Cluny Six Petal Join Technique Pattern

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To join two “Little Light of Hope” motifs together, I use the cluny six petal join technique.  The join isn’t difficult but it’s rated advanced because it’s tricky to learn where the petals attach unless you’re sitting right next to someone teaching you.  I’m going to write the pattern with lots of pictures detailing each step.

The join is made as you’re going around the last row, row 10.  This is the pattern without any joining:

Row 10, Irish Edging– (2sc in every sp, p over gap between 4dc, ch1 group ) twice, 2sc in next sp, 1sc in next sp, ch 10, flip work and 2sc in the middle of the 4dc, ch1 group just covered with scs.  Flip work again.  Cover ch10 with 9sc, p, 9sc. Place one more sc in the ch 1 space  before ch10 adventure began.  Repeat around, close with sl.

This is the pattern for Row 10 with a Triple Cluny Six Petal Join:

Row 10, tr six petal join– (2sc in every sp, p over gap between 4dc, ch1 group) twice, 2sc in next sp, 1sc in next sp, ch 10, flip work and 2sc in the middle of the 4dc, ch1 group just covered with scs.  Flip work again.  Cover ch10 with 8 sc. Chain 1 for joining picot, 2sc in top of picot of new motif. 1sc across the middle of the two joined picots for strength.  8sc in remainder of ch10 loop.  2sc in each ch1 gap, ch4 picot over dtr of previous row, twice.  2sc in next sp, 1sc in next sp, ch 10, flip work and 2sc in middle of the 4dc, ch1 group just covered with scs.  Flip work again. (see picture above for illustration of this step) Cover ch 10 with FOUR sc, begin triple cluny six petal join.

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Six petal join– Chain 5, 3tr in top of last sc made keeping last loop of each tr on hook.  Slip one loop through all four loops on hook.  Beginning cluny cluster made.

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For the second petal, find the fourth sc up on the left side of the next ch10 loop of previous motif (telling where to place these petals in words is what makes writing this pattern out difficult… here’s a picture) 5tr in the fourth sc of left side of ch10 loop, keeping the last loop of each tr on hook, draw one loop through all five loops, sc across the top of the petal for stability and to pull the top of the petal even closer together. 2nd cluny petal made.

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Third petal placement– the petals are placed in a clockwise fashion in the gap between the two joins already made between motifs.  Place third petal in the top of the picot that follows clockwise after petal two.  Sc across the top of completed petal.

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Fourth petal placement– count four sc up on the previous ch10 loop, place fourth petal in fourth sc up.  Sc across the top of petal made.

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Fifth petal–  place fifth petal four sc up from the base of the second to last ch10 loop on the motif you’re currently working on. Sc across the top to secure.

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Sixth petal– place sixth petal in the picot between ch10 loops of the motif you are currently working on. Sc across the top to secure.

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Finishing off first petal– sc across the top of the first petal. Slip crochet hook through the tops of all the tr of that petal, sc to secure. Chain five.  Slip crochet hook into the sc at the base of petal 1, yarn over, slip crochet hook behind base of petal 1, yarn over again, sc to secure.  Flower complete.  4sc in ch10 loop.  Picot join to second motif.  Triple cluny six petal join complete.

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The larger gaps between these motifs calls for a Double Triple Cluny Six Petal Join.  This join makes a slightly larger flower to cover the gap.

8sc in ch10 loop to finish loop.  2sc in each ch1 gap, ch4 picot over dtr of previous row, twice.  2sc in next sp, 1sc in next sp, ch 10, flip work and 2sc in middle of the 4dc, ch1 group just covered with scs.  Flip work again. Cover ch 10 with FOUR sc, begin Double Triple Cluny Six Petal Join.

First DTR petal– Chain six.  Five dtr in sc just made, keeping last loop of each dtr on hook.  Yarn over, pull one loop through all five loops.  Beginning DTR petal made.

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Second DTR petal– Six DTR in fourth sc of ch10 loop of second joining motif.  Yarn over, pull one loop through all six loops. Sc across the top of the petal to secure.  Second petal made.

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Third DTR petal– Going clockwise, place six DTR in fourth sc of next ch10 loop of second joining motif.  Yarn over, pull one loop through all six loops. Sc across the top of the petal to secure.  Third petal made.

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Fourth DTR petal– Going clockwise, place six DTR in fourth sc of next ch10 loop of first joining motif.  Yarn over, pull one loop through all six loops. Sc across the top of the petal to secure.  Fourth petal made.

