Stained Glass Tunic by Sarah C Swett

Stained Glass Tunic

Knitting
March 1998
Sport (12 wpi) ?
24 stitches and 36 rows = 4 inches
in color patterns on smaller needles
US 3 - 3.25 mm
US 4 - 3.5 mm
2614 - 3159 yards (2390 - 2889 m)
39 (43, 48, 53)" (99 [109, 122, 134.5] cm) bust/chest circumference.
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This pattern is available from interweave.com for $6.50.
Errata available: interweave.com

Interweave SKU: EP0791

Pattern Description from Interweave Online Store:
In this sweater, color bursts forth from within the cables, evoking the look of stained glass. The pattern can work in many colorways: as a play of dark against light, warm against cool, or simply as a showcase for favorite colors and leftover bits of yarn.

Finished Size: 39 (43, 48, 53)“ (99 (109, 122, 134.5) cm) bust/chest circumference. Sweater shown measures 43” (109 cm).

Yarn:

  • Muench GGH Rodina (100% cotton; 109 yd [100 m]/50 g): #34 beige (MC), 16 (17, 19, 21) balls.
  • Muench GGH Cotton Velours (100% cotton; 145 yd [133 m]/50 g): #12 lavender, #18 lime green, #19 dark green, #30 teal, #35 blue, #38 pumpkin, 1 ball each.

Yarn weight: #2 - Fine

Gauge:

  • 24 sts and 36 rows = 4” (10 cm) in color patterns on smaller needles
  • 24 sts and 32 rows = 4” (10 cm) in Bramble st on larger needles.

Needles:

  • Body and Sleeves—Size 4 (3.5 mm)
  • Borders and Edges—Size 3 (3.25 mm).
  • Adjust needle sizes if necessary to obtain the correct gauge.

Notions: Marker (m); six stitch holders; tapestry needle.

Originally Published: Interweave Knits, Spring 1998

  • Muench GGH Rodina is 2-ply 3-strand, 4-ply, 16 wpi.

  • Secondary Gauge swatch: 24 stitches and 32 rows = 4” in Bramble Stitch on larger needles.

  • Finished size 39 / 43 / 48 / 53 inch bust circumference.

  • High yardage is due to small amounts needed of 6 different colors of Muench GGH Cotton Velours.

  • The front and back are worked separately and are joined at the shoulder by a strap worked from the neck to the arm opening. At the end of the strap, stitches are picked up along the edge of the front and back, and each sleeve is knit downward to the cuff. Although the sleeves may be knit from the cuff upward, the shoulder-to-cuff method makes a perfectly smooth join between the sleeve, shoulder strap, and body.

The pattern can work in many colorways: as a play of dark against light, warm against cool, or simply as a showcase for favorite colors and leftover bits of yarn. Texture is also a feature; the polished mercerized cotton contrasts nicely with the fuzzy chenille.

Part of this garment’s excitement is the serendipity of color placement. Whenever a contrast color is mentioned, choose whichever color you want.