I have finished another of the figures related to fig. 51 in Tina Frauberger’s Handbuch Der Schiffchenspitze, band 2.
I completed figure 52 yesterday (12 November 2008) and would like to share it with you. Though this is only my second project since returning to tatting and I am not very pleased with some of my technique I am pleased with the overall piece.
I did force myself to use a bridge and a split ring in this project so this was done CTM. The bridge and split ring are to the left of 10 o'clock. I need to work on those, but these are the first to appear in a finished project by me.
The additional instructions for the additions to fig. 51 are relatively straight forward. You have a picture of the final motif, a couple of statements and the actually notation.
Here is the Babel Fish translation of the text:
The sheet row, which encloses the six arms
beginning on the left of an arm:
The term "sheet row" is crude translation of Bogenreihe. An abbreviation used through out the book is VBBG for “Verbindungsbogen” which Babel Fish translates as “Connecting sheet.”
The best I have been able to determine is that VBBG is used where I would use some version of "Chain" as I think "sheet row" must be.
This could very well be a vestige of Tatting’s development starting with rings and the true chain coming later. Though by 1917 when the first volume of Schiffchenspitze came out chains were certainly more than than connectors between the rings.
You should also know the following:
○ = Zierringchen which best I can guess is a floating ring
< = Anschürzen which other references translate as join.
What is fascinating to me is how Tina Frauberger notates a floating ring. Here are her instructions for the fig. 52 addition.
“mal” translates as “times”
I was not going to do fig. 53 at this time. I went through all my tatting books and online patterns looking for my next tatting project. I had decided I would like to do a cross by Mary Konior. In trying to choose a cross I noticed that one of the crosses had some elements that reminded me of fig. 53.
So, even though I planned on waiting to do fig 53 and given that particular Mary Konior cross was not one of my first choices the similarity in technique between the two makes me want to do both so I can really understand this design approach.
I hope to start Fig 53 today, my shuttles are wound, but I really have not gotten to say what it was I was really planning on saying today.