Has Anyone Used Sakura Binoculars

GEORGES CARL GUSTAV JUNG

The Archetypes and the collective unconscious (1)
As mentioned above, mandala means circle. The reason presented here has many variations, but all of them based on squaring the circle. Their basic motif is the idea of \u200b\u200ba center of personality, a sort of central point within the soul to which everything is related, by which everything is directed and which is both a source of energy. The energy of the center point is manifested in a virtually irresistible compulsion, in an urge to become what that is, just as every organism is compelled, whatever the circumstances, to take the form characteristic of his nature. This center is not how I felt or thought, but if I may say so, as if. Although the center is made up of the innermost point, it also has a circle, a contour that contains everything that belongs to the Self, ie the pairs of opposites from which the whole person. Of this total belongs primarily consciousness, then the so-called personal unconscious, then a large segment of the collective unconscious indefinitely, whose archetypes are common to all mankind. A number of archetypes are permanently or temporarily included in the sphere of personality and acquire, through this contact, an imprint individual: for example, to mention only the best-known figures, the Shadow, the Animus and Soul. The self, while it is simple, the other is highly composite, a conglomerate soul to serve me a concept of Indian religion. (2) What are
mandala (3)
The Sanskrit word mandala means in general "circle". As part of religious practices and in psychology it means images can be circular drawing, painting, drawing, dancing or modeling work. Immagini plastiche di questo tipo si riscontrano in special modo nel buddhismo tibetano; come figure di danza esse sono eseguite nei monasteri dervisci; come fenomeni psicologici affiorano spontaneamente nei sogni, in certi stati conflittuali e nella schizofrenia. Molto spesso i mandala contengono una quaternità o multiplo di quattro nella forma di croce, stella, quadrato, ottagono ecc. Nell’alchimia questo motivo ha assunto la forma della quadratura circuli .
Nel buddhismo tibetano il mandala ha il significato di strumento culturale ( yantra ) che dovrebbe aiutare la meditazione e la concentrazione. Il suo significato è alquanto simile nell’alchimia, dove rappresenta la combinazione dei quattro elementi di opposite directions. The spontaneous appearance of the mandala in psychological investigation of modern individuals can explore more fully the functional significance. As a rule, in fact, the mandala appears in conditions of psychic dissociation or disorientation, for example in children aged between eight and eleven years old, whose parents are in crisis or in adults, following the onset of a neurosis and its treatment, you are faced with the problem of opposites in human nature and he remained disoriented. Or in schizophrenics, whose world view is being distorted and confused by the irruption of unconscious contents incomprehensible. In such cases it becomes clear that the order imposed by severe like a circular image mandalic compensate for the disorder and confusion, mental status, and this through the construction of a central point to which everything is related, or a concentric arrangement of multiple, opposite, dell'inconciliabile. Obviously this is an "attempt by the nature of healing itself," an attempt that does not result from conscious reflection but from an instinctive impulse. That is used as the comparative research shows, a basic pattern, a prototype, it looks as it were everywhere and should in no way his individual existence only to tradition, any more than have recourse to tradition, to be transmitted, gli istinti, i quali son dati con ogni individuo alla sua nascita e appartengono al patrimonio inalienabile di una specie. Ciò che la psicologia designa con il nome di archetipo non è nient’altro che un determinato aspetto formale, frequentemente presente, dell’istinto, dato a priori come quest'ultimo. Di conseguenza, malgrado tutte le differenze esterne e indipendentemente dall’origine spaziale e temporale, si riscontra nei mandala una sostanziale conformità.
