity because she’d found the dried powder in a trough; quite why she thought anybody would put baking powder in a trough I don’t know but I guess it must have been a small one that could have been mistaken for something culinary. Then I discovered that there were many similar incidents. And all of them accidental (allegedly).

Landscape with picnic etcOf course sheep have been dipped for years and years and years, as this painting (Landscape with Picnic and Sheep Dipping, C. 1590, in the style of Jacob Grimmer, from the National Trust’s Art Collection) shows; you’ve got to do something about all the beasties that see sheep as a special treat. Dipping them in running water was an early approach, but it wouldn’t have been very effective.

Arsenic, when it became generally available, must have seemed like a godsend – it worked – though there were alternatives: carbolic acid, tobacco, mercury salts, a sulphur mix. But arsenic did the job the best. It did it so well, in fact, that it was extremely difficult to persuade people to stop using it once the dangers became apparent.

bewick sheepThe first mentions of arsenic in dips that I’ve been able to track down come from the 1800s, and the general assumption seemed to be that it was safe because it worked. This is the time when flocks were becoming larger and larger, and the need to control parasites became more and more urgent.

Everything came together, really, and contemporary developments in chemistry have been described as ‘driving innovations’ – innovations which unfortunately had terrible side effects. Some of the side effects came about through legitimate use, and some – scarcely side effects, really – through carelessness and stupidity.

Take another shepherd’s wife, this time making  batter cakes with what she thought was rice flour. It was arsenical sheep dip; her husband was storing it in the same cupboard and in the same kind of tin as the flour. She died, and many of her neighbours were made seriously ill as a result. Another shepherd needed a new bucket for his well, so he used one he’d been mixing sheep dip in, giving it a quick rinse first. (That did for him, and also for his wife and three children.) But of course there were also hazards when it was used as intended.

Sheep dippingIn Ask the Fellows who Cut the Hay by George Ewart Evans (the guru of rural oral history), there’s a lovely account of ‘ship-dressing’ in Suffolk at the beginning of the last century.

The ‘sheep dresser’ (that was dipping; he described shearing as ‘undressing’) had a special dipping wagon. This carried his tub, which he used to fill with his secret recipe dip. A sheep was lifted into the dip, allowed to stay in for a minute or so (struggling the while) and then sent up a ramp at one end of the wagon. The other end was barred until excess dip had dripped off the sheep back into the tub, and then it was allowed down. It must have been an arduous, sheep-by-sheep process – and one which would have ensured that the sheep dipper came into considerable contact with the dip. There were other arrangements, of course, like the one in the ad above from the George Peabody Library, but they generally operated in broadly similar ways. However sheep were dipped, nothing prevented the dipper from coming into some contact with the dip.

coopers sheep diseasesThe height of the ‘innocent’ use of arsenical dips was the middle of the nineteenth century. William Cooper, a vet, developed his experimental dips combining arsenic and sulphur between 1843-52, and they really took off. Large-scale production began in 1852 (interestingly, it’s noticeable and not surprising that many of the family members who were involved in making the dip died in their 30s and 40s), and the first reports of skin effects appeared in the Lancet only five years later.

But the dippers already knew that there was a problem: one physician reported that the men who worked with the sheep ‘all have a salutary dread of the arsenical dipping liquor’. It was the exposed areas of the body, obviously, which suffered the most – hands, arms – but another notoriously susceptible area was the scrotum.

dipping apronsMany dippers therefore wore leather aprons – as near to waterproof as was practical – and also washed themselves carefully when they finished work. If they didn’t, they could be crippled only a few days later, unable to walk because – no, it’s too disgusting. Let’s just say it was an extremely good idea to wear that leather apron, even on a hot day. Even so, serious skin irritation was normal.

And the sheep often suffered as well, of course; sometimes to the point of death. This could be the result of them being kept in the dip too long or not being rinsed on removal, but in at least one case in 1851 it was down to the manufacturer putting too much arsenic in the dip in the first place (‘many animals died … the dogs and the flies would not touch them’). One of the farmers sued and won his case, receiving compensation. Another case, a few years later, resulted in the death almost an entire flock – only 19 sheep surviving out of 869 – and compensation was £1400, a substantial amount. And sometimes the poisoned sheep found their way into the food chain, too.

