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First published in ‘Knit Edge’, No 3, May, 2013. Putting a name and finding the life story to one of one Dent knitter.

US young asylum inmates. Margaret was a similar age when first admitted to The Retreat.

Margaret Thwaite: A Knitter of Dent in the York Retreat Asylum

“…remains without material change. July 28 .. She still knits away with a piece of string and pieces of wool and needles producing only a tangle – if she cannot get anything to employ herself in this manner with she rubs her hands together all day long till she rubs the skin off then she rubs away at the sore…”  

[From Case Notes of Margaret Thwaite, 1874. March 1, The Retreat].

When I started looking at the records of The Retreat, a progressive asylum near York,  I was hoping to find some knitting, spinning and costume records in the account books; maybe the odd mention of knitting as an early sort of occupational therapy, in the patients’ case notes. What I found, unexpectedly was… the sad story of one of the ‘terrible knitters of Dent’, who spent seven decades locked away. I went in search of this woman, Margaret Thwaite, hoping to piece together her story and share it with her modern day descendants – the not always entirely sane modern knitters of Dent and everywhere else…

The Retreat was founded by Quaker philanthropist, William Tuke, in York in 1796. It pioneered the humane and gentle treatment of the mentally ill and became the model for similar asylums, all round the world.

18thC female asylum patient

In 1790, a Quaker woman, Hannah Mills was admitted to the notoriously brutal York Asylum, where inmates were left chained to walls, wearing rags, living on dirty straw in their own excrement, whilst tourists paid money to stand and point. Hannah’s family became suspicious when they weren’t allowed to visit her, and she died a few weeks after being admitted. Local Quakers investigated and found appalling conditions. As a direct result of this, Tuke set up his progressive asylum, mainly for members of the Society of Friends.

I was researching costume references, finding a wealth of mentions of haberdashery; obscure names for cloth, hats, gowns, and mentions of knitting and spinning, when I stumbled upon Margaret Thwaite  in the Admissions records. She was described as being a woman from Dent, and that piqued my interest immediately, as Dent was the powerhouse of 19thC Yorkshire Dales hand-knitting. I decided to track down Margaret’s case notes, and any mention of her in the account books, so I would be able to see if there were any references to knitting – all along suspecting it was highly unlikely I’d find anything.

There is no documentation previously known for any named, individual Dales knitter. These skilled knitters were faceless, nameless ghosts flitting occasionally into books about knitting and textile history. Even to be able to put a name to one, and find out more about her life, would be a fascinating thing.  I didn’t, for one second, expect I was going to be lucky enough to find mention of Margaret’s knitting. But went to look anyway.

Margaret Thwaite (sometimes ‘Thwaites’) was born in 1815, to Quakers James and Ann Thwaite.  James may be the James Thwaite in the Non Conformist records, born to John and Elizabeth Thwaite in Aysgarth, on 10th May, 1770 and married to Ann Blakey in York on 20th February, 1793 . On marriage, his parents are given as John and Elizabeth and her father is Joshua Blakey – James and Ann were to go on to have children called Joshua, John and Elizabeth.. A 90 year old Joshua Blakey can be found living on a farm with his son, at Counterside, Askrigg, in the Dales, in 1841. Several of the Thwaites’ children were born at Counterside and Margaret’s sister was to stay here, decades later.

On successive Censuses, Margaret’s birthplace was given as “Pontefract”. This confused me, as Margaret’s admission notes clearly said she was “from Dent”.  Pontefract is in the heart of the industrial West Riding of Yorkshire; not in the Dales. Birth certificates came along as late as 1837, so anyone born before that date, may well have had only a hazy idea of where they were born. Also, Margaret’s birthplace would have been given by a Retreat attendant, looking at the Admission records, who recorded the last place she was known to be living, prior to admission. Which might not be the place where the patient usually lived.

Richmond. Image courtesy Wikipedia

In fact, Margaret Thwaite was not born in Pontefract although she was admitted to the asylum from there. Her father appears to have lived there, whilst her mother was in the Dales. Margaret was christened in  Richmond,  in the North Riding, on the 14th April, 1815. Richmond is in the Dales, only 13 miles from Dent,  with an imposing castle and, according to Baines’ Directory of 1823, a thriving town with stay-makers, fellmongers, tallow-chandlers, weavers, straw-hat makers,  flax dressers,  surgeons, gun smiths, hair dressers, the two William Vittys Sr and Jr., who were Spinning Wheel and Reel Manufacturers, and numerous taverns some with woolly names like “The Fleece”, “Bishop Blaize” and “The Shoulder of Mutton”. Sometimes, children born in remoter villages like Aysgarth might be christened at some distance – especially if their parents were Non-Conformists.

In a 16thC record of woollen goods in Yorkshire, Thomas Caesar wrote: “In Rychemond there are above 1000 knyters….”  [quoted in ‘The Old Hand-Knitters of the Dales’, p.24]. In 1724, Defoe also described Richmond as a hotbed of knitterly action:

“‘… here you see all the people, great and small, a knitting; and at Richmond you have a market for woollen or yarn stockings….’” [‘The Old Hand-Knitters of the Dales’, p.25].   It is possible, as Non Conformists, the Thwaites lived 13 miles distant from Richmond, in Aysgarth, but had some of their children christened in the larger town.

James and Ann had children christened first in Aysgarth, in the Dales; later, Richmond. In Woodhall, Aysgarth, they had Elizabeth (1794), and Mary (1795), in Richmond they had  Ann (1797), John (1799) then back to Aysgarth, this time at Counterside, to have William (1807), Jane (1810) and  Joshua (1812). In Richmond, Margaret was baptised in 1815, then Sarah in 1817 and Richard in 1819. That may not be the complete family – just the birth records I have been able to find. Ten children and so far as I can see, Elizabeth, Mary, Ann, Jane, Joshua, Margaret, Sarah and Richard made it to adulthood.

Aysgarth was prime knitting territory, in the Dales.

Yore Mills, Aysgarth. CREDIT: Nathaniel Hunt

James Thwaite’s occupation is described only once in all the records. He is listed as “yeoman”. The turn of the 18thC saw yeoman farmers at their most prosperous and thriving. No doubt, he retained some interest in land at Aysgarth, whilst pursuing other business interests in Pontefract. Margaret Thwaite would be a fairly typical early Retreat resident – middle class, land-owning Quaker family who had various business interests, and could pay her bills. We should remember that not all ‘terrible’ (for terrible read ‘awesome’)  knitters of the Dales were working class. Knitting was a universal skill in the Dales.

Non Conformist records noted that in August, 1827   the Thwaites were in Pontefract – James, Ann, Margaret, Sarah and Richard. The James Thwaite born in 1770 in Aysgarth was born to John and Elizabeth Thwaite; Quakers.  Non Conformist records from 1827, describe Margaret as being a Quaker, of Pontefract but “at York”.  She would have been 12 – too young for admission to The Retreat. She may have attended one of the Quaker schools, or with family in the city. Other women on the same pages of the Non Conformist have occupations but for Margaret, they record simply “Spinster”. Which suggests she didn’t have to work for a living. Elsewhere in the same book, James, Ann, Margaret and Sarah are listed – but not Richard, so presumably he was living somewhere else in 1827. James is described as “Out of Business”, which could mean bankrupt, unemployed or simply retired. Ann was “Wife of James” and the two girls were “Daughter of James and Ann”, all of them residing in Pontefract – except Margaret who was, again, listed as “At York”.