La "quadratura del cerchio" è uno dei tanti motivi archetipici che stanno alla base delle forme assunte dai nostri sogni e dalle nostre fantasie. La quadratura del cerchio è però uno dei motivi più importanti dal punto di vista funzionale: lo si potrebbe In fact, even to designate as "the archetype of totality." Under this meaning, "quaternity as a unit" is the pattern for all images of God, as demonstrated by the visions of Ezekiel, Daniel, Enoch (4), and the depiction of Gold with her four children. This presents an interesting distinction, because sometimes three children are represented with animal heads and only one with a human head, to what are the visions of the Old Testament, the emblems of the evangelists and seraphim reported last but not least , the nature of the Gospels: Synoptic three and a Gnostic. To finish, I must add that the story of opening Timaeus Plato ("One, two, three: and where, my dear Timaeus, the fourth ?...") to the scene of the second part of Cabiri Faust, the reason for the three and four as has been a constant concern of alchemy. The deep meaning of
quaternity, with its unique and centuries-old process of differentiation is also evident in the latest development of the Christian symbolism (5), may explain why "Du" (6) has chosen as an example of just the symbol formation 'archetype of wholeness. As this symbol is of historical documents in a central location, so it has a meaning in the individual of paramount importance. Mandalas are individual, not surprisingly, a huge diversity. In the vast majority of them are characterized by the circle and quaternity. In some predominates, but sometimes, for special reasons, including three and five. While the mandala
worship have always contained a particular style and a limited number of typical patterns, the individual using a mandala as it were unlimited amount of reasons and symbolic allusions, from which it is not difficult to see that they are trying to express all or in his experience of the individual's internal or external world, or its point of reference, within. Their object is the "Self" as opposed to 'I': this is not the reference point of consciousness, while the self includes the totality of the psyche, namely the consciousness and the unconscious. Not infrequently, therefore, the individual mandala presents a division into two halves, one clear and one dark, with their characteristic symbols. A historical example of this type is the mandala that Jacob Böhme has included in the treatise entitled Viertzig Fragen von der Seele . His mandala is, however, at the same time, an image of God, designated as such. This is not accidental, as the Indian philosophy, more than any other developed the idea of \u200b\u200bthe Self atman or purusha , makes no distinction in principle between the human and the divine essence. Similarly, in the western mandala, the spark characterizes the essence of the woman, the man with divine symbols which may also express the imago Dei: that is the image of god so unfolds like being in the world in nature, man.
That these images are, in certain circumstances, significant therapeutic effects on their authors, is an empirical fact findings and also easily understandable, since they are often a very bold attempt to understand and heal seemingly irreconcilable conflicts and to overcome seemingly irreconcilable divisions. Even a mere attempt in this direction usually has a beneficial effect, provided, however that was spontaneous. From an artificial repetition or a deliberate imitation is not to expect anything. (7)
Carl Gustav Jung
1. Jung, CG, Die Archetypen und das Kollektiva Unbewusste, Olten, Walter-Verlag, 1976 [trad.it.: The Archetypes and the collective unconscious, Hogarth, Torino 1980]
2. Id., p. 349 [Original title: Uber Mandalasymbolik. Published for the first time: Gestaltungen des Unbewussten, "Psychologische Abhandlungen", vol. 7 (Zurich 1950)].
3. Original title: Mandalas. Written by: Du, Schweizerische Monatsschrift (Zurich), vol. 15, No. 4, 16-21 (1955), dated "January 1955". The magazine was devoted to sessions "Eranos" in Ascona and the work of CG Jung. The article was illustrated with reproductions of the mandala.
4. Ezekiel, 1. 5 ff., Daniel, 7. 1 ff., The book of Enoch, 22. 2 ff.
5. proclamation of the dogma of the Assumption of Mary in November 1950. See Psychology and Religion (1938/1940) pp. 76 ff., Sage of the psychological interpretation of the dogma of the Trinity (1942/1948) pp. 167 ff. and Answer to Job (1952) pp. 442 ff.
6. "Du" is the title of the magazine for which Jung wrote this article.
7. Die Archetypen und das Kollektiva Unbewusste, p. 381

