Slurred miscellany

1 August 202313 September 2023 stringbedLeave a comment

Recent posts have examined the structural and musical attributes of a variety of zithers. They include a few that were derived from the concert zither but little has been said about the parent instrument. It originated through a fusion of Alpine designs and is still used in traditional contexts.

The melody is played with the thumb alone, which nearly always plucks the strings from the same direction. The speed this can attain is seen in a classical work arranged for the same basic ensemble. The use of the left hand to “hammer on” notes seen at the outset of the performance will be discussed further below.

In contrast to the single strings of the concert zither, the hammered dulcimer next to it in the first video has multi-string courses. It is sometimes played by plucking the strings directly with the fingertips (fueling debate about formal nomenclature and classification). This is the basic technique of another member of the zither family seen in previous posts; the qanun. It also has multi-string courses and the index fingers wear fingerpicks. The important thing to note in the following demonstration is the single targeting of the top string in a course.

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Looped Fabric

Scottish crochet in 1567

4 April 202312 August 2023 stringbed4 Comments

The word “crochet” designates both a tool with a hooked tip and a family of looped structures made with that tool. It additionally names the craft of producing fabric consisting of those structures, the fabric itself, and the objects into which it is worked. Each sense of the term has its own history and its appearance in an older text does not in itself indicate either a technique or a craft, even if the topic clearly relates to fabric production. Care is therefore needed to avoid conflating usage at one time and place with that of another.

The modern form of the craft can be traced back to the early 1800s and is commonly referred to simply as crochet. It didn’t initially span the full range of structural detail and techniques that were to develop (with a few also dropped along the way) but the aggregate has borne the name in English-language publication since the late 1830s. Nonetheless, its most basic structures — chains and the slip stitch — are verifiably older. Their position on the timeline of hook-based loopcraft has been indicated in various ways.

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Musical Instruments

Fretless zithers with frets

5 January 20225 September 2023 stringbedLeave a comment

The following image is the banner of a full-page advertisement placed in the 1 May 1891 issue of the German trade periodical Zeitschrift für Instrumentenbau (Journal for Instrument Making) by the firm of zither makers Müller & Thierfeld.

Chord-Zither
with practical tuning device
Legally protected.

The tuning device is a small fretboard placed under one string enabling the others to be tuned to it.

Müller & Thierfeld acquired legal protection for it via the Design Registry in Greiz, for a “Scale for tuning the chord zither” (Accordzither). It was registered on 14 May 1891 as a “Design for plastic products.” This protection was weaker than that of a patent and extended for three years. Other makers were producing comparable devices before it expired and it was irrelevant outside Germany in any case.

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Looped Fabric

Mrs. Gaugain’s combined crochet

28 January 202122 January 2022 stringbed7 Comments

The first tutorial text about crochet written entirely in English was published in 1840 by Jane Gaugain, in The Lady’s Assistant for Executing Useful and Fancy Designs in Knitting, Netting and Crotchet Work. She uses the French loanword (alternating between the spelling in the title and the native one) to designate the craft but not the individual stitches that it comprises. Each is labeled a “tambour” and the action of their production is “tambouring,” without any reference to crochet in the instructions. She settled on the now standard spelling in subsequent texts but left the substantive presentation of the craft unchanged in the enlarged 1847 edition of The Lady’s Assistant, despite the different nomenclature her colleagues had begun to apply in similar presentations starting in 1842.

This strongly suggests that Gaugain took tambour embroidery to be the sole point of departure for the new craft. Other authors saw tambour embroidery as having contributed elements that were merged with the older Scottish shepherd’s knitting, which they incorporated into the new stitch repertoire as single crochet (later aka slip stitch crochet). Gaugain was also the only one who placed the elemental chain stitch in the ordered sequence that extended to double and treble crochet.

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Looped Fabric

The slanted senses of double crochet and other naming slips

29 December 202022 January 2022 stringbedLeave a comment

There are two well-established glossaries used to describe crochet in the English language. They are referred to as “US” and “UK,” with other anglophone countries using the one or the other. Both include the same terms and present the same stitches, but associate the labels with the structures differently. A “single crochet (US)” is a “double crochet (UK)” and a “double crochet (US)” is a “treble crochet (UK).” A “slip stitch” is now the same in both but was a “single crochet” on, and for a long time after its first appearance in the UK terminology. This was the earlier of the two to develop and is used in the following discussion unless otherwise noted.