Margaret’s status as a Yeoman’s daughter would not make her exempt from knitting. In ‘The Old Hand-Knitters of the Dales’, Marie Hartley and Joan Ingilby quote William Howitt, who took us on a ride through the Dales in his 1844 book, The Rural Life of England, written when Margaret had already been away from Dent for six years:

‘… The woman knits when her household work is done… We saw a stout rosy girl driving some cows to the field. She had all the character of a farmer’s servant. Without anything on her head, in her short bed-gown and wooden clogs, she went after them with a great stick in her hand…. As we observed her proceedings from a house opposite, and, amused at the contest between her and the calves said, “Well done! dairymaid!” “O!” said the woman of the house, “that is no dairymaid: she is the farmer’s only daughter, and will have quite a fortune. She is the best knitter in the dale, and makes four bump-caps a day”; that is, the young lady of fortune earned a shilling a day….’”  [The Old Hand-Knitters of the Dales, p. 80].

For Margaret knitting would be ‘home’. Although hand-spinning was dying out by the time Margaret was born in 1815, it was by no means dead yet – and survived strongest and longest in remote Dales villages where farming families had spun yarn for their own cloth within living memory, sent it to local clothiers to weave, then had it back to dye at home. And even when that practice waned, many still spun for knitting yarn.

Margaret’s parents appear to have lived apart, by the 1830s if not earlier. Margaret appears to have been admitted briefly in 1836, and released and returned to Dent, but re-admitted in 1838. This time, there would be no release. Her re-admission records state:

“M.T. has lived at home for the greater part of her life in a country situation with her mother, who has been for many years in a state of mental excitement chiefly connected with religious subjects, and though not requiring confinement on account of her own or others’ safety, has been decidedly deranged…..”

It seems that Margaret and her mother were left in a remote cottage somewhere in the Dales, when James and the rest of the family moved to Pontefract. Although James sometimes recorded that they were with him, and no doubt they visited, Margaret maybe fell ill after being confined for “many years” alone with only her manic mother for company. Alone in their home, the women maybe knitted, like so many locals. In the spread-out parish of Aysgarth, many people are listed as Farmer or Knitter on censuses.

An exquisite little book from 1810, with the catchy title: “Specimens of the Yorkshire Dialect To which is added a GLOSSARY of Such of the Yorkshire words As Are Likely not to be understood by those UNACQUAINTED with the Dialect” (Anon, Published Knaresborough, Price 6d), a girl thinks of her dull and not very wealthy paramour, and hopes at the coming Fair, she can swap him for a rich farmer’s son:

John Everett Millais [Public domain], via Wikimedia Commons

Why sud Ah nut succeed as weel,

And get a man full out genteel

As awd John Darby’s daughter Nelly;

Ah think mysen as good as she

She can’t mak cheese or spin like me….”

Margaret may have learned to knit from a very young age, from parents or grandparents. She was only a teenager when admitted to The Retreat but Dales lasses could spin and knit fast, and she would have had more than a decade’s experience at the point she was admitted to The Retreat. She was to spend her entire remaining life behind its high red-brick walls.  Some Retreat patients were eventually well enough to live out, in a row of cottages at Osbaldwick, living in a sort of sheltered accommodation. Many patients had day trips, even weeks back home and some patients’  stay was only brief anyway. As a severe and long-term patient, Margaret would have been confined to the building and grounds.

Admission notes record Margaret entering The Retreat in  1836, being discharged at some point as she re-entered in May, 1838. Her diagnosis is “frantic”. She was said to be 24, and had been insane for four years; the cause: “religion”.  The Dent doctors had tried the usual 19thC panacea: “Bleeding seems to be the only remedy that has been employed”.

Bleeding – applying leeches to the patient to suck their blood, which supposedly reduced internal inflammation – wasn’t working.

Until age 20, Margaret seems to have shown no signs of illness: “… there was nothing peculiar in her previous habits or manner and no unusual weakness”. Being shut up in a remote place, alone with her mother was the trigger, and seven decades’ incarceration behind the walls of The Retreat would only see this once normal young woman deteriorate into hopeless insanity. The doctor’s note that she was “alone” with her mother is the key. In a large family, teenage Margaret alone was responsible for an insane adult.  Shades of ‘the madwoman in the attic’ in Jane Eyre. And her story was not so unusual or melodramatic as we might think.  People had no resources, or help to deal with violent maniacs in their homes; admission notes for the Retreat patients often detail families in despair, spending years locking a family member in a room where they tear off their clothes, and self harm – utterly terrifying for the families, as well as the insane person. Margaret was a young woman left to cope singlehanded with her manic, but “not dangerous” mother. Knitting, that universal Dales occupation, was maybe an outlet for her. James Thwaite made the fatal decision not to hospitalise his wife – just bury her in the country with one daughter as her carer. According to the first UK census, in 1841, James Thwaite was living in Monkhill, Pontefract and  listed as being 70 and born in Yorkshire. He was “Independent” (retired and living on his own means) and living with daughters Elizabeth (born 1793), Sarah, and son Joshua, a teacher, born 1813.  Ann was living back in Monkhill, with the family – presumably because hiding her away in Dent had been to no avail.

The results of the decision to leave Margaret caring for Ann, alone in the Dales, in the 1830s were catastrophic.

In the early decades of The Retreat, patients were encouraged to carry on with their old hobbies and interests, or occupations, where practical. Account books show them keenly buying books, going on day trips, buying newspapers, alcohol, confectionary, and even knitting yarn and needles. As a form of proto-occupational therapy, in the 1790s, the patients were encouraged to hand-spin yarn which they could knit into stockings, mittens or gloves for themselves or friends, or sell to fellow inmates who couldn’t spin or knit.

Accounts were kept for both Male and Female Patients’ Work, and a typical entry might go like this:

“Men Patients’ Work  1798

5 May

Rec’d for Knitting (J.W)  1 shilling and 6 pence.

31 Dec

Spinning 1 lb  20  [illegible]  10 pence

2 P[ai]r of Yarn Stockings Knitting G.S   3  shillings and 1 pence”.

Or, from an entry for Ruth Sheffield in 1809:

“27 Jan 1809

Worsted for stockings (Knit by Ann Smith)”.

In the same year, Sarah Impey paid “.. Prideaux for a P[ai]r Stockings of her knitting”.

Account books kept track of the wool bought, and what items were spun and knitted by and for the patients. In The Retreat, Margaret would have been allowed to knit. Both men and women patients knitted. One patient, James Hashold seems to have been a prolific knitter, earning around one shilling and sixpence per pair of stockings. Another patient has the world’s first documented stash. Patience King spent over a pound on “stocking worsted” in 1807 and a few months later over two pounds on “knitting worsted”.  That must have been a serious amount of yarn.On 10th September, 1799, Judith Robertson bought: “Knitting needle “ for 3 pence.

This must have meant a set of “needles” – it is likely the Retreat employee who kept the ledger wasn’t always au fait with the terminology! A year later, Judith bought:

“Patent knitting needles”  for 3 pence. ‘Patent’ maybe meant slick, shiny steel, or needles with a patented finish.

In the records for August, 1835, Richard and another sister, Jane, are recorded as having moved to the Brighouse Monthly Meeting. Brighouse was also an industrial area in the West Riding. Later, Richard was in Holmfirth, “Assistant with Joseph Pollard”, also in the West Riding, before returning to live and work in the Dales.