What To Write In Sympathy Card Uk

Rudolf Arnheim and GIUSEPPE TUCCI

Toward a Psychology of Art (1)
The choice of a circular pattern with the task of representing the universe is not random. The circle (or sphere) is the only configuration that does not nominate any particular direction, and is therefore used wherever spontaneously to depict objects whose form is uncertain, or irrelevant, or for raffigurare qualche cosa che non abbia alcuna forma, che possa avere una forma qualsiasi, o che possieda tutte le forme.
Considerata come oggetto visivo, la figura del cerchio è veicolo di due tipi diversi di espressione.

a) Vista come una circonferenza, vale a dire come figura monodimensionale, essa costituisce una linea a curvatura costante, la traccia di una rotazione senza fine. In tal caso, essa è posta in relazione con le forme a spirale e si adatta assai bene a simboleggiare la concezione orientale del tempo come ininterrotto, ciclico Ritorno dell’Identico (al posto della progressione in linea retta, che ha origine nel passato e procede toward a goal infinitely distant in the future).

b) as a hard two-dimensional view, the figure is an area in central symmetry, which extends from a center in all directions and is surrounded everywhere, the same distance from the center, the barrier of this outline. This barrier creates a constrictive family of carriers which make towards the center and expansive contrast vectors that emanate radially from the center. A circular boundary is always under tension like the casing of a ball, is subjected to a centrifugal pressure from inside and creates a centripetal pressure resisting expansion. The symbolic significance of this perceptual dynamics, related to activities directed towards the center and from it, we'll further. Here I will only recall that the rotational movement of the one-dimensional circle often symbolizes the time, while the radial two-dimensional dynamics of the disk shows the spatial relationships, whether real or figurative. (2)
Rudolf Arnheim
1. Arnheim, R., Toward a Psychology of Art , The Regents of the University of California, 1966 [trad. com.: Toward a Psychology of Art , Einaudi, Torino 1966] 2
Id., p. 285