Frances Lambert published an ordered set of definitions for crochet stitches in 1844, in My Crochet Sampler. A “plain single crochet” starts a counting sequence that continues with a “plain double crochet.” However, there is a confusingly similar “double stitch crochet” that designates a stitch made by pulling its initial loop under both legs of the loop to which it is anchored.

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Looped Fabric

From lag to loop

17 November 202022 November 2021 stringbed1 Comment

Hand knitters employ several techniques for increasing the number of stitches in a row or round of fabric. Instructions for The order how to knit a Hose, published in 1655, make several references to widening a row. Procedural instructions appear regularly in Victorian publications beginning with The Ladies’ Knitting and Netting Book, from 1837. This describes two methods that remain in practice, both working the added stitch into a loop in the preceding row.

The Workwoman’s Guide, from 1840, notes that “increasing the number of loops is generally done in the middle of a pinful of stitches.” It adds to the “various modes of widening” with one “effected by taking up the cross loop, below the next stitch, belonging to the row before, and afterwards continuing the plain knitting.” That cross loop is a central theme of this post and is examined in detail below.

The process of casting on a row of loops at the outset of a piece of knitted fabric is also relevant to this discussion. The first published instructions for it appear in The Knitting Teacher’s Assistant, from 1817. This is framed as a Q&A dialog between a teacher and student. It was retained verbatim in subsequent editions and can be seen in this one from 1881. The book makes no mention of increasing the stitch count in subsequent rows. However, the described cast-on technique simply places a closed loop on the needle and can be applied at any point in the fabric. It is now often termed a “backward loop” or “e-wrap.”

The first illustrated instructions for an increase appear in the The Knitting Book, published in 1847 by Eleanore Riego de la Branchardière. She describes an increase worked into the segment of the yarn or thread between the loop just knitted and the one that is about to be. When lifted up from the preceding row, that segment is the “cross loop” noted above.

It is termed a “sinker loop” in the formally standardized vocabulary of mechanized industrial knitting, in contrast to the “needle loop” (both named for parts of the machine). There has never been any generally accepted term for the former in the glossary of hand knitting, and it is referred to variously as the strand, yarn, or bar between the loops.

When describing other types of looped fabric, the transition from the leading leg of one loop to the trailing leg of the next is termed a “lag.” It is shown here in the context of knitting, highlighted in black.

The same knitted structure is formed by the forward pass in many Tunisian crochet stitches but has no direct correlate in ordinary crochet. In that craft, as well, a stitch is begun by pulling a vertical loop through the one below it. However, it is then joined to the adjacent loop in the preceding row to complete the stitch. Nonetheless, reference to the dichotomy between loop and lag can ease the comparison of looped structures that are typically associated with one craft but on closer examination are seen to be shared with others.

Riego terms the process of converting a lag into a knittable loop “to make a stitch.” There are two methods for doing this. In the one rather cryptically described in 1840, the lag in the preceding row is twisted into a closed loop and a new loop is knitted through it.

The other, as described by Riego, extends this over two rows. It is seeded with a “yarn over” in the first and completed in the second. This approach permits a number of stitches to be made consecutively. The remark that “it will form an open stitch” also implies that Riego recognized twisted stitches as an element of knitting. Continue reading “From lag to loop” →

Looped Fabric

Mlle. Riego’s crochet stitch atlas

3 November 202022 November 2021 stringbed1 Comment

In 1847, Eleanore Riego de la Branchardière published the first series of instructions for crochet lace in a planned multipart production titled The Crochet Book. The preface to the second series is dated 1 January 1848 and its preparation was likely coordinated with that of the first. The two series define basic concepts and techniques of the craft separately from the instructions to which they are applied and illustrate a number of crochet stitches with unprecedented clarity. Written stitch descriptions appear in a few of the subsequent series but only the first two include tutorial drawings.

Those in the first volume begin with how “To Make a Chain,” calling each element of the aggregate structure a “chain stitch.” They continue with the “Plain Stitch called French or Double Crochet” (US single) and then a “Treble Stitch” (US double). The intermediate “Single Crochet, or Shepherd’s Knitting” (slip stitch) is deferred until the second series. In that one, Riego drops the alternative designations for the plain stitch and redefines “Double Crochet” as discussed below.

The third series also appeared in 1848, referring the reader to the first two for basic definitions with one exception — “For Long stitch, see ‘Winter Book,’ page 18, in Mary Stuart Hood.” That was yet another of Riego’s publications from 1848. It only provides a written description of the long stitch but this unambiguously details what she might have called a quadruple stitch (US treble) if she had left double crochet with its initial meaning.