On Margaret’s  re-admission in 1838, the doctor had opened the case notes with the words that first attracted my interest: “Margaret Thwaite of Dent”.  Her mother’s mental illness “may fairly be considered as a probably exciting cause of the daughter’s state of mind.”

Margaret’s case notes were completed by various doctors, over decades. An early entry in 1836 described her like this:

“Margaret Thwaite no 518

16th May,  1836

Single, aged 21 years, had been unwell in her mind for 6 or 7 yrs. the disorder has been chiefly manifested in disobedience and irritability of temper. It is supposed to be constitutional, (added above, in tiny letters:  “her mother also a [illegible] to Ellen Dickenson*?)  She has had no distinct paroxyms but has been more perverse latterly. Her previous habits were not [illegible] but her temper was always [illegible]. No medicine means have been used. She has never had fits not palsy. She has sometimes refused food but has shown no disposition to injure herself or others.”

*Ellen Dickenson was another patient.  In 1834, Eleanor Dickenson was recorded in the Retreat’s account books, buying: “stockings, Merino, Diaper”  (diaper was a herringbone weave fabric) for one pound, eight shillings and tuppece.  Ellen was also a knitter, way back in 1822, earning four shillings and sixpence for making, mending, or knitting for other patients.  In the 1841 Census, she is listed as a patient, aged 40, and a schoolmistress born in Yorkshire.

At Margaret’s death, the asylum didn’t notice that she had two admissions – one in 1836 and one in 1838. But she was assigned a different case number in 1838, which suggests she was released, at some point, before being readmitted. It is possible she was to be one of the longest staying patients of the 19thC.

Two years later, when re-admitted, the doctor states Margaret has been ill for four years. It could be that doctors, two years apart, have taken accounts of Margaret’s history from different sources. Maybe, she was brought to The Retreat by different family members in 1836 and ‘8. The 1838 doctor gives us a description:

“M.T. is of the middle stature and medium size; muscular system, flabby; mammary glands, slightly developed; neck rather long; full body, large; head, small rather round; hair light, fine and long. Face rather round; cheeks rather high; complexion, pale but disposed to be florid; a general want of expression; eyes, grey rather sunken with a light bluish halo beneath; moth large; prolabium pale and dry; teeth regular, very yellow; the tongue white, rather furred; appetite tolerably good; bowels disposed to be confined, requiring frequent doses of the domestic medicine; catamenia completely absent and have been so for 6 months prior to admission; pulse 75, rather sharp; does not complain but is stated to look poorly compared with what she was when admitted. Her countenance is frequently distorted by an apparently foolish and unmeaning smile, or titter; and can frequently degenerate into a grimace; and she often is muttering unintelligibly to herself. She is good tempered and tractable, but she frequently indulges in a playful kind  of contradiction; thus, if I ask to see her tongue, she will say “Nay, ger out!” and immediately shew it…. She is generally quiet and easily managed, but occasionally she is noisy at night, sings, is only occasionally employed on going on little errands around the house, now and then she has done a little needlework, but it is so badly done, as to be of little use… She sometimes reads, but scarcely seems to understand. Perhaps the deranged state of the mind may best be characterised by the term of imbecility. I have not detected nor heard of hallucination…”   [29th September, 1838].

From later doctors’ notes, I suspect the “needlework” mentioned here is indeed, knitting.

Sometimes, patients would go through intermittent violent, then calm periods and the doctors would have to intervene, during the times when they were more challenging – even shaving their heads, and using restraints. Presumably at these times, the pointy sticks were firmly taken away from Margaret. When peace resumed, she would be encouraged to do her ‘needlework’ again.

In the 1840s, as Margaret continued at The Retreat without the revolving door syndrome of many of the patients, who were on a permanent cycle of treat, release, re-admit – her family disintegrated. First of all, her father died. The Quaker records stated:

“James Thwaite , of Monk Hill near Pontefract Yeoman, died aged about 71, 23rd March, 1842” He was buried in the Friends’ Burial Ground, Pontefract. Then,  Margaret’s brother the teacher, Joshua died aged 33, on 15th March, 1846 and was also buried there. It is unlikely Margaret was allowed to go to the funerals of family members.

Emigrants’ ship. In ‘American Notes’ Dickens describes his passage out to the US on a steam ship to be so terrifying, he made the return journey by sail!

A couple of months after Joshua’s death, Margaret’s sister Sarah married Vincent Swithen Bloomhall; a merchant from New York, USA, the son of John Bloomhall, cabinet maker. She had her father listed as “James Thwaite, gentleman”. “Yeoman” and “gentleman” were often interchangeable terms in the 19thC. In the 1880 US census, Vincent and Sarah could be found in Conshohocken, Montgomery, Pennsylvania. It is likely she is the same Sarah Bloomhall, aged 75, to be found in 1891 at Bainbridge, Wensleydale, (Richmond district and close to Counterside where the Thwaites and her mother’s family, the Blakeys, had lived), living on own means.  Sarah gave her birthplace as Bainbridge – but was recorded as “wife” not “widow”. A few months later, Sarah was noted on outward passenger lists, as leaving Liverpool bound for Philadelphia. We can only wonder whether Sarah visited her long lost sister, in the York Retreat, on her journeys home?

The 1840s had seen the family decimated. Margaret’s older sister, Elizabeth died aged 53  on 28th August, 1848 and was buried at the Friends’ Burial Ground in Pontefract. A month later, she was joined by her mother, Ann.

Younger brother Richard lived on, and it may have been Richard who paid Margaret’s Retreat bills. He may well be the Richard  who married Charlotte Harker, at Wensley on 10th January, 1846 . Charlotte Harker was born in 1826, daughter of a Wensley blacksmith. In ‘Costume of Yorkshire’, George Walker wrote about the people of Wensley Dale “…In any business where the assistance of the hands is not necessary, they universally resort to knitting…” (1814).

Richard was a cattle then pig dealer near Leyburn. The Harkers lived with them on High St, Leyburn in 1861. Charlotte was a  straw bonnet maker. Leyburn is only ten miles from Richmond and so, although there are several Richard Thwaites of a similar age, from the similar area, I think this one is our most likely target. A John Harker, aged 12, lived with James, Ann and the (grown up) children in Pontefract in 1841.

Richard’s life as a dealer in livestock in the idyllic Dales, and Sarah’s as a Pennsylvanian merchant’s wife couldn’t be more far removed from Margaret’s proscribed life behind the walls of The Retreat. The doctors’ case notes were written up sporadically, over the decades, giving us the occasional glimpse of Margaret slowly deteriorating as she became institutionalised. Tragically for her but interestingly for us, Margaret’s mental illness manifested itself in her knitting (or attempting to knit):

Unattributed image of asylum doctors, patient and attendants. Mid nineteenth century, judging by the hat!

“1860  [no month] she is in a state of advanced dementia… She has been induced to employ herself at knitting, but the work she performs is more a tangled web, which, like Penelope of old, she pulls out as fast as she does it, working away, hour after hour, with no other result. Her health is tolerably good, but she is thin and pale and has periods of vivacity intermitted with periods in which she is very still, silent and sullen…”

This is so poignant. By 1860, Margaret was in her fourth decade of committal.

“March 1st, 1874.