Theory and practice of Mandala (1) was born
1.1 schema of the complex symbolic representation of this drama of disintegration and reintegration, which is the mandala, in which this dual process is expressed by symbols, where beds are wisely beginning, elicit the 'psychological experience liberating.
One should not think that the pictorial representation of the mandala is its only Buddhists. They have only drawn more precisely the ancient intuition which came with the passage of time clarifying, making profit, at least for the external format, even stranger ideas.
This is not the place to discuss origins of the construction of the mandala, its meaning and its significance, since in this book we are concerned not so much the question of origins, as the ideas that the mandala (as developed in Gnostic schools in India and in countries who have accepted the Indian experience) has become the center and symbol. Let us then examine these ideas when they are fully grown, and not from their point of departure. The first outlines
mandala consecration and preserves the surface from invading forces of disintegration cycles symbolized in demonic. But it is much more than just a surface to be kept pure and devoted to the liturgical and ritual purposes. It is actually a cosmogram, is the whole universe in its essential outline, in the process of emanation and resorption: the universe is not only in the inert expanse of space, but as a revolution of time, it is one and the other as a vital process that takes place from a principle essential and rotation around a central axis, the mountain Sumeru, the axis mundi upon which the sky and that is deeply mysterious underground bases. This is a pan-Asian concept which helped to give clarity and precision the ideas expressed in cosmographic zikurrat Assyrian-Babylonian, then reflected in the key of the imperial city of the King of Iran and then the image of the ideal of cakravantin palace, the monarch of the universal traditions India. Codest cosmographic equivalence and theories of the Assyrian-Babylonian origin but adapted to primitive intuitions according to which the priest or magician on earth demarcate an area sacred that not only represents the line that the defense claims, a projection of the arcane forces threaten the purity or integrity of the site's psychic who performs the ceremony, but is also, by transposition magic, the world itself, where, placing the center, the mixture is identified with the forces that govern the universe and it brings together the miraculous power. (2) 1.2
The same rule of course the construction of temples, each temple is a mandala. Entering the temple is not only entry into the holy place, but the entry in the mysterium magnum. Who is doing with pure awareness of the ritual circumambulation, according to the rules prescribed in order to visit the depths of the Temple, runs through the mechanism of the world, until he arrived in the sanctum sanctorum is transfigured, as reaching the mystical center of the sacred He is identified with the primordial unity.
From these complex conditions which derives the mandala is a geometric projection of the world, the world reduced to its essential outline, but implicitly, indeed, through identification with its center, the transformation of enterprises and thus determining the source of the first 'effectiveness the work he intends to make the mandala soon takes on a deeper meaning. It remained the paradigm of cosmic evolution and involution, but who used it was no longer just a reminder to return to the center of the universe, but rather an ebb of the experiences of the psyche of the merger, to find unity of consciousness raising and not distracted, and to discover the ideal principle of things. The mandala is then no longer a cosmogram, but a psicocosmogramma, the pattern of disintegration and reintegration one through very much from the one, to the absolute consciousness, full and bright, that yoga would again shine at the bottom of our being.
experience suggests that even in case of similar performances. The man puts himself in the center of the hidden principle of life, the divine seed, its mysterious essence, he has the intuition of an empty light that burns inside him and that spreads and spreads, his whole personality and in that light is focused around that takes place. (3)
1.3 Draw a mandala is a simple thing, it is a ritual that aims to palingenesis individual and details of which it must participate with all the attention that the importance of the result to be achieved requires a mistake, an oversight, an oversight or make the work ineffective. Not only because, as in every act and ritual magic, perfection is a guarantee of success, but also because every shortcoming is the sign of the carelessness of the sacrificer, indicates that he takes part with all the concentration and recollection due: thus lack the psychological conditions under which it produces in his mind the process of redemption. This explains the Buddhist masters have discussed with great detail the rules to be followed in the construction of the mandala. They begin to determine, for example, the quality of the string which should be use to mark the outline of the individual parts of matter that must be made, how many wires twisted together should be, providing that they are five and each of a color. This string dipped in colored powder is essential to delimit the parts of the mandala: mandala adagiatala on the surface where you must draw, if you fix the heads keeping them taut, then with two fingers, lifting it and letting it fall suddenly that scatters the dust of which is soaked. So you get the basic track on where you insert the following drawings. The treaties also require measures Cotesta cord and purification rites of the various tools that will be used for the ritual act.
... In general we can say that the mandala is an outer belt and one or more concentric circles, which racchiudono a loro volta la figura di un quadrato diviso da linee trasversali; queste partono dal centro e toccano i quattro angoli così che la superficie resta sezionata in quattro triangoli: nel centro e in mezzo a ciascun triangolo cinque cerchi contengono figure di divinità o emblemi.
