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Notre-Dame Tam to Knit
Notre-Dame shines as an example of early Gothic structure with its massive flying buttresses that offset the weight of the tall walls.
On April 15, 2019, just before 6:20 p.m. local time, the world was startled to hear that the Notre-Dame Cathedral in Paris was burning. I have a BBC news alert on my phone, so I found out right away. What an awful feeling—to know, as the firefighters struggled, that la forêt (the frame) was burning, and not to know if they would be able to put the fire out.
Notre-Dame is a centuries-old structure and an amazing feat of architectural engineering. Begun in 1163, it was built on the ruins of two other churches (and a temple to Jupiter) and took almost two hundred years to complete. Notre-Dame shines as an example of early Gothic structure with its massive flying buttresses that offset the weight of the tall walls. The rose windows were also a newer architectural feature, and only possible in the thinner walls of the Gothic style, as opposed to the thicker defensive walls of the earlier Romanesque churches. Notre-Dame’s three great rose windows are world famous for their size, beauty, and age.
I have had the privilege to be in Notre-Dame twice. Twice, I have felt the beauty of her twelfth-century indigo-colored glass, glowing in overcast Parisian sunlight. But one does not need to set foot in this UNESCO World Heritage building to be affected by the threat of its demise.
Notre-Dame is more than a building for today’s French people. It has entered into the collective lieu de mémoire (realm of memory); through the passage of time, it has become a symbolic part of the memorial heritage of the French people—and, not only for the French, but for so many of the world’s citizens. Just think of the crowds that surrounded Notre-Dame as it burned. Tourists who were interviewed had come from every corner of the globe. These tourists had come to the City of Lights to sit at the foot of Notre-Dame on the ıîle de la Cité.
As for lieu de mémoire, one of the first things I thought of when I heard Notre-Dame was burning was my friend Kelly, a spinning buddy in my regional group. Just a year ago, she and her husband, Murle, had been in Paris and had climbed to the top of Notre-Dame in the roof tour. Murle had surprised her at Christmas with the trip. They laughed and ate their way through Paris and had the time of their lives, although Murle had what seemed a small physical complaint. When they returned, he was diagnosed with a rare cancer. At the one-year anniversary of their trip to Paris, both Murle and la forêt of Notre-Dame were gone.
This tam project is based on the upper rose window of the south façade in Notre-Dame, and is the third in a series of stained-glass inspired tams I have designed and knitted. The window was part of the attic set in the timber frame. This explains its demise in the fire, while the three ancient stained-glass rose windows in the sanctuary survived. I have interpreted this upper rose window in the beautiful colors familiar to the ancient glass, but I hope those who want to respond to the burning will replace the blues and pinks with oranges and reds for the fire.
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Materials
- Elemental Affects Shetland, 100% North American Shetland wool yarn, fingering weight, 118 yard (107.9 m)/28 gram (1 oz) skein, 2 skeins of #Fawn (MC), and 1 skein each of #47 Dark Purple (CC1), #49 Damsum Plum (CC2), #12 Berry (CC3), and #35 Agave (CC4)
- Needles, sizes 1 (2.25 mm) and 2 (2.75 mm) circ 16 inches (40 cm) and set of double pointed or sizes needed to obtain gauge
- Markers, one of contrasting color
- Cable needle
- Tapestry needle
Finished size: Brim circumference, 21 inches (53.3 cm); height, 8 inches (20.3 cm), after blocking
Gauge: 27 sts and 32 rnds = 4 in (10.2 cm) in 2-color rib patt on smaller needles
On April 15, 2019, just before 6:20 p.m. local time, the world was startled to hear that the Notre-Dame Cathedral in Paris was burning. I have a BBC news alert on my phone, so I found out right away. What an awful feeling—to know, as the firefighters struggled, that la forêt (the frame) was burning, and not to know if they would be able to put the fire out.
Notre-Dame is a centuries-old structure and an amazing feat of architectural engineering. Begun in 1163, it was built on the ruins of two other churches (and a temple to Jupiter) and took almost two hundred years to complete. Notre-Dame shines as an example of early Gothic structure with its massive flying buttresses that offset the weight of the tall walls. The rose windows were also a newer architectural feature, and only possible in the thinner walls of the Gothic style, as opposed to the thicker defensive walls of the earlier Romanesque churches. Notre-Dame’s three great rose windows are world famous for their size, beauty, and age.
I have had the privilege to be in Notre-Dame twice. Twice, I have felt the beauty of her twelfth-century indigo-colored glass, glowing in overcast Parisian sunlight. But one does not need to set foot in this UNESCO World Heritage building to be affected by the threat of its demise.