What about the wool from sheep treated in arsenical dips? Eventually there was an enormous debate about this, but the arsenic was so tightly bonded to the fibres of the wool that processing – from washing to dyeing – could not dislodge it, and it was felt that it was therefore unlikely to be dislodged in use (of course, that didn’t preclude the use of arsenic in dyes), as a Lancet report of 1899 revealed. Nonetheless, it was gradually recognised that arsenical dips were more trouble than they were worth and they began falling out of use in the first part of the twentieth century – though there were 91 still approved for use in 1935. Of course, they had to be replaced by something. Organochlorines and organophosphates, generally, which had problems all of their own…

Note: as a spinner, on a personal level, I wouldn’t care to spin with a fleece from a recently dipped sheep, and there’s been some debate about this recently on Ravelry.  Happily most farmers aren’t so flash with the cash that they dip their sheep immediately before shearing (what a waste that would be), and I don’t care for spinning raw fleece much. I just hope that the 1899 Lancet report applies to modern dips as well!

More from a weaver’s notebook…

In my last post I introduced a charity shop find, a weaver’s notebook from 1925-26. I’ve had a great reaction, so here is some of the latest information and leads – and a lot more photographs. Hopefully there’ll be more to come as I follow up on everything…

notebook A

One of the most interesting leads came from someone studying textiles at Glasgow School of Art; he had seen a very similar book – same layout of book, same type of examples – in the archives there. I’ve also been given contacts at many relevant museums and textile collections, and details have been passed to the head of textiles at Cardonald College – A J Easton, the keeper of this notebook, lived in Cardonald. And another person was able to find an exact address from records in Glasgow: 52, Carsaig Drive – certainly a family with the same surname lived there at the right time, and the address in the book is Carsaig Drive. I’ve searched the 1911 census, but no records match (the 1921 census isn’t yet available).

I’m still no closer, however, to working out exactly how the book came to make its way to an attic in Porthmadog. The mother of a friend, a very bright 103-year-old and local historian, spent a lot of her life living near the house where the book was found. She recalls that it was always tenanted (rats, no records except a vague possibility in unpublished censuses / electoral rolls). But she also added that during the War there were a lot of evacuated families living in Port, and that every available space was filled with people from all over the UK. She had a feeling that the link might lie there… Who knows, there may never be an answer.

I’m not sure I mind, though; in a way, it’s enough that the notebook itself has survived. I do find it rather poignant – and heartening – that it should have materialised after nearly 90 years, and am still amazed at it, given that there must have been so many opportunities for it to end up in a skip. I suppose that’s why I’m trying to find out more. I can’t imagine for one minute that A J Easton would ever have considered that people would be looking at his/her everyday  work notes early in the 21st century. You can never tell (assumes Yoda-like tone: ‘tell, you cannot’).

Anyway, more images. This is the very last entry, from March 1926:

notebook b

Many contemporary weavers have been in touch to tell me about their notebooks – as a non-weaver I’ve needed lots of help to understand what I’ve been looking at. One on Ravelry also used navy and white for her twill samples, to give ‘strong contrast between warp and weft so you can see clearly where the yarn goes over or under’. Another added that ‘the idea is to choose something that allows you to see the weave structure easily and to compare various weave structures without being distracted by different colours’ – an excellent point, especially for someone like me who is so easily led astray by delicious colours. It also looks extremely likely that the twill samples at least would have been woven by A J Easton, which was one of the things I wanted to know.

The book isn’t just about twills, though they do seem to have fascinated A J, and there are also examples of other things. So I have decided to put up a lot more pictures and let everyone have a proper look – just click on one for a slideshow – and I will keep posting (and tweeting) any developments as I follow up on all the leads…

A weaver’s notebook…

Phew. Tax return done. Thank heavens for that; life can continue. But now that I’ve moved the great heaps of paperwork, I’ve uncovered something much more interesting than a load of petrol receipts.

I’m not a weaver; let’s get that straight. Like many people, I did a bit at school and that was that. But I am a member of the Llyn Guild of Weavers, Spinners and Dyers. Last year one of our members was in a local charity shop and was stopped by one of the volunteers. ‘I know you do all this stuff,’ she was told, and was handed an old handwritten notebook. One quick look, and it was bought.

I’m fascinated by it, but I haven’t been able to find out very much.

notebook 1

It was found in the loft of a local house by the new owners, who also know nothing about it or about the person who wrote his or her name in the front – A J Easton of Carsaig Drive in Cardonald.  Quite a few of the entries are dated; the earliest is from May 1925, and the last one is ’26/3/26′.

Cardonald is a southern suburb of Glasgow, not that far from Paisley with its long history of the textile industry – something it shares with other areas of Renfrewshire and Lanarkshire, where the original emphasis was particularly on cotton. So perhaps A J Easton was an apprentice in a weaving shed somewhere (possibly not one concerned with the classic ‘Paisley’ design, as the book seems to be mostly concerned with twills). Certainly the notes start off fundamentally, defining ‘trade names of standard weaves’ and four different ‘classifications of textile fabrics’: felted, knitted, lace and woven structures.