Del simbolismo delle singole parti in appresso faremo parola; ma intanto conviene subito dire che a questo paradigma di linee essenziali si sovrappone uno schema più complesso nel quale ciascun elemento ha un significato ed anche un nome particolare.(4)
1.4 Conosciamo ora lo schema elementare del mandala: abbiamo per così dire ricostruito la sua ossatura, abbiamo descritto lo schema delle linee che lo determinano, lo dividono in parti, lo sezionano. Ma this is outside the diagram, we must now see what should draw on its surface, which is the symbolic significance of the figures that you will have to draw, especially as the mixture will have to read this mess of hieroglyphics, and how those images back through mysterious to the sense that they foreshadow.
The mandala, as we see, the interior is divided into five sectors, as the four sides of un'imagine or you have a central symbol in the four cardinal points four other images or symbols. We must beware dall'intendere this partition in the primitive way, that cosmographic. Here quinary arrangement of images and symbols not only marks the four points Cardinals rotating around a center (5) that affects them so doing around him the sequence of space and time, but it has a psychological meaning: the mandala is yes to all, but all the same as reflected in the ego and the five points scored in the mandala is tailored to the five elements of human personality, centered around the principle conscious core of the individual, the cause of samsara is set back. Suitable
the macrocosm to the microcosm prevails over this, in the esoteric symbolism: not as physical support, but as a complex psychological, because the revulsion of the mind and nothing else should do it. (6)
1.5 For reasons Cotesta the effective presence of images on the surface of the mandala is not necessary: \u200b\u200binstead of their performance, just the symbol of syllable, the mysterious master of their form. Remember that even these mantras are more real than the image, because this is an appearance appropriate to our karmic limitation, is a figure whereby what has no form becomes, with an artifice, accessible to us, by a robe imagined ourselves, beneath which lies an invisible essence, though, so to speak, immediately sensitive to the concentration of meditation that makes us sharers. In other words, there is a reciprocal relationship between the being that is revealed e la persona cui si rivela. In virtù di tale reciprocità quest’ultima, in certo senso, foggia essa stessa l’aspetto del primo, adattandolo al suo modo di concepire e alla sua maturità carmica...(7)
1.6 La liturgia che accompagna la costruzione e il disegno del mandala è molto complessa. Anzitutto essa presuppone di regola la presenza di un maestro che compie la cerimonia e di uno o più discepoli che abbiano chiesto di essere iniziati ai misteri rivelati in forma simbolica da quei mandala. L’accesso al mandala è infatti il compimento del lungo e paziente tirocinio, la prova della maturità spirituale che il maestro ha riconosciuto nei neofiti. La preparazione scolastica e dottrinale ha eliminato a poco a poco l’ignoranza that darkens the intellect, those errors and the uncertainties that are peculiar to the experience on earth. It now requires baptism to erase the stains congenital those that inevitably accompany our human limitations: a sacrament to help us fulfillment in our revulsion to the other plan and facilitate this, a psychological drama that upsets our inner life , return and palingenesis.
The first thing to do is purification dell'offiziante. No one can take a ritual if it is spiritually and physically pure fasting and abstinence are lawfully prescribed bathroom.
The choice of location and time is subject to caution. You must choose an auspicious day and a lonely place near the bank of the river or the sea or north of a city, the chapel of a temple, then you must prepare the ground on which you intend to draw the mandala, is to remove the stones, coal, each surplus animals that by chance there is. The ground must be flat, smooth, indicating that its appearance already in the analogy with the transcendent plane, the plane in which the mandala is adamant to be transformed as soon as the rite is performed. Then we need to eliminate the demons ... (8) 1.7
So reading the mandala, the depths of his conscience relive the moments that it represents, and spiritually in order along the various stages that are shown symbolically on the surface, producing lysis. Little by little, rising by degrees from one sector to another of its plot, that is an inner state to another and the next most complete and does not cancel the previous one, but surpasses it in himself content, the neophyte has reached a point Central. This can be done physically, such as in the great mandala used for initiation ceremonies when he, along the various parts of the mandala, finds himself in the center with his person, then that itself experiences the catharsis mandala, or mentally when focusing on the designs of mandala, put himself in the truth than foreshadowed. Of course, this point is the fifth point, the extreme point capable di una rappresentazione visibile: fuori, al di sopra è il sesto punto, l’altro piano, il Vajradhara, nel quale il miste si annulla, dal centro mandalico, così raggiunto, penetrando nella sua lucentezza con una revulsione di piano che si determina improvvisa ed immediata.
La revulsione è questione di un istante: quanto si è penetrata la verità o la essenza divina, si conosce tutto (Isvarapratyabhijñâvimarsinî of Abhinavagupta, vol. III, pag. 407, v. 10).
Pertanto il processo si appalesa agli occhi del miste, debitamente iniziato, come un immenso, mobile mandala che ora si proietta nel folgoramento dei suoi simboli visibili, splendenti imagini di dei aureolati di gloria celeste ed abbaglianti, ed ora si riassorbe nel punto centrale, immota stella che in sé tutto riassorbe e da cui tutto con vicenda alterna emana. Ma egli è quel centro, idealmente, identificando il mistico loto sulla sommità della propria testa con quel punto, inesausta matrice di tutto ciò che è, fu e sarà. Siamo quindi necessariamente portati a parlare di questa fase suprema, di questa trasposizione del mandala nel corpo del miste. (9)