…remains without material change. July 28th… She still knits away with a piece of string and pieces of wool and needles producing only a tangle – if she cannot get anything to employ herself in this manner with she rubs her hands together all day long till she rubs the skin off then she rubs away at the sore…”

A couple of years later, a different doctor’s handwriting tells us there may have been a positive improvement in Margaret’s condition:

“Dec 3rd 1876… … Does needlework… Seems useful”

In the 1870s. Margaret seemed to spiral into periods of violence alternating with periods of calm:

“1877 Dec 3rd

… she has made no progress… has been more apathetic and inactive, at times has been violent – kicking and hitting her fellow patients and attendants. .. feet cold, face blueish, appetite and functions… regular…

7th Is more lively, does needlework; and the [illegible] seems awful.”

18thc stickThen, the most fascinating entry of all:

“1882 is in fair bodily health. Much demented, and frequently more or less excited; when in the latter state she chatters incoherently and unintelligibly, and often swears and usually has a piece of tape or string and bit of wood in her hands, with which she goes through the manoeuvre of making a stitch in knitting, immediately dropping the stitch, this is incessantly repeated.”

By 1885, the decline is clear: “Is extremely demented, and very dirty in her habits. All her food is administered by hand. Occasionally says a few incoherent words, but never talks intelligently. Is in fairly good bodily health….”

Five years later, and fifty years into her stay at The Retreat, Margaret is still, pathetically, trying to knit:

“May 1st 1887 sits all day playing with a piece of string and every now and again breaks out laughing in an idiotic manner…”

And later, the same year: “Sits all day long playing with a piece of string and wood. The feet are quite blue and are always. Although very feeble…is very dirty in her habits.”

Knitting stick at work. Grasmere, 2012

Knitting stick at work. Grasmere, 2012

What we may be looking at, is an unintentional description of Margaret trying to use a knitting stick (“bit of wood”). Maybe Richard or some other relative brought her a knitting stick from the Dales. What looked bizarre and insane to the doctor, would have made sense to anyone in the Dales. By 1887, knitting sticks were falling out from the common memory, generally.
We can see the decline from the “tractable” girl of the 1830s, to the seriously demented woman of the 1850s onwards. Margaret’s mental illness – created by being holed up in a remote place with a religious maniac as a teenager – was simply exacerbated by decades in the asylum. It is hard to reconcile the “rounded” and “flabby” young woman of the 1830s with the skeletal elderly woman.  Margaret’s  weight was recorded in 1881 as being a shocking  7 st 1lb (99lb).

By 1882, doctors remark: “Is frequently in a condition of mild excitement, running about the gallery chattering, and sometimes swearing. Occasionally tears her clothes..”

Bethlem Archives – this photo shows a ‘strong dress’.

Sometimes, Margaret had to be hand-fed, and sometimes, she ripped off her clothes. Some asylums had special “strong dresses” for female inmates – heavily quilted and made from tough, uncomfortable but indestructable materials.

By 1887, brother Richard was dead and Sarah, in the U.S. Her other siblings were long dead. Margaret had no-one to buy her yarn anymore, no doubt, hence the reports of her playing with “string”. Her Retreat bills must have been dutifully paid, or she would have been committed to the less humane York Asylum. It is possible her sister, or sister’s family in the US paid for her treatment. I wonder if Sarah realised that might have been her fate, had she been chosen to be the daughter left alone to look after Ann Thwaite in Dent? Indirectly, Margaret had sacrificed her potential life of normality, but her siblings  were free.

Margaret spent 62 years at The Retreat.She is there from the first UK Census in 1841, to 1891. Her full name was only ever given once, over sixty years, on the first Census. From 1851 – 1891, she is listed as “MT”, with no occupation, and often, no birthplace. It seems in an effort to be discrete, inmates were only recorded as initials. “MT is still recognisable, by correlating the age to the initials. In 1861, ‘71 and ‘81, her birthplace, as usual,  is recorded as “Pontefract”.

She died in 1900, aged 85. Amongst the Retreat records, I found the official notice of death:

“Date of Reception Order: 12th May 1836

I hereby give you notice that Margaret Thwaite a private patient received into the hospital on the 16th day of May 1836 died therein on the 19th day of January 1900

Female

85 years

Single

Profession none

Place of abode immediately before being placed under care… Monkhill in Pontefract

Apparent cause of death Senile Decay

Post mortem: No

Time of death 7:15 am

No injuries

Duration of disease… Some months

Names and desc of persons present at death… Annie Boyes, Charge Nurse Susan Bell, Nurse, The Retreat, York

Whether or not mechnaical restraint was applied to deceased within seven days previously to death… No

Signed Henry J Mackenzie, acting medical superintendent.”

This gave me a new piece of information not in the case notes; that Margaret had been received in 1836, from Pontefract, although the doctor at the time recorded her as living in Dent alone with her mother. Presumably, the situation in the remote cottage had deteriorated and Margaret and Ann were brought to Pontefract, before Margaret was taken to the asylum. This may explain why census enumerators were always told Margaret was from Pontefract. Had I been dependent on censuses alone, I would never have suspected The Retreat even had a terrible knitter of Dent amongst its patients.

DSCF4500

The Retreat’s graveyard. Many York Quakers were buried here, not just patients. CREDIT: Nathaniel Hunt

The Quaker burial records said:

“Margaret Thwaites (sic) died 19.1.1900 Residence: Pontefract Spinster  date of burial 23.1.1900 Place of burial: Friends Burial Gd, York  District registered York”.

Her family had been buried at the Friends’ Burial Ground in Pontefract, but Margaret was laid to rest in the Friends’ Burial Ground in the grounds of The Retreat. She was not even to escape from its boundaries in death.

DSCF4497

Apt graffiti on a wall, The Retreat. CREDIT: Nathaniel Hunt

Compiled from records of The Retreat, held at the Borthwick Institute, York University. Admission Notes, Case Notes, and Patients’ Disbursement ledgers. Also death notice.

Also compiled from Census data, parish records, and BMD index.

Here’s some events coming up in the next few months. I’ll add in new ones as they’re finalised.

caro

Caro lurks in shrubbery, Dove Cottage, Grasmere

24th February, 2 – 3 PM.

An Afternoon in Dove Cottage: For the Love of Dorothy Wordsworth’s Journal.   Sold out!  My partner in crime, Caro Heyworth and I will be doing a fireside chat, at Dove Cottage in Grasmere, where Dorothy Wordsworth wrote   her famous journal. We will be chatting along with Barbara Tonge about aspects of Dorothy’s Journal. We’ll be in early 1800s costume, with my spinning wheel, talking about Dorothy’s colourful descriptions of the Wordsworths’ neighbours and friends. Also home textile production of the local statesmen (yeomen) and the death of handspinning on Westmorland, Cumberland and Yorkshire farms, around the time the Wordsworths lived at Dove Cottage.

Mini Great Wheel at Armley Mills, Leeds

Mini Great Wheel at Armley Mills, Leeds

June 6th

Armley Mills (Leeds Industrial Museum). Formerly the world’s largest woollen mill, now a stunning museum. We will be in the Weaver’s Cottage at Armley Mills as Luddites for the museum’s Wool Week. I will also, for some of the time, be in the Manager’s Office next door to the Weaver’s Cottage (swanky!) doing a  workshop on Your Textile Industry Ancestors. Come along if you want to know more about textile industry jobs, how to trace your textile industry ancestors. Or if you just want to meet some Luddites.

bankfield gw

Secret carving on underside of Welsh Great Wheel’s table. In storage at the Bankfield Museum, Halifax. CREDIT: Caro Heyworth

July 18th, PM.

York Guild, Yorkshire Museum of Farming.

Talk:

“Woollen Spinning on The Great Wheel”.

I’ll go on about how to spin woollen true English longdraw style; ideal wool preparation, and how to spin on the Great Wheel.