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Fifth DTR petal– Going clockwise, place six DTR in fourth sc of next ch10 loop of first joining motif.  Yarn over, pull one loop through all six loops. Sc across the top of the petal to secure.  Fifth petal made.

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Sixth DTR petal– Going clockwise, place six DTR in fourth sc of next ch10 loop of the motif you are currently working on.  Yarn over, pull one loop through all six loops. Sc across the top of the petal to secure.  Sixth petal made.

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Finishing off first DTR petal– sc across the top of the first petal. Slip crochet hook through the tops of all the dtr of that petal, sc to secure. Chain sic.  Slip crochet hook into the sc at the base of petal 1, yarn over, slip crochet hook behind base of petal 1, yarn over again, sc to secure.  Flower complete.  4sc in ch10 loop.  Picot join to third motif.  Double Triple Cluny Six Petal Join complete.

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The TR and DTR six petal joins alternate. If I were to continue joining this motif to the lace fabric, I would join next with the smaller TR six petal join, followed by a DTR six petal join and finally a TR six petal join. Depending on how many motifs you are joining, you may or may not have this many petal joins to make. As you get more practice, you’ll be able to see which flower goes where in the pattern.

For additional help, my dear husband helped me film one of the cluny joins in progress:

MJ Stegeby’s Snowflake Lace– Completed!

Mary Jo Stegeby is a good friend of mine, and my very first lace student.  Her first altar cloth was a pattern I love, called Pondlily.  This is her second. She started this altar cloth about a year ago, and it’s now complete.  This is a pattern she designed and modified from a visual image on pinterest. It’s size 30 thread. It’s being given to the Monterey, Mexico Temple. So beautiful.

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Janetta’s Lace for the Payson Temple, Complete!

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This altar cloth was handmade by my Aunt Janetta. Crocheted with size 20 DMC Cordonnet lace thread and her grandmother’s heritage hook, it was a labor of love and took nearly two years to finish. It is beautiful! It has the clones knot from our family heritage sprinkled throughout the design.  Janetta was able to finish this altar cloth just before the dedication of the Payson Temple, June 7th, 2015.

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Family Heritage: Janetta’s lace for the Payson Utah Temple

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I had an opportunity recently to visit with my aunt, Janetta Wells. She is a lacemaker from Payson, Utah, and is currently making an altar lace for the new Payson Temple that will be dedicated June 7, 2015. She told me the story of her lace and why it was special to her.

My Aunt Janetta has lived her whole married life in Payson, Utah, in the same modest house, and raised all 12 of her beautiful children there. When she heard the announcement that they were going to build a temple, just down the street from her house, she was thrilled.
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My mother had seen me making lace for various temples, and knew Janetta had made numerous doilies in her life. She asked, “So Janetta, are you going to make an altar cloth for the Payson Temple?” The thought had never occurred to my aunt, but as soon as the words were said, she knew she would, wanted to, she had to. And, she knew she would use great-grandma Ada’s hook to do it.

One of the things Aunt Janetta has from her great grandmother, Ada Christensen Almond, is her lace hook. It’s a vintage Hero brand hook, size nine, made in England. We aren’t sure how old the hook is, or where grandma got it, but it was passed down to her after grandma Ada died, and Janetta treasures it.

Ada and Moroni Almond on their 50th wedding anniversary.

Ada and Moroni Almond in front of the house Moroni built in Downy, Idaho in the 1930’s.  This picture was taken on their 50th wedding anniversary. 1951

Grandma Ada lived a lot of her life in Downey, Idaho. My mother visited her in 1973. She told my mother stories and recited poetry from memory:

“Grandma Ada Christensen Almond had a sharp memory and was kind and patient even though she was confined to her bed and probably had aches and pains. We had a memorable visit and I am glad I got to know her. She later crocheted a baby blanket for me when Angela was born.”

That baby blanket was for me, she died before I knew her, but I still have it.  It’s one of the things I treasure from my heritage.  In the beautiful white yarn are woven her sparkling silver hairs every so often.  It’s  a treasure.

These are some memories from her life history–

“The earliest I remember was living on the homestead in Newton, Utah, and seeing my father walk out into the grain field with the grain as tall as he was. And then the Indians coming to glean the grain after the harvest. They would camp down by the stacks and glean every head of wheat that the binder or the thresher left and they were always friendly and father and mother treated them kindly.”