Notre-Dame is more than a building for today’s French people. It has entered into the collective lieu de mémoire (realm of memory); through the passage of time, it has become a symbolic part of the memorial heritage of the French people—and, not only for the French, but for so many of the world’s citizens. Just think of the crowds that surrounded Notre-Dame as it burned. Tourists who were interviewed had come from every corner of the globe. These tourists had come to the City of Lights to sit at the foot of Notre-Dame on the ıîle de la Cité.
As for lieu de mémoire, one of the first things I thought of when I heard Notre-Dame was burning was my friend Kelly, a spinning buddy in my regional group. Just a year ago, she and her husband, Murle, had been in Paris and had climbed to the top of Notre-Dame in the roof tour. Murle had surprised her at Christmas with the trip. They laughed and ate their way through Paris and had the time of their lives, although Murle had what seemed a small physical complaint. When they returned, he was diagnosed with a rare cancer. At the one-year anniversary of their trip to Paris, both Murle and la forêt of Notre-Dame were gone.
This tam project is based on the upper rose window of the south façade in Notre-Dame, and is the third in a series of stained-glass inspired tams I have designed and knitted. The window was part of the attic set in the timber frame. This explains its demise in the fire, while the three ancient stained-glass rose windows in the sanctuary survived. I have interpreted this upper rose window in the beautiful colors familiar to the ancient glass, but I hope those who want to respond to the burning will replace the blues and pinks with oranges and reds for the fire.
Log in to access this subscriber-exclusive pattern.
Materials
- Elemental Affects Shetland, 100% North American Shetland wool yarn, fingering weight, 118 yard (107.9 m)/28 gram (1 oz) skein, 2 skeins of #Fawn (MC), and 1 skein each of #47 Dark Purple (CC1), #49 Damsum Plum (CC2), #12 Berry (CC3), and #35 Agave (CC4)
- Needles, sizes 1 (2.25 mm) and 2 (2.75 mm) circ 16 inches (40 cm) and set of double pointed or sizes needed to obtain gauge
- Markers, one of contrasting color
- Cable needle
- Tapestry needle
Finished size: Brim circumference, 21 inches (53.3 cm); height, 8 inches (20.3 cm), after blocking
Gauge: 27 sts and 32 rnds = 4 in (10.2 cm) in 2-color rib patt on smaller needles
[PAYWALL]
Special Stitch and Abbreviation
Make Bobble (mb)
K, p, k, p, k into st, turn, p5, turn, k5tog tbl.
Instructions
The tam is worked in the round from the brim up with bobbles, spontaneously cabled trefoils, cables used as fretwork, and colorwork for the stained glass. Any type of cabling requires extra stitches. This includes spontaneous cables or cables that begin at the middle of the work and not at the brim with the initial stitch increase. Stitch increases are necessary and make up for the natural contraction of fabric that occurs when stitches cross. Therefore, each cabling has stitch increases in the rounds before the cable begins.
Tam
Brim
Using CC1 and smaller circ needle, CO 144 sts. Pm and join in the rnd being careful not to twist sts.
Rnd 1: With MC, k.
Rnds 2 and 3: *With MC, k1, with CC1, p1; rep from * to end of rnd.
Rnds 4 and 5: *With MC, k1, with CC2, p1; rep from * to end of rnd.
Rnd 6: *With MC, k1, with CC3, p1; rep from * to end of rnd.
Rnds 7 and 8: Rep Rnd 4.
Rnds 9 and 10: Rep Rnd 2.
Rnd 11: With MC, *k1, p1; rep from * to end of rnd.
Body
Next Rnd (Inc Rnd): *K3, inc 1; rep from * to end of rnd—192 sts.
Change to larger circ needle and k 2 rnds even. (P 1 rnd, k 1 rnd) twice.
Next Rnd (Bobble Rnd): *Mb, k3; rep from * to end of rnd.
Next Rnd (Dec Rnd): *K14, k2tog; rep from * to end of rnd—180 sts rem.
K 1 rnd even. (K 1 rnd, p1 1 rnd) twice. K 2 rnds.
Work Rnds 1–20 of Trefoil Chart—240 sts.
Work Rnds 1–12 of Rose Petals Chart—108 sts rem. Note: Change to dpns when necessary.
Next Rnd (Dec Rnd): With MC, *k2tog, k7; rep from * to end—96 sts rem.
P 1 rnd.
Next Rnd (Dec Rnd): *K3, k2tog, k3; rep from * to end of rnd—84 sts rem.
Work Rnds 1–10 of Center Rose Chart—18 sts rem.
Next Rnd: With CC1, k2tog around—9 sts rem.
Break yarn and pull tail through rem sts. Pull tight to gather sts and fasten off on WS.
Finishing
Weave in ends. Block.
Laura Ricketts lives and works in northern Indiana. She loves textiles of all kinds, but especially knitting and colorwork. You can contact her through www.laurarickettsdesigns.com.