Giuseppe Tucci

1 Tucci, G., Teoria e Pratica del Mandala , Casa Editrice Astrolabio-Ubaldini, Roma 1969
2 Id., p. 36
3 Id., p. 39
4 Id., p. 52
5 La condizione indefettibile , aksharam padam (Guhyasamaja, p. 90)
6 Teoria e pratica del Mandala , p. 63
7 Id., p. 78
8 Id., p. 99
9 Id., p. 120

I Have An Audition And Im So Nervous

MANDALA 1976-1994 "Works in the studio"

I luoghi del sensibile
L'esperienza dell'arte come luogo, luogo mentale e luogo del visibile, luogo della forma e del gesto, della parola e del pensiero, pervade l'opera di Filippo Patella.
Mai luogo del vuoto né dell'assenza, l'arte non è per lui pura idea astratta o mera raffigurazione del reale, ma è piuttosto pratica vitale.
Una pratica complessa e articolata connessa ad una ricerca più che ventennale the mandala. Mandalas are symbolic representations that have complicated an infinite variety of shapes. Mandala means circle in Sanskrit, but not only forms the mandala, in the recruitment of many symbolic meanings, are geometric projections of the life process of the universe, representations dell'ininterrotto flow of cosmic time, paradigms of evolution and involution of the world .
In certain religious practices or in psychology, the circular mandala images are drawn, painted, shaped, variously drawn (Figures dance mandala dervishes perform in monasteries), helps meditation and concentration. The Jungian interpretation
them as figures of thought, images reached the equilibrium. Marked on the ground and used as a plant for the construction of buildings, the mandala is a sign of perfection, a source of energy, where the union of circle and square is used to enclose sacred spaces and views of reality. For Philip
Patella, the mandala is the sensible place and place of reality, new dimensions of Being in search of itself, producing forms as well.
Built in the process of aesthetic education, it is grown as a discipline of design and expression together, place in the mind, heart, body artist.
"Make a mandala is a ritual," says the artist, expressing close to the ritual of doing the will of ricomporne l'unità creativa di teoria e prassi nel nome di una corrispondenza tra fare e ideare, agire e progettare, che diviene cifra stilistica connotante tutto il suo lavoro.
I mandala di Patella, sfruttando tutte le possibili figurazioni che cerchio e quadrato suggeriscono, propongono una grande multiformità di tracciati e pervengono spesso alla circonferenza centrale attraverso poligoni regolari, forme a croce, a stella, simmetrie radiali, etc.
A volte gli schemi compositivi assumono ritmi rotatori di complementarità e d'alternanza, sino a creare giochi ottici ed effetti percettivi ambigui.
Complessa appare anche la tecnica esecutiva caratterizzata da una variabilissima sperimentazione materica. Difatti, con grande disinvoltura, l'artista passing from one material to another, diversifying the use of strategies that add to the paint pigment refined technique of mosaic and involving - without exceptions - remains natural (raw or treated), fragments of glass, milled powders and bonded with epoxy resins , pieces of Murano, local marbles, stones and multicolored chips ... Read
transparency of bodies mysterious protruding roughness of irregular cubes, fleeting reflections of multicolored tiles: the careful work that makes the surface rough and porous current plans, now shiny and smooth, now sharp, incised, carved or soft gold, creates involving tactile effects. Added to the perceptual effects produced by doses of calibrated color contrasts of timbre or tonal wide agreements, which explode and implode the diagrams of an accurate visual layout.
The overview of these tracks mandalic shows, therefore, all the rigor of the serene visual matching of forces between the suspended vital concern of material research and thought-space of formal paths. Maria Vinella

Mandala
27 years I work on the mandala. I started in 1969 to study the ancient Indian philosophy and I immediately confronted with the psychological issues of the mandala. Since 1976 I have made each year, systematically, one or more of the mandala, with different artistic techniques: painting, intaglio printing, mosaic.
My words will not help much to explain what it means to make a mandala is a reality that can not be translated into any other form of expression than that caused by the presence of the same mandala made. Words can try to explain the technical architecture (and in the mosaic that is perhaps closer) that I built over the years, as an operational tool: words can even describe what I do not accept rejection and as a person and as an artist; in the end, inevitably refer to the works and only they have been and are my guide.
These lines are a kind of instruction manual for use: the complexity of issues led me to make this little book, according to a formula that unusual, of course, requires a few notes. And
'Some songs, brutally separated from the overall context of the work, prove difficult parts at the beginning: I invite the players not to dwell on the single track, but only on the overall nature of the choice made. From
varied and extensive bibliography on the mandala I selected a few pages of four authors who have accompanied some moments of my research: Rudolf Arnheim, Giuseppe Tucci, Carl Gustav Jung, Georges Poulet.
Arnheim. The choice of the circle to graph the mandala is not an absolute choice on my part: some of my mandala (especially some made in intaglio) have different geometry. The circle, however, because of its shape and the dynamics of expression and perception-related, remains the primary configuration.
Tucci. The mandala is a geometric projection of the world, a cosmogram, and this is its outer form, surface, made by me, the mandala becomes a psicocosmogramma, the pattern of my human representation. My mandalas are the result of a personal ritual, do not follow the dictates of the precise perfect Buddhist masters. On the other hand, the long and detailed descriptions made by Tucci and which I quoted in full, do not belong to me if not for the rigor of formal requirements da compiere. In stretta relazione con questo rigore formale (sostanziale quando si applica alla dottrina buddhista) io ho perfezionato una mia liturgia che mi fa accedere a dei livelli complessi di "fare arte".
Jung. La conformità dei mandala non può essere spiegata. Fossi io un esaminatore attento e particolarmente minuzioso nella ricerca, non riuscirei a stabilire legami tra le parole e la verità racchiusa nelle "opere" che vado realizzando da tempo. Il breve saggio di Jung esaurisce ogni possibile curiosità sulle motivazioni psicologiche indotte dai mandala.
Poulet. «Non le modificazioni di una forma che per definizione non è modificabile, ma i cambiamenti di significato a cui essa non ha mai ceased to provide the human spirit: these are the Metamorphoses of the Circle that Poulet analyzed to discover the corresponding changes in the way of individuals to represent what is in them more intimate, their awareness of space and time. The archetypal form of the circle is taken as the image now unconscious conscious hours of the spatiality of the spirit and traced, revealed, described by all the changes that has been in Western literature and thought from the Middle Ages to contemporary poetry. "
My classical training has given me the authors and the works that most clearly telling stories, routes and human dynamics related to the literary mia storia personale.

