In my last post I talked about my participation in the Sanquhar Workshop, organised by the Knitting in the Round initiative from the University of Glasgow. Today I’d like to tell you little bit more about the history of knitting in Sanquhar and how I got interested in this subject.
The Knitting Reference Library holds a small handling collection of Sanquhar gloves – image taken courtesy of the Knitting Reference Library
About five years ago I learnt how to knit gloves, and like many knitters, I started browsing Ravelry for nice patterns. That’s where I first encountered the amazing Sanquhar gloves. Never having done any stranded colourwork, I’m not sure why I ordered all four available patterns from the Scottish Women’s Rural Institutes not soon after. It was a steep learning curve for me, but at the same time as I was struggling to knit my first pair, I researched the knitting tradition of the town of Sanquhar, which incidentally, can also claim to have the oldest post office in the world, dating back to 1712.
HISTORY AND TRADITION
The first knitters in Scotland were highly paid craftsmen of the 16th and 17th century, but by the mid 1700s knitting skills had spread throughout the country and created a thriving cottage industry, mainly producing knitted stockings. The entire Scottish hand-knitting industry declined dramatically in the late 1700s, due to a variety of reasons, amongst others the loss of trade to the American Colonies, and the increasing industrialisation of spinning and processing wool. It was most probably around the late 1700s that the distinctive two-colour patterns developed as an attempt to create a product that stood out and thus protect the livelihood of local knitters.
Thomas Brown, a Sanquhar printer, noted in his Union Gazeteer of Great Britain and Ireland (1807), that the stockings were ‘almost peculiar to the place…parti-coloured and of great variety of patterns.’ Mittens, and rather later, gloves were made in the same manner. One feature of good eighteenth-century stockings was that the customer’s name or initials could be worked into the tops. This may be the origin of the Sanquhar practice of working these into the wrists. Although Brown doesn’t mention it, this was a feature by the 1890s. The gloves were knitted from a yarn referred to as ‘drugget’ and this appears to be a wool/linen or a wool/cotton blend. The knitters sourced this yarn from the nearby John M’Queen’s Mill in Crawick, where it was used in the production of carpets.
Sanquhar gloves usually have the initials of the wearer stitched into the wrist – these gloves are from the handling collection of the Tollbooth Museum in Sanquhar
Hand knitting as a cottage industry died out in Sanquhar during the 19th century, but the tradition has survived. The presentation of specially knitted gloves to the Cornet and other principals during the annual Sanquhar Riding of the Marches Festival is still an important part of these celebrations, when all the horse riders of Sanquhar ride around the boundaries of the burgh. Today Sanquhar knitting is rarely made for sale. Nonetheless the style remains a favourite with keen knitters, with pattern leaflets available from the Scottish Women’s Rural Institutes and other sources found on the internet.
SANQUHAR STITCH PATTERNS
Sanquhar knitting is worked in two shades throughout. Although black and white are most common, other colour combinations regularly found are yellow and brown, and red and green. The patterns show a resemblance to other erstwhile thriving cottage industries in Cumbria and the Dales; small and intricate, the two yarns are worked into a close fabric, with no long strands. One particular refinement of the gloves are the small finger and thumb gussets, which improve fit and relieve stress points in the fabric where the fingers join the hand.
The little finger gusset is shown here at the base of the ring finger – image taken courtesy of the Knitting Reference Library
The stitch patterns can be divided into two main types. Firstly the so-called dambrod patterns: a grid of black lines on a white ground, filled in with diamond or saltire variations. Secondly check and tweed patterns: all-over patterns in diagonal checks, and small motifs scattered on a spot pattern background. It’s likely some of the patterns were named in honour of local benefactors and visiting dignitaries, like the Dukes of Queensberry and of Buccleuch, who gave large orders for gloves, and the Prince of Wales, who was entertained by the Duke of Buccleuch in 1871. The Glendyne pattern was named after Robert Nivison when he took the title Lord Glendyne of Sanquhar. The cuffs are knitted in black and white ribbing or broken ribbing. It is customary to work the wearer’s initials in the wrist.
As the patterns fit around the gloves just so, the size of the gloves is altered by changing the tension: thicker needles for larger gloves, thinner needles for smaller gloves.
The Sanquhar gloves come in a wide range of patterns as this display at the Tollbooth Museum shows – dambrod patterns at the top; tweed patterns at the bottom, with the exception of the Duke glove fifth from the left
SOME HINTS AND TIPS ON KNITTING SANQUHAR GLOVES
First and foremost it’s important to knit a decent sized tension swatch in the round. Read through your pattern and work out how many stitches go round the hand, as sometimes this is more than the number of stitches you cast on. Measure around your hand and work out what your tension should be for a good fit.
The most common alteration to the traditional patterns is probably the cast-on: one way to avoid the cast-on edge curling over, is to use a variation of the long-tail cast-on sometimes called twisted German cast-on, followed by two rows of purl, before starting the ribbing.
An other alteration often seen on the Ravelry Sanquhar group is to stagger the finger gussets at the correct height according to the wearer’s hand, rather than all on the same round. A personal alteration is to decrease 5% in the black round after the cuff to narrow the wrist. Then, after knitting the wrist, I increase back to the original number of stitches. This makes for a more comfortable fit, especially as ribbing in stranded colourwork doesn’t pull in.
My gloves in the Prince of Wales pattern – the fingers each start at the right height