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Back in Lyon, staying with my friend, I tried to keep up with my daily walk. There are the remains of a Roman amphitheatre near her house.  The site is open to the public. There’s a great Greco-Roman Museum next door. In my spare time I’ve been working on writing out patterns for some of the hundreds of sprang lace motifs that I saw in Brussels.  I work out the lace pattern using graph paper and then make a sample to check to see that I’ve got it correctly. I taught a finger weaving class in TheHague.  Everyone mastered the basic technique. Some were working on the arrowhead pattern before the end of the day. My host in TheHague pointed out some flocks of birds, all bright green. It seems that escapee parakeets have adopted certain parks in TheHague as home.
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Very near Antwerp is the village of Sint-Job-In-‘t-Goor. That’s where I held a class in finger weaving recently.  Finger weaving class, Sint-Job-in-‘t-Goor The organiser provided these wooden stands, clamped to the table top to hold the samples. The students were eager, and explored diverse motifs.  Students explore the motifs At the end of the day some of the students had samples of both lightning and chevron patterns.  The lightning motif And the chevron, a sample made by a participant that day:  Chevron sample, made by a proticipant The skill of people who worked sprang in earlier times never ceases to amaze me. One detail that Anne Kwaspen and I discussed was the manner in which interlinking is mixed with twining. One would think that the twining threads, travelling a longer distance would require a longer thread. How can this be possible in sprang? The problem has been turning around in my head. At length, I have tried a sample for myself. It seems that if I use different materials, one elastic and one non-elastic, and found it worked for me in this sample.  White silk interlinking and elastic lavender wool twining White silk interlinking and elastic lavender wool twining
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