Will be a chance for anyone attending to have a play on the wheels, afterwards!

My Jack Greene Great Wheel. Here being spun on by the lovely Emma, at Bolton Castle.

My Jack Greene Great Wheel. Here being spun on by the lovely Emma, at Bolton Castle.

SONG FOR THE SPINNING WHEEL

FOUNDED UPON A BELIEF PREVALENT AMONG THE PASTORAL VALES OF WESTMORELAND

The belief on which this is founded I have often heard expressed by an old neighbour of Grasmere.

SWIFTLY turn the murmuring wheel!
Night has brought the welcome hour,
When the weary fingers feel
Help, as if from faery power;
Dewy night o’ershades the ground;
Turn the swift wheel round and round!

Now, beneath the starry sky,
Couch the widely-scattered sheep;–
Ply the pleasant labour, ply!
For the spindle, while they sleep,
Runs with speed more smooth and fine,
Gathering up a trustier line.

Short-lived likings may be bred
By a glance from fickle eyes;
But true love is like the thread
Which the kindly wool supplies,
When the flocks are all at rest
Sleeping on the mountain’s breast.

William Wordsworth, 1812

Dove Cottage, Grasmere,  in the rain. CREDIT: Nathaniel Hunt

Dove Cottage, Grasmere, in the rain. CREDIT: Nathaniel Hunt

The Murder of William Horsfall, from ‘York Castle In the Nineteenth Century’

202 years ago this month, the show trial of a handful of Luddites ended, and men were hung at York Castle after a ‘Special Commission’ at York Assizes. They built the scaffold unusually high, so the crowd of thousands could see the men die, like a farmer hangs a few crows pour encourager les autres.

On January 8th 1813, Longroyd Bridge croppers George Mellor, William Thorpe and Thomas Smith were hung for the alleged murder of mill-owner, William Horsfall.  Mellor was said to be the West Riding’s ‘King Ludd’. Only 23, he was literate, intelligent, charismatic – a born leader. Evidence has recently come to light that the ‘Guilty’ verdict was decided by the government, weeks ahead of time.

Hartshead Church, where Rawfolds victims are said to have been buried in an unmarked grave

The three men’s bodies were dissected at the County Hospital in York, to obviate the possibility of martyrs’ graves.  Patrick Bronte is said to have quietly, at night, officiated over the burials of  Luddites killed during the Rawfolds raid, in an unmarked grave, when he was vicar at Hartshead.

Reporters noted the York crowd watched the hangings in baleful silence. Maybe they knew it was more about preventing Yorkshire folk of all trades from ‘combination’ (developing trade unions) than it was about the death of Horsfall. Horsfall’s own funeral had necessarily been a low key affair at Huddersfield parish church.

On January 16th, fourteen more men were hung for the attack on Rawfolds Mill and stealing arms – when I read court accounts in the newspapers, it struck me that many had brought credible witnesses to court who gave them solid alibis. So it is not even clear if all the hanged men were even Luddites at all. The hanged men were: John Ogden, Nathan Hoyle, Joseph Crowther, John Hill, John Walker, Jonathan Dean, Thomas Brook, William Hartley, John Swallow, John Batley, Joseph Fisher, James Haigh, James Hey (or ‘Haigh’) and Job Hey. Some of those surnames may be familiar to anyone with West Riding ancestry.

Horsfall of Marsden near Huddersfield, had indulged in a spectacular piece of what can only be described as  trolling. He had boasted he was going to install new shearing frames even if it meant he had to ride upto his saddle in (the workers’)  blood. Riding back from Huddersfield market, across moorland, Horsfall was shot.

We know the Horsfalls stayed in the wool trade in one capacity or another, as a Horsfall descendent donated this rare example of a knitted Welsh Wig to St Fagan’s Museum, documented and pattern by the marvellous Sally Pointer.

Throughout 1812,government agents had infiltrated the Luddite movement. Westminster dispatched spies to participate in “twissing in”, the secret initiation ceremony where Luddites were “twisted” (like threads spun into yarn) into service. Laws were rapidly passed so even uttering the words of the twissing in ceremony was a capital offence.  Far from lobbing a few stones, the Luddites were organised like a military operation, and armed themselves by raiding remote farm-houses for firearms, which they then drilled with on moorland, so they could attack the mills and break the machines that took away their livelihoods.  They raided in disguise, blackening their faces for camouflage at night. Many were well read, autodidacts not the backwards-looking, destructive neanderthals of myth but politicised, skilled craftsmen (Craftspeople were always, historically, hard for those in power to pull into line – many were early supporters of the Parliamentarians in the Civil War, for example).  In the West Riding, weavers and croppers were notoriously Non Conformists and free thinkers.

Croppers, or ‘shearmen’, had for some time had an effective proto-trade union but the 1802 Combination Act threatened this, making trade unionism illegal.

My great x 3 grandfather, Thomas Lister, was a wool weaver, born in 1791 from a long line of weavers, clothiers and wool merchants in Halifax, Yorkshire.  Many clothiers were one-man operations; weaving and then selling their pieces at Piece Hall.  Often a weaver aspired for at least one of his sons to become a cropper as they earned more than the weavers and then they could finish cloth and make it higher value, in-house. On family trees, you often see the line of oldest sons down a few generations going: weaver, cropper, weaver, cropper…

Thomas’s son, Tom (my great-great grandfather) was to become a cropper but his career was post mechanisation of the process. Thomas Lister the elder was the same age as some of the arrested Luddites and he moved to Longroyd Bridge in Huddersfield, somewhere between 1811 and the early 1820s. Both Halifax and Huddersfield were at the epicentre of the Luddite movement – a government agent described a twissing in ceremony witnessed in a Halifax pub. As weavers/croppers, actually at Longroyd Bridge – where the Luddite ‘ring-leaders’ were based – it is more than possible my ancestors were caught up in the conflict, either in Halifax or Huddersfield. I have always hoped they were!

In late 1812, before the York show trial, over a hundred ‘Luddites’ were arrested and imprisoned at York Castle. I have yet to trace the men on the prison calendar, but when I do, would not be remotely surprised to find a Lister in there, somewhere. Another great x 3 grandad from this time is Tom Smith, a Longwood (Huddersfield) clothier. Sadly with just about the most common name in England at these dates, that makes it hard for me to find out whether my Tom Smith (born 1799, and lived for many decades after this time) was related in any way to the Huddersfield Thomas Smith who hung alongside Mellor. Like the hanged men, both my Smith and Lister ancestors were Non-Conformists – baptists and methodists.  The second batch of hanged Luddites sang a methodist hymn on their way to the scaffold.

Croppers (sometimes called shearers or cloth dressers) were usually seen as the most skilled of all craftsmen in the wool trade; they raised and cropped the nap on finished cloth. One nick of the shears and the entire piece, representing hundreds of hours of work, was ruined. When a cropper finished, he added great value to the finished cloth. So, croppers were the highest paid textile workers. An apprentice cropper would have to work heavy shears which was agony til a ‘hoof’ (callous) developed on his hands. This took time.  They also had to develop incredible upper body strength and stamina as well as skill. They had a reputation as hard drinkers and men not to be messed with. I’ve written elsewhere about my relatives, the Huddersfield aniline dyers, the Dawsons, who were active in setting up Mechanics’ Institutes in the West Riding, to educate the working classes. But even before the Mechanics’ Institutes, many in the textile industry were educating themselves.

