American vs. European Crochet Terms

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In an online world where eBay, Amazon, and Pinterest have made finding unique crochet lace patterns so much easier, it’s important to realize, not all patterns speak the same language.

I first came up against this issue when I was making a beautiful rose motif in an old 1920 magazine reprint from the Lacis Museum of Lace.  It was a beautiful Irish lace piece.  I was in love!  But no matter how many times I started, for the life of me, my rose and the “Rose of Sharon” did not match!  That was when I learned a very important lesson.  American patterns are different from European patterns.  It’s not a hard difference to learn, but they are different.

What are the differences between American and European Crochet?

American Crochet Terms UK Crochet Terms
Single crochet Double crochet
Half double crochet Half treble crochet
Double crochet Treble crochet
Treble crochet Double treble crochet
Double treble crochet Triple treble crochet
Gauge Tension
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Many modern patterns will specify which type of pattern they are using. Books will have a stitch guide in the front or back as a reference detailing exactly what each of their standard stitches is meant to look like. However, as a rule of thumb if you’re using 1920 or earlier lace patterns or Irish lace patterns, take special note.

If you’re still in doubt with an ambiguous, gorgeous, must-have pattern, this is the biggest tip– European patterns do not use sc. If the pattern calls for single crochet, you know it’s an American style crochet pattern.

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.

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).

Gold Gleams in the Ashes

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As I was working on my altar lace last night, I remembered this poem.  It’s such beautiful imagery.  I’ve been thinking about the examples we have been given by those who came before us and left us this legacy of faith.

Sister Vilate C. Raile penned these words regarding the pioneers:

They cut desire into short lengths
And fed it to the hungry fires of tribulation.
Long after when the fires had died,
Molten gold gleamed in the ashes.
They gathered it in bruised palms
And handed it to their children
And their children’s children forever.

On my bathroom wall, I have quotes of all kinds taped.  This is one of my favorites:

“May we do as much with the blessings we have been given as [our ancestors] did out of the deprivations so many of them faced. In such abundance may we never “forget the Lord.”” –Jeffrey R. Holland

Yesterday I watched Only a Stonecutter with my children.  I love John Rowe Moyle for his work on the Salt Lake Temple.  Lace, gold, stone– somehow, it’s all applicable.

Temple History: This Is The Right Place

I came across this today as part of the celebrations going on for Pioneer Day.  Not only does it show gorgeous footage of the Salt Lake Temple interior, but also some of the heart, detail, and craftsmanship that go into these temples.  The Salt Lake Temple pictured here took 40 years to build and finish.  This temple was the third temple the saints began.  Both previous temples had been burned and destroyed by people who were set on chasing the people from their towns and faith.  I can imagine the joy those saints felt as the angel Moroni was placed, and the beautiful Salt Lake Temple was finally completed.

A note of interest, one of my husband’s grandfathers, Albert Perry Rockwood, was in the wagon with Brigham Young on July 24, 1847, the day they first made it to the Salt Lake Valley. After so much suffering, death, and brutality the saints endured searching for a place to live together in peace, it was a great moment when Brigham Young saw the valley, recognized it, and declared “This is the right place”.

Pioneer day is celebrated as an official holiday in Utah, but is also celebrated in many surrounding states in honor of pioneers of all faiths who settled the West. Today marks 167 years since our pioneer forefathers came to Salt Lake.

Pioneer History from the Mormon Newsroom:

The 19th-century Mormon migration beginning in 1846 in Illinois, then through Iowa and Nebraska and eventually to a place of refuge in the Rocky Mountains, was one of the most remarkable episodes in the history of the United States’ great western migration. Unlike the thousands of pioneers streaming west to California and Oregon looking for a better life, the Mormon pioneers migrated involuntary — the result of expulsion from Illinois and Missouri by hostile neighbors. Later, the Mormon pioneer trail would be filled with converts coming from Europe.

With the assassination of Joseph Smith in 1844 and increasing pressure on the Mormons to abandon their city of Nauvoo on the banks of the Mississippi, it soon became obvious to Church leaders that they would need to move yet again. At first they established a refuge in what was called Winter Quarters, near present-day Omaha, Nebraska. Then in 1847, under the leadership of Brigham Young, the first wagon train headed west for the Rocky Mountains, its precise destination unknown.

As the first group of Mormon pioneers reached the Salt Lake Valley in the summer of 1847, Brigham Young looked out over what was then a barren, dry desert and declared, “This is the right place.”

In 1849, President Young established the Perpetual Emigration Fund to assist poor Latter-day Saint immigrants. The fund helped some 30,000 immigrants from the British Isles, Scandinavia, Switzerland, Germany and the Netherlands reach America — more than one-third of the total Latter-day Saint immigrants from Europe during that period.