It’s all the samples that I find fascinating. There are many which are ‘bought in’ as it were, but a lot are in the same combination of navy and cream, accompanied by charted diagrams, and do seem to have been woven by the same hand.

notebook 2

They’re as fresh as a daisy (sorry; just been advising someone to avoid clichés like the plague and I just can’t get my head around doing what I say rather than what I do, ahem).

I’ve been trying to work out what the samples are made from, and I think – without wanting to be destructive in any way – that they’re wool, or at least the navy and white ones are (many of the others are, indeed, cottons). A J Easton often uses the term ‘yarn’ in the text, which doesn’t really help pin anything down.

notebook 4

This is a page from 19 January 1926 – coincidence that I should post about it almost exactly 88 years later, on a technology unimaginable at the time – and is headed ‘On the Appearance of Twill Weaves’.

Another staggering thing about the book – well, not to a weaver of course – is the sheer amount of maths, and here many of the exercises do specify cotton: ‘a bobbin contains 4oz of 20s cotton yarn, give the length of yarn on the bobbin’, for instance, or ‘which is the thicker yarn, 20s cotton or 25s worsted?’ (Happily, there are the calculations and the answers; 4,200 yards and ‘worsted’.)

For myself, I am lost in awe and wonder (agh, clichés again) at the maths being done in imperial weights and measures. As someone who often relies on a calculator for metric maths, as most of us do now, I’m amazed. And there are detailed costings, too.

notebook 3

Some of the later exercises are completely staggering, even – I suspect – to someone quite at home with imperial measures. Take this: ‘If a cloth has to be woven with 60 ends per in; find the sett of the reed in the following systems: a) Bradford. b) East of Scotland. c) Glasgow. d) Belfast.’ And he/she has done it, too. There’s definitely a focus on Glasgow (often being asked to find the ‘sett Glasgow equivalent’ to something from elsewhere), which isn’t surprising. I know this level of mathematical skill was once commonplace, and that the entire British Empire ran on clerks who were adept at maths like this, but wowser.

And I’ll continue to be fascinated by the samples, even though the maths of their construction means very little to me. I just think they’re delightful, and can I have a bigger piece, please? Like several metres? Sorry, yards…

notebook 5

I’ve asked some of the older people who live in the place – Porthmadog – where the book was found and nobody remembers an A J Easton, or indeed anyone who came down here from Glasgow, so perhaps the book was passed to a relative. But if anyone can throw any light on the person, the book or even the system in general use in the 1920s textile industry of Glasgow and its environs, please let me know, because:

If it wasna for the weavers, what would ye do?
Ye wouldna hae your cloth that’s made o woo.
Ye wouldna hae your cloak neither black nor blue
If it wasna for the wark o the weavers!

Dooby doo – intermission (hum along if you wish)

Once upon a time there were pauses in TV transmission, times when there was nothing to watch, shocking though that might be, times when you couldn’t buy strange costume jewellery at three in the morning or watch re-runs of shows you’d seen earlier or endless spiralling repeats of news items.

Test cardBut TV engineers, like the elderly neighbour who made my first spinning wheel, needed something when they worked on broken sets. And so the test card was born. You can still see its modern incarnation from time to time – the coloured stripes – but the most famous UK version was probably the child with the sinister clown doll and the blackboard (for what it all means, check this out).

Due to circumstances beyond my control – storms trashing my garden and HMRC trashing my time, OK, I could have done my tax return earlier but hey – I need an equivalent. So here, to the accompaniment of jingly jingles, is the first of my test cards, dum-di-dum:

Colinette

Colinette Giotto, made up into a huge long scarf in basket weave. Two skeins, from their sale room, and I should be going there tomorrow. Providing I get on with the tax return today. Ahem.

And now for some handspun, which has become another scarf,

scarf

A girl can never have enough scarves. I know people who say that about socks, but I speeet upon them. Scarves and shawls. I have a drawer full and will soon need another. Shame I’ve only got one, slightly defective, neck.

natural dyes

Some naturally dyed small skeins from one of our Guild’s dyeing picnics. These are going to be incorporated into a zig-zag throw with more handspun and some Colinette yarns, hence tomorrow’s excursion. If I can find all my paperwork. (I think I’m doing some sort of colour therapy, possibly in contrast to the bleakness of the Giant Doom-Laden Heap of Receipts. One of my friends, a barrister, used to put all her receipts in a shoe box and empty it onto her accountant’s desk. In contrast, I just spread mine all over the house. Equally irritating.)

Finally, dum-di-dum-di-dum-diddle, a taster detail,

Eyelet shawl

of my eyelet shawl which I have finally managed to write out in response to requests. I’ll be posting the pattern here once a friend has test-knitted it – rather like never editing your own writing because you can’t spot the logical leaps or the mistakes, you can’t rely on your own test knitting. I also need a better name for it. Somehow I don’t think the ‘HMRC Deadline Shawlette’ really cuts it.