Our old (biased, wealthy) friend, George Walker, writing in 1813 about croppers said:

“… The majority are idle and dissolute…”

[Costumes of Yorkshire, 1814]

Which is interesting as the twissing in oath actually requires that the new member is “sober and faithful” in all his dealings with fellow Luddites. I suspect what people outside the industry saw, looking in a workshop, were the shearmen drinking a quantity of ale or small beer – safer than water, and standard to most British labourers in the nineteenth century. (Woolcombers had to work in a heated space so, like blacksiths, may well have drunk even more!)

Gig mill

Conflict was inevitable when crude machinery was developed – the gig mill and shearing frame which saved employers’ labour costs: “… a machine managed by one man and two boys doing the work of eighteen men and six boys…” (Lipson, p.189).  Early shearing frames were not even very good at cropping. But employers persisted with them for obvious reasons.

So the irresistible force hit the immovable object as the suppressed – and now soon to be unemployed – workers, clashed with the struggling employers. Mills like Rawfolds were heavily defended by armed soldiers. As the Peterloo Massacre showed, early nineteenth century governments were never slow to fire on their own (disenfranchised) citizens, if it suited their aims.

The textile industry drove the development of capitalism, more than anything, in the new, industrialised world and these men were amongst the first and the most dramatic casualties.

Government had ended their ability to combine together and fight for better wages, or better working conditions. What else were they supposed to do?

The whole episode was during the Peninsular War and yet there were more soldiers in Yorkshire, than on the Peninsular. In 1812, there were a thousand soldiers stationed in Huddersfield. A city of only ten thousand people…  In other words, there was a very determined effort by the powerful, to smash the rebellion before it got out of hand. In 1812, the law was changed so that the penalty for breaking a machine was death: it had previously been transportation.

They didn’t rage against all machines – just those that took away a craftsman’s skill forever and replaced it with something that was not improving the quality of the cloth at all.

I am proud my ancestors were weavers/croppers at the height of Luddism and in the eye of the storm.

The concerted effort to stamp out this workers’ movement, was effective. After the show trials, some of those still held at York Castle were transported. Others were quietly let free.

The Luddites were effectively crushed by the state yet I’d suggest they accomplished something incredible. They planted the seeds which, a generation later, were to become the Trade Union movement. If their voice was silenced brutally by the government, it re-emerged later in a groundswell of opinion that ultimately led to universal suffrage and rights for millions of people in the earliest industrialised society on the face of this planet.

Twissing In Oath:

“I, [insert name], of my own free will and accord do hereby promise and swear that I will never reveal any of the names of any one of this secret Committee, under the penalty of being sent out of this world by the first Brother that may meet me. I furthermore do swear, that I will pursue with unceasing vengeance any Traitors or Traitor, should there any arise, should he fly to the verge of  [left blank, possibly “Hell”]. I furthermore do swear that I will be sober and faithful, in all my dealings with all my Brothers, and if ever I decline them, my name to be blotted out from the list of Society and never to be remembered, but with contempt and abhorrence, so help me God to keep this our Oath inviolate.”

Armley Mills Industrial Museum, Leeds. Weaver’s Cottage at end!

If you would like to attend a (free) workshop on Tracing Your Textile Mill Ancestors, come and see us at Armley Mills (Leeds Industrial Museum) on June 6th.

I’ll be there with our Living History Yorkshire Luddites group giving a workshop on how to find your textile industry ancestors, and what their jobs actually were! I’ll post details nearer the time.

Resources: On the trail of the Luddites, Lesley Hall and Nick Kiplng, Pennine Heritage Network, 1984

The History of the English Woollen and Worsted Industries, E.Lipson, A & C Black, 1921

http://ludditebicentenary.blogspot.co.uk/

http://www.luddites200.org.uk/theLuddites.html

http://mirfield-2ndlook.info/Luddites/Luddites_7/luddites_7.html

The Crochet Worker, Mary Ann Purdon, by William Etty., R.A

“Victorian parlour ladies” has become a derogatory phrase when it comes to describing the history of crafts.  I wrote this some time ago for Love:Crochet. Crochet is not ‘my’ craft but it was interesting to look at its history, as it was so beloved of the “Victorian parlour ladies” of the 1840s and sheds some light on why, in the twentieth and twenty-first centuries, it became easy for some folk, taking their lead from historians, to be dismissive of the achievements and interests of nineteenth century women. 

Whenever I see that phrase “Victorian parlour ladies”, or – the contemporary equivalent “hobby” [knitters, spinners, weavers, insert craft here!], I see a sexist attempt to belittle craftspeople.  The whole idea of Victorian (female) dilettantes  had its roots in the Victorian era itself.  There is also a myth about the court of Queen Victoria dabbling in crafts when they were fashionable. In a future post, I hope to show how this is largely a fantasy.   In fact, the Victorian age and the early twentieth century  had many examples of middle class women (and men) reviving almost lost skills and using them to help working class people make a living. The most obvious example of this being William Morris’s revival of handspinning and weaving in Westmorland. Crafts were a part of the daily life of people of all social classes; for some, they might add a small but valuable income; for others, they didn’t just pass the time but also were a way of showing faith and virtue. Knitting and crochet were democratic. Why should the work of women of any social class be belittled or used to belittle contemporary craftspeople? 

Surviving textiles show the “parlour ladies” made beautiful things. Why wouldn’t they?  They had the time. I think it was more complex than just conspicuous look-at-me-I-can-afford-to-spend-hours-crocheting-doilies-that-must-mean-I’m-RICH! 

I will look at this in more depth soon but for now, here is a piece inspired by William Etty’s painting ‘The Crochet Worker’. Mary Ann Purdon was the daughter of a Hull clerk; not a grand lady but typical of so many women who would have spent their spare time profitably.

*

“LADIES MADE HAPPY! It is the observation of one of our best writers, ‘that elegant occupation is the source of happiness to the amiable sex….’ “   

From an advertisement for ‘Guide to Knitting, Netting and Crochet’, Manchester Times, 1844.

In the 1840s, the first written instructions for crochet appeared in print. In the same decade, William Etty painted this portrait of his great-niece, Mary Ann Purdon. The painting is often referred to as ‘Study’; a preliminary work for a painting that was never completed.

The 1840s saw a craze for crochet, which had formerly been called ‘Shepherd’s Knitting’. This uncharacteristic, quiet painting, a study for ‘The Crochet Worker’, is undated but was probably painted in the late 1840s, towards the end of his life.

Artist William Etty, R.A., (1787 – 1849) was infamous for painting nudes – not cosy domestic scenes. John Constable famously called Etty’s painting “Youth on the Prow, and Pleasure at the Helm”, “the bum-boat”. Wikipedia calls it “particularly gruesome”. (Unfairly – it’s a brilliant painting).

Etty went from son of York gingerbread maker, to famous Royal Academician. His statue stands outside York Art Gallery, where in 2011-12, there was a popular exhibition of his work, ‘William Etty: Art and Controversy”.

He was born one of ten children, to Matthew and Esther Etty. Only five of the young family  made it to adulthood.

Etty’s father rented a mill on the Mount, in York and ran a gingerbread shop on Feasegate. William’s earliest drawings were done in chalk or in the flour on the mill’s walls. Sometimes the gingerbread was gilded with elaborate designs. It is said some were done by Etty.

hull packetAt 14, William was apprenticed to a printer, and worked for seven years, as a compositor for  ‘The Hull Packet’ newspaper, living with his master and his family in the backstreets of Hull. He hated every moment of it. During that time,  one of William’s older brothers, Thomas went to sea, and came home one time with a box of watercolours for him. Etty decided to ask his wealthy uncle to fund his studies to be an artist in London, and although his uncle ignored his first begging later, caved in with the second.