Wild Indian Paintbrush

Wild Indian Paintbrush

“Then I remember the fields of flowers. The field below the house would be golden yellow with buttercups and tulips and some parts blue with bluebells and larkspurs, and red with Indian Paintbrush. I remember how we loved to gather the beautiful flowers and fill every possible container. It was spring and flowers were blooming and we would each have our favorite stick to dig the segos and take them home to have creamy milk on them. We thought they were delicious.”

“On the farm it was a constant battle with rabbits, squirrels and frost. Then came the depression and we finally turned it to the Mortgage Company. It was a battle, and we lost, or did we? We gained experience. Then we lived in our house west of Downey where our family grew up, it was a long walk to school for the children and for us to get to church, but usually we made it. After walking a mile or so to the church carrying a baby, it was not so easy to stand and teach a class, but those were good years, struggling to meet the problems as they came. There have been some struggles and problems, as most folks have in raising a large family. The joys in their joys and then accomplishments, which we think are many. The sorrows we have had when tragedy came. I am thankful for the many blessings that come each day.” (they had ten children)

Grandma Almond lived to the age of 95.

My aunt chose a pattern from my library featuring a design reminiscent of blooming wildflowers, perhaps sunflowers, or four sprigs of the wild Indian Paintbrush of grandma Ada’s youth.  It’s a visual pattern from Ondori. The text is in Japanese, but you don’t need to read Japanese to use it, the crochet symbols on the pattern are universal.

Sunflower design, set on diagonal with handkerchief edging from a Japanese visual pattern by Ondori

Wildflower design, set on diagonal with handkerchief edging from a Japanese visual pattern by Ondori

Ondori Crochet Pattern Book

This is the Ondori pattern book we got this pattern from

An interesting thing about this design was the modification we made to set the square on diagonal. The original pattern calls for the motifs to be set flat on an edge:

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We liked it better set on diagonal, so we modified it just a bit.  I like the modification.  When she adds the edge, it will be a slightly different edge as well.  I’m looking forward to seeing the final project.  So beautiful!
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From the Ada Christensen Almond History:

MEMORIES OF GRANDMA ALMOND

Grandma Ada Almond was loved very much by her children and grandchildren. She was always fun to visit. Everyone loved to hear her recite her poetry that she had memorized. It seems she had reams of poetry all memorized–very long standard and classical poems. However, one of them we all liked best, especially after SHE was old was:

YOU SAY THAT I AM GROWING OLD

You say that I am growing old; I tell you that’s not so.
The house I live in is worn out, this, of course, I know.
It’s been in use a long, long while; it’s weathered many a gale
I’m not surprised that you think it’s getting rather frail.

The color of the roof is changing, the windows are growing dim,
The walls are sort of transparent, and getting kind of thin.
The foundation is not as steady as once it used to be.
My house is getting shaky, but my house is not me.

These few long years can’t make me old; I feel I’m in my youth.
Eternity lies just ahead–a life of joy and truth.
We’re going to live forever there, as life will go on–it’s grand.
You say that I am getting old? You just don’t understand.

The dweller in this little house is young and bright, I say,
Just waiting in this little house to last through every day.
You only see the outside, which is all that most folks do.
But listen, friend, to what I say, and you can understand too.
You say that I am growing old? Oh, no, I’m not, you see!
Just stop and think about it dear, You’ve mixed my house with me.

Wings to Fly With

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I came across this quote this morning and have been pondering it.

“Do not ask your children
to strive for extraordinary lives.
Such striving may seem admirable,
but it is the way of foolishness.
Help them instead to find the wonder
and the marvel of an ordinary life.
Show them the joy of tasting
tomatoes, apples and pears.
Show them how to cry
when pets and people die.
Show them the infinite pleasure
in the touch of a hand.
And make the ordinary come alive for them.
The extraordinary will take care of itself.”  

– William Martin 

Yesterday the kids and I went to the stables where my daughter works with a few horses on a volunteer basis. She spent a good chunk of this summer training with my sister. For her, horses are freedom.

My two littlest kids love “the horse place”. They watched the goats, climbed on the rocks and had more fun in the dirt and sticks than you’d think possible.

The other day I had the joy of watching a child who is dear to us as he struggled to smile. It’s an effort that for most is simple, but for him has been a journey fit for a novel.

There is something true in the healing, nurturing power of simple things. All of us have a little trauma to overcome in  some degree or another. That’s the nature of life in this imperfect space. It’s the simple things that give us wings. Flight is in our nature. Being who we are, we can’t help but fly.