To cut down on expensive wagons and oxen, some 3,000 of the pioneers subsequently used low-cost wooden handcarts that were light enough to be pulled across the Great Plains. One family or five individuals were assigned to a handcart, with 18 to 20 people sharing a tent. A cart hauled no more than 200 pounds — about 17 pounds of baggage per person.  Each highly organized company was led by an experienced guide and was accompanied by at least four oxen-drawn supply wagons.

The first party of handcarts set out from Iowa City, Iowa, on 9 June 1856 with a company of 266 people from England, followed two days later by a second company of just over 200.  These early handcart brigades successfully arrived in the Salt Lake Valley, but the trips were not easy. Pioneer journals recorded harsh weather, the threat of hostile Indians, the death of fellow travelers and the ongoing hardships of hunger and fatigue.

Tragedy struck in the fall of 1856 after the Willie and Martin handcart companies left late in the season with 1,000 people between them. Both companies were plagued by a lack of supplies and hardships, including an early snowstorm that turned into one of the worst storms of the century. The exhausted companies set up camp in deep snow on the Wyoming plains, where more than 200 people died from starvation and cold. A massive rescue effort was launched immediately when word of their plight reached Salt Lake City.

In all, whether they came by wagon or handcart, thousands of Mormon pioneers died on the trail. Loved ones including children were often buried in shallow graves that would never be visited again.

Under Brigham Young’s direction, an estimated 70,000 Latter-day Saints made the difficult journey to Utah from 1847 until the transcontinental railroad was completed in 1869. The collective experience of the pioneers has cut deep into Mormon self-identity. Pioneer ancestors who made the trek are honored and often spoken of not only in family gatherings of descendants but also in meetings of Church members, who see the pioneers’ example of courage and sacrifice as inspirational.

The full video that these clips were taken from is called “The Mountain of the Lord” and tells the full story of the building and sacrifice of the Salt Lake Temple:

Chicago Temple: Story of Dedication and Sacrifice

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Altar Lace: A gift to the Lord

I came across this story in my search for historical accounts of other LDS lace makers. The story of this 78 year old sister was just beautiful:

“The dedication was a day of fulfillment for many of the temple district’s 160,000 members in Illinois, Missouri, Wisconsin, Michigan, Indiana, Ohio, Minnesota, Kansas, Nebraska, and Iowa. In addition to contributing toward building of the temple, many had labored to help furnish it or make it ready for the dedication.

A couple from the Wilmette Illinois Stake, for example, helped unload and place furniture in the temple, then clean it prior to the open house, which began July 15. “It was such a privilege to be asked to help,” the wife recalled. “We wept as we vacuumed and dusted.”

Women from throughout the temple district who are skilled in crocheting and tatting made altar cloths for the ordinance and sealing rooms. One 78-year-old sister from Indiana wrote that though the infirmities of age might make it difficult for her to go to the temple, she was thrilled to be able to participate in this way. An 82-year-old sister from the Dayton Ohio East Stake sent with her finished altar cloth a note offering to make a second one if it were needed; she wept when she received a telephone call accepting her offer.

A group of girls in the St. Paul Third Ward, St. Paul Minnesota Stake, made a dozen dolls for the nursery in the temple, each named for the girl who made it, with the names embroidered on the back. The dolls were presented as the girls toured the temple during the open house. Afterward, their leaders wrote to temple matron Betty Cahoon: “It was an exceptionally good experience for the girls to do something that would be meaningful for the young people. It will be a wonderful memory for them.”

The temple not only touched Latter-day Saints, but also many non-LDS visitors. Some 100,065 visited the temple before the open house ended August 3. They expressed sentiments such as “an obvious place of devotion,” “I felt the hand of God,” “everyone should feel closer to God in this special place.”

Read the entire article in the October 1985 Ensign.

Grandma Celinda’s Legacy of Lacemakers

Celinda Jane Twitchell Olson

Celinda Jane Twitchell Olson, lacemaker

I just wanted to put a note up about all the beautiful sisters who are contacting me with the desire to make altar lace.  It’s such a beautiful thing.  I love the letters!

I got an email from a sister two weeks ago who has a desire to make altar lace for her temple and came across this blog.  It turns out she and I share the same lace making gggrandma, Celinda Olson.  That makes her a cousin! 

In total, four of my grandma Celinda’s descendants are currently making lace for altars, including me.  It is such joy to find each other.  Lace ties us together.

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Grandma Olson’s lace

Lillie and Lily: Another Generation

A trip through history: Lily Adeline with great-grandma Lillie's original lace bonnet and gloves.