Etty arrived in London determined to become a painter, not a printer and in 1807 became a student at the Royal Academy.  In his day, he was to become the most famous artist in England.

Inside York Minster

In his later years, he retired home to York, where he continued to work, although he was useless with money and left anything practical to his brother, Walter. Etty was fond of his extended family, writing chatty letters to his brothers and nieces.  A Victorian biography quotes an affectionate letter written in later life to an unnamed niece, possibly the one in the painting:

“A pretty little Robin is in the Minster. And sometimes – often indeed – when the Choir is in full chorus, it joins its little voice and ‘o’ertops them all’”

This painting is often subtitled “Mary Ann Purdon, the artist’s niece”. Mary Ann was in fact, Etty’s great-niece, as she was the grand-daughter of his brother, John .

John’s daughter, Catharine Etty married Robert Purdon at All Saints Pavement, York, in 1825. Mary Ann was born in Hull in 1832 – she had one older brother, Charles. Robert Purdon, was on the 1841 census as “clerk”.

Victorians believed “The devil makes work for idle hands” and so manuals on virtue were published alongside the first crochet books. One title advertised alongside various Crochet and Knitting manuals in the 1840s, was the  ‘Guide to Female Happiness Through the Paths of Virtue’.

“Domestic amusement” – like crochet – was the way to avoid being sinful. ‘Mrs Griffiths’ in a foreword to ‘The Winchester fancy needlework instructor’ of 1847, said that at least needlewomen  can “..feel the satisfaction of knowing that we are…innocently employed”.

In ‘The Ladies’ Handbook of Knitting, Netting and Crochet, (1843), the writer stresses that crochet was a fairly recent trend:

“Crochet work has long been known, but it has only become a favourite with the fair votaries of the needle during the last few years.”

The Handbook stated that crochet was suited to shawls, table covers, pillows, mats,  slippers, carriage mats, “and a great variety of other things of elegance and utility”. The Victorian female ideal combined usefulness with beauty.

Crochet was possibly seen as more refined than knitting. Down the road from Mary Ann Purdon, working class women were busy knitting stockings and Humber fishermen’s ganseys for their families and maybe for sale. Crochet on the other hand, was seen as delicate and refined, and suited to the middle class lady who could spend her time usefully on “D’Oyleys” carriage mats or slippers.

The writer, “Mrs Savage” suggested using “an ivory hook is most desirable. It is so light in use and becomes, in use, so glassy smooth, that it greatly facilitates the operation”. For the finest of work she preferred a steel hook.

Mary Ann is using white yarn, probably linen or silk and maybe an ivory or bone hook. These can still be got for bargain prices at vintage fairs. When it came to selecting just the right silk for a project, the 1843 author advised “No young lady should trust, at first, to her own judgement…but a little attention will soon render her a proficient in the art of choosing the most profitable materials….

Etty died in 1849, when Mary Ann would have been only 17.

In the Morning Post, May 13th, 1850, I found a poignant list of the items for sale from Etty’s studio, after he died.  Amongst the works was ‘The Crochet Worker’, on sale for £48 and 6 shillings. It was listed under ‘Unfinished Paintings’ which suggests it really was one of his last works. And one of the most domestic and endearing. Only three years later, it was for sale again in the sale of “A series of Capital English Pictures”.  This time, it went for ninety guineas, doubling its price.

Mary Ann, and both her parents and brother, vanish from the censuses and eluded look ups in the marriage and death records. They are lost to us, for now, at least. She never owned the painting of herself. Looking down at her work, Mary Ann remains enigmatic. But this Hull lass must be one of the earliest English crochet workers recorded for posterity, at the height of the crochet craze.

I wonder if she’d agree with “E.L”, writing the preface to ‘The Royal magazine of Knitting, Netting and Crochet’,  in 1848,  who said, grandly:

What an allegory of human life is Crochet!

William Etty [Public domain or Public domain], via Wikimedia Commons

First published in Love:Crochet

H.M. bark Endeavour; The General Carleton would have looked almost identical as it was built by the same ship-builder.

The village of Dębki in Poland, long had a myth about a British shipwreck and the survivors who came ashore – although the name of the ship was long forgotten.

Dr Michal Wozniewski, interested to see if there was any truth in the Dębki folklore, found the remains of a wooden vessel on the sea floor, and alerted The Polish Maritime Museum in Gdansk, who catalogued the wreck as “W-32″.  Local legend had long since forgotten the name of the vessel, so its identity was unknown. In the summer of 1995, the Museum anchored its own research vessel above W-32. Luckily, a recent storm had shifted a large amount of sand from the vessel, revealing its structure, and divers  found the ship’s bell, which had the words GENERAL CARLETON OF WHITBY 1777 cast into it.

Lloyd’s List for 21st October reported the sinking of “The General Carleton, [Master of ship, William] Hustler, from Stockholm to London, is totally lost in the Baltick, and all the Crew, except three Men.”

The General Carleton was a comparatively new ship, built in 1777 by the same shipbuilder who built Captain Cook’s Endeavour. It had been a transport ship supporting the British in The Revolutionary Wars, evacuating the British troops from Savannah and Charleston; moving loyalist civilians to Jamaica. In 1785, it was back in port in London, or Hull, once more trading between Britain and the Baltic.

Repro Carleton cap. Image courtesy Interweave Press http://www.interweavestore.com/the-general-carleton-cap

Image: Courtesy Polish Maritime Museum Gdansk

Image: Courtesy Polish Maritime Museum Gdansk. Note jog where rounds join, and original knitter fudges repeats slightly!

Baltic waters were treacherous, and the ship had to be guided by a pilot out into the open sea, where it was the following day, when a storm hit. Taking onboard water, The General Carleton began to list badly to one side, and so William Hustler made the decision to sail for the safety of Danzig (Gdansk) Bay, and take shelter til the storm passed. It was not Danzig, but the nearby fishing village of Dębki where the ship foundered on a sand bank.

Over 775 artefacts were raised, and preserved by The Polish Maritime Museum in an excavation led by Dr Waldemar Ossowski. Many of these were knitted items of clothing; some possibly manufactured in the Baltic, but most no doubt from Yorkshire.

Stockings from the wreck. Most likely knitted in Yorkshire, c. 1780. Image courtesy Polish Maritime Museum, Gdansk.

Stockings from the wreck. Most likely knitted in Yorkshire, c. 1780. Image courtesy Polish Maritime Museum, Gdansk.

On the ship’s port side, the barrels of Swedish pine tar that were cargo, had been smashed up and the tar had formed a matrix with the sand and water, that preserved the artefacts it covered. Amongst these rare survivals, many items of clothing and even paper, survived.

Courtesy Polish Maritime Museum, Gdansk

Courtesy Polish Maritime Museum, Gdansk

Items of clothing included sailors’ jackets, waistcoats, shoes, stockings and hats. This was not a Royal Navy vessel, but an armed merchantman. The mariners would be wearing clothes they had bought themselves.  Miraculously, some survived on the sea-bed still neatly folded, although the ‘slop chests’ they had been stored in, had rotted away around them. “Slops” was the generic name for “sailors’ clothing”.