And that, is extraordinary.

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Birds in Flight – – Altar cloth lace in progress

From the Treasure Box: My First Lace

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I found this in an old box in the garage, full of lacy bits and memories. I showed it to my husband. “Do you know what this is? It’s the handkerchief I made for the Mount Timpanogos Temple dedication.” So many memories attached to this lace.

The Timpanogos Temple was the first temple we’d ever had the opportunity to see built and dedicated. At the time, we were newly married, and students at BYU– barely scraping by on 500.00 a month part-time income. We lived next door to Mirla Thayne, who wrote the children’s hymn, “I Wonder When He Comes Again”.  It was about a year before she died. 

I also  worked, but from home, caring for our upstairs neighbor with Alzheimer’s.  Clyde.  I’ll never forget Clyde, he was a character, and as innocent as the four year olds in my Sunbeam class.  Oh the adventures we had with him– once we found all his clothes neatly hanging from the front door.  He’d mistaken it for the bathroom door, and by the time he got out of the house, forgot he was going to take a shower, and figured it was time for a walk.  Off he went, and after him I ran.  That job carried our rent, and Troy’s income paid for everything else. My mind can hardly wrap around those meager figures looking back, but Troy, who keeps everything, still has the pay stubs to prove it.

There’s a part near the end of every temple dedication that requires a clean, white, handkerchief.  I didn’t have one.  I looked at the budget.  No help there.  I wanted to make something special for the temple dedication rather than just order something I didn’t have money for anyway, so I bought thread, a hook, and a book of lace edging patterns with my meager budget instead. I began working the simplest pattern possible. I was nervous, but too new at this sort of thing to be daunted. Though I had seen others do it, this was my very first experience making lace.

After a few false starts, I began to get the hang of the smaller thread, and the lace started looking like something. When I finished, I was so proud of my work, I had no idea how rough and primitive it was. I only saw beauty, and it was beautiful.IMG_20140817_174312631_HDRLater, my mother-in-law sent me a few other temple handkerchiefs, finer in detail, and smaller in thread. The difference, rather than discouraging me, inspired me, and my interest in laces grew.

That was October 1996. Less than four years later, we’d graduated from BYU and moved to the east coast with Troy’s first job at BBN Technologies in Boston.  We watched and participated with interest as the Boston Temple took shape.  We lived in Waltham, Marlborough, and then Billerica, where I started and finished my first altar cloth.  In October 2000, I attended my second temple dedication–this time for the Boston Temple.

There’s something of yourself that gets put in things that you work hard for.  I don’t know which of my several lace handkerchiefs I used for that dedication, but I’ll never forget my first. I still can’t make a size 80 tatted handkerchief edging, but there’s always room to grow.

Of all the laces, bonnets, blankets, and edgings I’ve made over my life, I’m tickled to realize that even my very first, was for the love of the temple.

Two Temple Handkerchiefs

Side by side– my first size 10 thread crochet edged thick cotton handkerchief on the left. On the right is a size 80 thread tatted lace edged delicate linen handkerchief. Both beautiful.

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The Spirit Is In The Details: from the Nova Scotia Temple

Halifax, Nova Scotia Temple

Halifax, Nova Scotia Temple

“A mechanical problem with the plane to be used by President Gordon B. Hinckley to travel to the Halifax Nova Scotia Temple dedication resulted in a historic first: the dedication of two temples on the same day. The Regina Saskatchewan Temple, scheduled to be dedicated by President Hinckley the next day, was instead dedicated by Elder Boyd K. Packer, acting president of the Quorum of the Twelve Apostles, while President Hinckley presided over the postponed dedicatory sessions for the Halifax temple. Richard Moses, second counselor in the Dartmouth Nova Scotia Stake presidency and chairman of the local temple committee, noted, “When the dedication was postponed, members showed no irritation, but inquired what they could do, like opening their homes to help offset the expense of those who would need to stay an extra night to attend the dedication.” He added, “It is impossible – there are not words – to adequately express our gratitude for this temple. No longer do we just look at a picture of a temple. Now, when my daughters look out their bedroom window, they see the softly lighted figure of the Angel Moroni standing as a beacon over the area.”

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To attend the dedication, members in the Bay Roberts, Grand Falls and Corner Brook branches drove six to eight hours to a sea port where they ferried to Nova Scotia during the night, then drove four more hours to the temple. Members from Maine drove eight hours to attend. Members in New Brunswick and on Prince Edward Island also drove many hours. “These are faithful people who don’t consider attending the temple to be a sacrifice,” President Moses said.