Riego uses a more rigorous terminology in The Crochet Book than she does in her earlier writing, where the word crochet is a generic synonym for stitch made with a hook. Here a “stitch” is an attribute of the fabric. A “loop” is something initially found on the tool and then worked into other loops to produce a stitch, which is further specified by parts of the component loops. The illustration of single crochet provides a useful introduction to her descriptive methodology (and commercial prowess; the Taylor named on the spool was one of her sponsors).

“After making a chain, the loop E being on the needle, put the needle in a stitch as F, draw the thread through, forming a loop, and also through the loop on the needle E.” Continue reading “Mlle. Riego’s crochet stitch atlas” →

Looped Fabric

What’s French about crochet and what’s Tunisian about Tunisian crochet?

7 July 20204 April 2023 stringbed1 Comment

The French word crochet (hook) triggers a reasonable expectation of the craft it now names having its origins in France. The core term is attested there in regard to fabric production beginning in the 17th century, as a generic name for a tool employed in a variety of crafts. Its earliest known use as a direct designation for a craft appears in a document from 1567, written in French at the court of Mary, Queen of Scots.

A good example of crochet not always meaning what might first be expected is seen in French instructions from 1826 for purses — bourses au crochet — which are knitted on a peg loom (discussed with illustrations of different types of hooks here). Again counter to expectation, the term’s first appearance in the fancywork press is not found in a French publication, but in Dutch instructions from 1823 for a “hooked purse, in plain openwork crochet” (een gehekeld beursje, au crochet simple à jour).

The first explicit mention of that craft in corresponding British publication is in instructions “for making a purse in double-stitch crochet” (pour faire une bourse à crochet à double maille), included in an anonymous compilation of knitting instructions from 1837. Those for the purse are in French but the book they appear in is otherwise entirely in English.

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Looped Fabric

Crochet nomenclature and the reliability of memory

17 May 20206 September 2022 stringbed1 Comment

The German references to crochet in the early-19th century, discussed in the preceding few posts, clarify a comment about the craft written at the end of the century that I had long been wondering about. The article on crochet in the Encyclopedia of Needlework, by Thérèse de Dillmont from 1886, categorizes its ordinary form as “German crochet” (as do the French and German editions). This contradicts a pivotal detail in an account of the craft’s history written by Frances Lambert in 1844.

“Crochet—a species of knitting originally practised by the peasants in Scotland, with a small hooked needle called a shepherd’s hook—has within the last seven years, aided by taste and fashion, obtained the preference over all other ornamental work of a similar nature. It derives its present name from the French; the instrument with which it is worked, being by them, from its crooked shape, termed ‘crochet’. This art has attained its highest degree of perfection in England, whence it has been transplanted to France and Germany, and both these countries, although unjustifiably, have claimed the invention.”

This statement about its geographic origin is belied, in turn, by illustrated French instructions from 1785 for the use of a shepherd’s hook for the co-named shepherd’s knitting. A German text from 1800 describes the same tool and “hook knitting” in even greater detail and predicts the impending emergence of crochet, as the term is currently understood. A stream of German references to the new craft began in 1809. Continue reading “Crochet nomenclature and the reliability of memory” →

Looped Fabric

Drawing a bead on the arrival of crochet in Germany

3 May 202022 November 2021 stringbed3 Comments

The preceding essay considered differences between the descriptions of crochet by Elisabeth Bayle-Mouillard (writing as Madame Celnart) and Charlotte Leidenfrost, in their books published respectively in 1826 and 1828. The German text followed the disposition of the earlier French one and used the same illustrations. In her preface, Leidenfrost explained the otherwise extensive substantive differences between them. Going beyond those examined last time, the preface states:

“The French work of Madame Celnart has a few appended patterns for tapestry-stitch embroidery [Tappiseriearbeit] and crochet [Häkeln], which we have omitted here…because the understanding of several descriptions would require other drawings. I also didn’t want this work to be unnecessarily expensive. In any case such patterns, exquisitely executed, are now available to whitework embroiderers in many locations in Germany. It therefore seemed superfluous to increase their number by what might be mediocre ones here.”

The comment about the patterns being marketed to embroiderers, as well as the drawings themselves, show that Leidenfrost was referring to charts for Berlin wool work. Here is one of the two Bayle-Mouillard illustrations that she omitted. Continue reading “Drawing a bead on the arrival of crochet in Germany” →