A trip through history: Lily Adeline with great-grandma Lillie’s original lace bonnet and gloves.

When a child joins our family by adoption, we have a tradition of holding “Name Changing Day”, and each child receives a name– a gift tied to our family history.  It is a milestone day that we look forward to with each child.  Our philosophy is even if we don’t share biology, we can share history, and that history helps tie our precious children to us.

Each child that has come to our family has a name that is meaningful to our family in some way or another.  My daughter Lily is named Lily Adeline, after my husband’s Great-grandma Lillie and my Great-grandma Ada, both wonderful role models, and women we look up to.

A few years ago we visited Grandma Rockwood’s house in Colorado, and learned more about our grandma Lillie.  While we were there, we saw the original lace bonnet made by Grandma Lillie.  We have a replica of it in our house, but Lily had never seen the original.

Mary taught me grandma Lillie’s roll stitch.  Lily and I sat together as Mary made each beautiful roll.  I was able to learn it, while Lily watched.  When she is ready, I will teach it to her.

Learning Grandma Lillie's Roll Stitch

Learning Grandma Lillie’s Roll Stitch

Lily wrote up her thoughts on her namesake and history here.

Building Our Beautiful Temples

The Salt Lake City Temple by Robert A. Boyd

The Salt Lake City Temple by Robert A. Boyd

Recently, I saw some gorgeous pictures of our temples taken by photographer Robert A. Boyd. I love his style. It’s simply beautiful. This snowy scene is from the grounds of the Salt Lake Temple in Salt Lake City, Utah. This is the temple where my husband and I were married and sealed for time and all eternity, so it has a lot of significance for me.

If you look closely, you can see an angel in gold on the tip of the tallest spire.  Each temple is a place where heaven touches earth, and nearly all of them are topped with a statue of an angel in gold leaf, blowing a trumpet as an invitation to the world:

“The angel Moroni stand[s] atop the temple as a shining symbol of [our] faith. In a degenerate society, he remained pure and true. He is my hero. He stood alone. He stands today, beckoning us to have courage, to remember who we are, to ‘arise and shine forth,’ to [live] above the worldly clamor and to, as Isaiah prophesied, ‘Come to the mountain of the Lord’—the holy temple.” –Elaine S. Dalton

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Workers put the finishing touches on Los Angeles Temple statue of the angel Moroni — BYU Archives

I saw a clip go by on one of my news feeds that the church recently put out detailing just how the temples are built, designed and why. I love it! How are temples built? So interesting. I watched it all the way to the end. Twice. Each temple is so unique, and beautiful, with such history!

I decided to look up some of the history on my own Los Angeles Temple. History is never a bad project.

Did you know the angel Moroni that tops Los Angeles Temple is wearing Mayan garb?  He was designed specifically for the Los Angeles Temple by Millard F. Malin:

“In 1951, Malin was commissioned by the Church to sculpt the statue of the Angel Moroni for the new Los Angeles Temple. The model he designed is a more masculine figure than the Dallin statue on the Salt Lake Temple, and was heavily influenced, Malin said, by the drawings of Arnold Friberg – certainly the angel’s broad chest, muscular arms, and vaguely Aztec clothing is reminiscent of the familiar Friberg style. Torlief S. Knaphus, who sculpted his own Angel Moroni for the Cumorah monument, and artists Maurice Brooks and Elbert Porter also assisted Malin in designing and constructing the clay model.

When it came time to prepare the full 15′ 5-1/2″ statue of gilded cast aluminum, Malin constructed a temporary studio on the grounds of a concrete plant in Salt Lake City. There he erected a 1,500-pound steel armature to support the pliable material out of which he would sculpt the full-size model. A full two tons of the modeling compound Plastilina was required for the heroic-sized figure.”       —The Angel Moroni’s Secret

And I came across this gem, also from the building of the Los Angeles Temple:

A fifteen-and-one-half-foot statue of Moroni was sculpted by Millard F. Malin and cast in aluminum in New York. In October 1954, the one-ton figure, coated with twenty-threecarat gold, was hoisted to the roof and placed on the tower. At first the angel faced southeast toward the front of the temple. But soon afterwards, at the request of President McKay, it was turned to face east as a symbol of watching for Christ’s Second Coming.

The story was told of a neighbor who lived east of the temple and who was asked if she had visited the temple grounds. She replied, “No, I’m waiting until the angel turns around and faces me.” She later said, “Imagine my surprise when I woke up one morning and discovered that the angel was looking right down my street.”    BYU Archives

I love the stories! You can’t help but fall in love with these houses of the Lord.