The influence of the temple reached deep into the hearts of many non-members, continued Pres. Moses, noting the concern expressed by a reporter of the province’s largest newspaper. “After completing a tour during the open house, and obviously touched by what he was feeling, the reporter commented that there was no way he could write what he felt in the small space he would be given for the article.” On another occasion, “A man dressed in leather and sporting many tattoos came to the open house. He was quiet during the tour and sat by himself in the celestial room. Soon, tears were flowing.” A member brought his non-member mother to the open house. Sitting in the celestial room she said, “I’ve never felt closer to God.”

During construction, “we found the counsel of Elder Jay E. Jensen of the Seventy to be true: the Spirit is in the details,” said President Moses, noting how the members found joy in making the temple as perfect as possible. When several flecks of grouting were found on the bottom of the baptismal font after last-minute tile work done the day before the dedication, members were willing to drain, then re-fill the font.”

President Moses recounted an experience one evening in Charlottetown, Prince Edward Island, that demonstrates the love of the members for the temple. “We were taking a tour through the temple district to give a report on the progress of the temple and show them a sample of the granite stone. At one point, I asked for volunteers to crochet altar cloths. A blind sister sitting on the front row quickly volunteered. ‘I’d like to do this,’ she said, and rather forthrightly, requested a pattern. A hush fell over the others as they considered the sacrifice she was making. Then they quickly volunteered.” (Church News, 20 November 1999).

Jordan Anderson’s Daisy Lace for the Payson Utah Temple

Daisy Altar Lace

Sister Jordan Anderson, a new lacemaker from Payson, Utah,  just completed an altar lace for the Payson Temple to be dedicated soon.  She told me of her experience with her first altar lace:

“Just over a year and a half ago my Relief Society president announced the call for altar cloths for the new Payson Temple, which is just on the other side of our ward boundaries. I have a strong pioneer heritage on both sides of my family and many of them contributed to the work of building temples, so I jumped at the chance to make my own offering for the house of the Lord. Little did I know what a huge and wonderful undertaking it would be.

Before starting this altar cloth I had limited experience with crochet. I’d made a few hats and scarves, but that was it. The Relief Society President gave me a packet of seven approved patterns and I chose the one I thought was best suited to my abilities, the Daisy Lunch Cloth. Because I was so new at this endeavor it was essential that I follow the pattern exactly. There were times I thought I knew better than the pattern…but I didn’t. It wasn’t until I humbled myself enough to really study the instructions that I gained an understanding of how to be successful with each motif. I had a moment of inspiration and felt the Spirit reminding me that the scriptures and the words of the prophets are the pattern for our lives. Disregarding the pattern only brings frustration, especially as one who is learning and growing. Even more touching to me than that lesson was the renewed testimony of the Atonement. I made many, many mistakes in the process of completing the altar cloth. With every mistake I ripped out the work I’d done and changed my stitches to fix the problem. Now there is no evidence that those mistakes were ever made but there is a complete and flawless whole. The Savior does the same for us when we turn our mistakes over to Him for healing and grace. I did not expect my testimony to be strengthened by crocheting an altar cloth but I am grateful for the experience.

Work on the cloth has come and gone in spurts. For the past several weeks I have felt the fire under me to complete it. I have a baby on the way and I came to the realization that if I were to wait any longer I may not have to time to finish before the temple is dedicated. This past week I have both finished the cloth and come across many stories of my pioneer ancestors. As I finished work on the border I thought about so many in my family line, from pilgrims who came on the Mayflower to pioneers who crossed the plains, who dedicated their lives to the service of God. I’ve been blessed to feel their influence on the generations of my family down to my own children. I have two ancestors in particular, one from my father’s side and one from the line into which my mother’s father was adopted, who worked on the Nauvoo temple. The first, John Carling, did carvings on the doors and woodwork throughout the temple and the other, Peter Shirts, made the keys and locks for the doors. They knew full well they would abandon their beloved temple and their work would be lost to them, but they gave the best they had to give. As a tribute to them and as a gift to the Lord I can now give something that is the best of myself. I am still learning and my work is not perfect, but it is my very best and any mistakes I made have been removed. I’m so grateful to have had the opportunity to give my offering to the Lord and to give it with the confidence that I gave my all. It is amazing to me that what I have already received from the learning process is far greater than what I gave.”  –Sister Jordan Anderson, Payson, UT