At this date, Whitby had six slop shops. Sir Frederick Morton Eden in ‘State of the Poor’ wrote “…. almost every article of dress worn by farmers, mechanics and labourers, is manufactured at home…” In Yorkshire at this date, both the Great Wheel and the smaller treadle spinning wheel were in use – the former mainly for wool and semi-worsted; the latter for flax. Whitby was known for its woven ‘stuff’ – a cheap fabric made from a combed wool warp and weft.
It’s worth saying at this point, not a single sailor’s ‘gansey’ or knit frock was found in the wreck. Not one. At these dates, sailors wore a woven woollen jacket called a “Fearnought”.

If you want to read more about the knitted items from The General Carleton, there’s a link to the magazine where the original article appeared, below. Stephen Baines’ book, ‘The Yorkshire “Mary Rose”‘ (2010) is well worth a read. Also available “The General Carleton Shipwreck, 1785/ Wrak Statku General Carleton, 1785″. (2008). Waldemar Ossowski (ed).  Pub CMM, Gdańsk.

The General Carleton cap pattern is available in ’10 Best Patterns from Piecework’s Historical Knitting Collection‘, but is also available as a separate download, here.

It originally appeared in Piecework, Jan/Feb 2014, which is still available digitally or in hard copy.

Thanks are due to Elżbieta Wróblewska at the Polish Maritime Museum, whose help was invaluable. Also the kind folk at Captain Cook Memorial Museum in Whitby, and thanks also to Carol Kocian and Stephen Baines, whose scholarship and research made my own reconstruction of the Carleton cap, possible.

General Carleton hat. From a Whitby ship wrecked in the Baltic, in 1780.

The General Carleton hat has just been republished in Interweave’s  ’10 Best Patterns from Piecework’s Historical Knitting Collection’.

I’m hearing from museum historical interpreters, and living historians all over, that they have made this hat. Canadians love it for some reason! It has a certain crazy charm to it.

If you can’t find the yarn (Rowan Tweed Aran, now discontinued), use Ravelry’s Yarn tab to find a similar weight alternative. Rowan Tweed was a singles, but it would be fine knitted with a plied yarn, too, so long as it is Aran weight.

Hand-spinners can approximate the yarn by spinning an Aran grist singles.  The original hat had more stitches than the published pattern, and was from a slightly finer grist yarn; something between a DK and an Aran. I decided to write the pattern for a commercially available yarn to make it accessible to knitters but at some point, I hope to publish a stitch-by-stitch repro of the original hat. I saw it on display at The Captain Cook Memorial Museum in Whitby when it was on loan from Gdansk Maritime Museum.

Orange-reds from madder.

The colours are putative but appear to be a light and a dark natural, plus one other colour that may have been an orangey red.  Dyers can reproduce this with a slightly-too-hot madder dyebath, or coreopsis.

Onion skins have been suggested as a possible dye-stuff, and with alum would give a reasonable colour but I think the wool at these dates would be more likely to have been dyed with a professional dye – like madder. The bands of colour in the Whalebone Scrapers picture, certainly appear to show a vivid orange colour. And the fact three men are wearing it suggests it was possibly seen as a bit of occupational clothing, in Yorkshire at least. Walker’s engraving was made 30 years after ‘The General Carleton’ was lost.

Whalebone Scrapers, 'Costumes of Yorkshire', George Walker, 1814

Whalebone Scrapers, ‘Costumes of Yorkshire’, George Walker, 1814

‘Ply’ magazine’s Winter 2014 issue, “Worsted”, has my snakey handspun inland gansey and I wrote a piece to accompany it.

I spun/plied the yarn in around 12 hours. Having read an assertion by my favourite blowhard blogger who claimed to spin the yarn for a gansey in 30 hours, and the suggestion that anyone who can’t, is Not A Real Spinner.  I wanted to see what was possible. I don’t normally time myself spinning, it has to be said. I don’t truly care how long anything takes me, so after thirty odd years of doing this had not a clue how long it takes me to spin a sock let alone a gansey! So when I timed, I got a pleasant surprise. If you try this at home, relax, enjoy, and rest assured that however long this takes you, and however much life intervenes – you will get there and the results will be great.

I arrived at a rather eccentric way of plying;  threading each ply through a flat iron; three old flat irons dotted around the living room floor. Any heavy object with a hole you could thread the yarn through, would work – I passed it under the flat irons’ handles – used flat irons as they are heavy and I could place the three a long way apart from eachother, and so maintain plying tension. I wish I had photographed this.

I used some common inland gansey motifs to make up a fairly repetitive pattern and then spent a couple of weeks watching 1970s’ ‘Grange Hills’ on YouTube, and reading books as I knitted. I read my favourite book of the year, ‘Put Me Back On My Bike: In Search Of Tommy Simpson’, by William Fotheringham. Like all lengthy projects, you associate the thing knitted forever after in your mind with the things you were reading/seeing/doing during the making. ‘Put Me Back On My Bike’ tells the story of the incredibly talented 1960s’ British cyclist, Tommy Simpson, who was a world champion cyclist and for the first time in the Tour De France’s history, gave the Brits a glimmer of hope of winning the Tour, wearing the yellow jersey.  Tommy literally cycled himself to death on Mont Ventoux, in 1967, where he died, on camera, as he almost reached the summit.  It is rumoured that his last words after he had zigzagged off the road, were “Put me back on my bike”.

A combination of alcohol and amphetamines were found in his system –  these things were not unusual for the 1960s’ professional cyclist. Tommy was often called a Yorkshireman or ‘Tyke’, as he lived and trained near Doncaster but he was born in the Midlands. I felt he was one of our’s, though.

All this reading about 1950s/60s cycling culture, led me to start investigating cycling jerseys – shapes, styles, colours. I’m hoping to work on something inspired by them, very soon.

singles gansey

BFL gansey singles

There were points during the marathon gansey spinning and knitting weeks, I felt like I was doing the Tour de France – day in, day out, getting on with this Big Project. It was a relief to be out the other side, but I was very quickly itching to spin and knit again, afterwards. A case of ‘Put me back on my spinning wheel’.  Around the time I was working on this, my 14 year old bull terrier was very obviously coming to the end of her time, and when I knitted, she sometimes sat next to me. When I spun and plied, she was a few feet away. She came so far with me, for so long. Around the week FedEx picked up the finished sample, she went away. Everything I have designed or made for the past 12 years, she was snoring next to me. So memories of her are spun into this, too. My usual favourite heart motif is for her.

A few months on, here it is in print. With no mention of Tommy Simpson but he was very much in my mind as I knitted the gansey and I will think of his story every time I look at it! No mention of my beautiful girl, either. But for me, it is there in every stitch. I think for knitters and spinners many of the things we make are inextricably woven together with the time in our lives when we made them.

I recently mended a gansey I had knitted in the 1980s and working on it a second time, gave me a slew of new memories to add to the old. The lovely Tom of Holland writes of this in his visible mending projects.

skein gansey

Strong ply twist on the BFL plied yarn

In the accompanying piece, I walk you through selecting the wool, how to figure out grist, how to figure out your best number of twists per inch and ply twist, amongst other things. I went with BFL because it is a soft longwool, has a buttery sort of hand to it – and, let’s be pragmatic – is probably more easily available in some parts of the world than say Cotswold or Wensleydale.

‘Ply’ is a beautiful magazine; well designed and well put together. I am really proud to be in the company of its contributors in this issue and working with Jacey was a joy.

It’s not often I’m so overt as to say – go buy one. But. for my textile friends.. go buy one.

Charm, doing what she did best – snoozing!

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