Back soon…

The way we knit – continued…

In the summer I did a lot of thinking about the different ways we knitters actually knit, here. Now I have another, more personal issue related to this. How do we tension the working yarn, how do we hold it relatively securely, while still allowing it to run smoothly?

I’m asking this because my hand problems have reappeared but on my right hand, just for a change and a bit of fun (the sudden shrieks as the ring finger triggers are endlessly entertaining, heavy irony). I’m a bit closer to working out why I’m beset with these hand problems (it’s highly likely that they’re related to my neck problems, as recent well-tested US research indicates), but it’s meaning that I can’t knit. For the moment. Again. Boring.

Grinny knitterOr at least I can’t knit as I used to knit – with my right needle in the palm of my hand, and the working yarn held almost along the needle, with my hand acting as a kind of shuttle. It’s what I’ve dubbed the ‘Irish Peasant’ style, but it’s quick and incredibly even – officially praised in The Principles of Knitting for just that characteristic – and I’ve been doing it for years. But I can’t do it now. So I’ve been asking friends, going through instruction books, experimenting to see if I can find an alternative way of holding yarn while I knit. I have no intention, in case you’re worried, of also adopting the slightly mad expression of this knitter from Wikipedia; she’s also ‘parlour knitting’ – holding her right needle above her thumb like a pen – and I’m not doing that either. But you can see that she’s got the yarn wrapped round her index finger.

It’s something, as I discovered when I started asking people, that you just don’t think about. You do what you do, and that’s it. The books are equally wild sometimes; Montse Stanley (one of the best of the ‘technique’ authors, if you can bear the seventies’ illustrations) even goes so far as to be noncommittal, just saying – essentially – that whatever works for you is fine. So here are some of the things I’ve been trying.

Yarn 1Let’s start with this duo.

The first, and most simple, is the one Montse Stanley prefers. The yarn just falls out of my fingers, or at least it does if I don’t keep my fingers as tighly curled as I do when knitting as I normally would. Not the idea. The same applies to the second method too – hopeless; I still end up holding the yarn along the needle and squealing.

yarn holding 2

Back to the library. Sally Melville’s great book The Knit Stitch has some useful advice, so I took  a look at that. She suggests wrapping the yarn round the index finger twice, which did seem to help in terms of control. A bit.

Then I asked a friend, the most elegant parlour knitter I know. She had to really think about it, but it turns out that she double-wraps the yarn about her pinkie and ring finger, and then catches it on her index finger as well. It’s not fast, but it works, looks good and produces nice even fabric.

It may be. Hm. Me? Well, I ended up knitting so tightly that I could barely move the yarn on the needle, and then cut off the circulation to my hand. Yes, it looks very refined – a world away from the Irish Peasant – but probably works best with parlour knitting. I also asked her why the yarn didn’t slip off her index finger – it was very near to the tip – and she laughed and said it was probably because her skin was so rough.

Yarn holding 3

On the right is a method which you often find in basic knitting books, but again I kept losing my hold on the yarn. Maybe I wrapped it wrongly. Time for a little personal experimentation, then.

I came up with the hold on the left, with the yarn wrapped twice round my little finger, but It wasn’t comfortable. It was easier for me to manage than some of the others, and I did seem to have more control, but it really wasn’t comfortable at all – unless you like a numb pinkie – and I couldn’t keep it going for very long.

yarn holding 4

The most comfortable was to wrap the yarn round my little finger counter-clockwise (when seen from the front) but I kept losing it from the index finger. Cue more flapping and swearing, possibly helped by the red wine which had suddenly become very necessary.

Then another experiment happened. When I wrapped the yarn round my little finger, then my ring finger, took it under my middle finger and over my index finger – I could knit, and knit evenly if somewhat laboriously. For about half a short line.

But I couldn’t purl.

Another friend has suggested knitting with my right needle tethered under my arm or possibly in a knitting sheath. Yup, I gave it a go. It’s definitely more comfortable. The only disadvantage is that you can’t use circulars – and I’m doing a Knit, Swirl jacket with a cast on of over 500 stitches. Can’t fit those on a straight needle, no matter how long.

When I looked back at the original Way We Knit post, I found I’d written it because my original left-hand trigger finger appeared to be coming back. Well, it didn’t. I started doing the intensive physiotherapy for my neck and it went away over a period of about three weeks, lending considerable credibility to a link with the neck injury. Recently, my physiotherapist was giving me acupuncture for associated shoulder and arm problems – the tenseness wasn’t helping the nerve compression – and I got sloppy about the ******* exercises. I’m being good again, and I hope the magic works again.

Any more ideas? Apart from just being patient, that is?