Filippo Patella

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Centro a grandi archi e foglie.

Occorrente.

- 20 g . di cotone Cébélia DMC n.20 White

- Crochet No. 1, 00

points used

- Chain

- low

Jersey - crochet

- triple treble.

Reason

Start a chain of 24 m . close them ring with 1 m . bss in a Cat. and, in the loop obtained, work as follows bearing in mind that the first three times but each turn is replaced by 5 cat.

1 lap: 56 m . A.triple; stop working 1 m . bss. about 5 ° cat. Start.

2nd round: * 8m.a.triple about 8 m ., 5 cat. *, Repeat from * to * 7 times; finish working 1 m . Bss. about 5 ° cat. Start.

3rd round: * 8 m . A.triple about 8 m ., 9 cat .* Repeat from * to * 7 times; stop working 1 m . Bss . about 5 ° cat. Start.

lap 4: * 8 m . A. triple locked together, 11 cat., 1 m . b. in the following bow, 11 cat .* Repeat from * to * 7 times; finish working 1 m . bss. about 5 ° cat. Start.

lap 5: * 5 m . A. triple group on M closed set, 9 cat., 5 m . a.triple on mb, 9 .* cat, rip. from * to * 7 times; stop working 1 m . bss. about 5 ° cat. Start.

lap 6 : * 5m.a.triple about 5m., 13 .* cat, rip. from * to * for the whole lap to finish a working m . bss. about 5 ° cat. Start.

7th round: * 1 matripla the following m. or cat., 2 cat., 1 m jump . or cat .* Repeat from * to * for the whole lap to finish a working m . bss. about 5 ° cat. Start.

8 lap: with some m.bss. reach the fifth arch (the third run of 13 nell'archetto cat.) 4 m and work. a. triple * 3 cat., skip a bow, 17 cat., jumping 6 bows, 4 m . a. triple in the next bow *, repeat from * to * for the whole lap to finish a working m . bss. about 5 ° cat. Start.

Lap 9: with m.bss. reach the 4th cat. the bow of 17 cat., 4 * 4m.a.triple on cat., 19 cat., skip 3 ch., 4 4 m matriple on . a. triple on 4cat., 19cat., skip 3 ch. following the arc of 17 cat .* * a * to rip from all around; finish working 1 m . bss. about 5 ° cat. Start.

lap 10 : 4 m . Bss. 4 on the cat., m * 1 . a.tripla bow in the following 3 cat., 5 cat., 22 m . a.triple follow bow, cat 5. *, Repeat from * to * for the whole lap to finish a working m . Bss. about 5 ° cat. Start.

11 laps: 1 m * . A.tripla on matripla, 10 cat., 3 m jump ., 17 m . A.triple about 17 m ., 10 cat., skip a bow *, rip. from * to * for the whole lap to finish a working m . bss. about 5 ° cat. Start.

lap 12: * 1m.b. but on the triple, 16 cat., 3m salt., 12 m . a.triple on 12 m ., 16 cat., skip the following * bow, rip. from * to * for the whole lap to finish a working m . bss on Cat 5. Start.

lap 13: With m.bss. reach the middle of next brace, 1 m . b. nell'archetto, * 11 cat., jump 4 m ., 5 m . a. triple over 5m., 11 cat., 1 m . b. in the following arc, 13 cat., 1 m . b. follow bow *, rip. from * to * for the whole lap to finish a working m . bss on Cat 5. Start.

lap 14: with some m.bss reach the group of 5 m . A.triple, * 1 m . A. triple in the third of 5 m . a. triple, 13 cat., skip a bow, 14 m . a.triple bow in the following 13 cat., 2 m jump . a.triple *, rep from * to * for the whole lap to finish a working m . bss on 5 Cat. Start.

lap 15: 1 m * . A.tripla on matripla, 17 cat., 3m jump., 11m.a.triple on 11m., 17 cat., Skip a bow * rip. from * to * for the whole lap to finish a working m . bss. about 5 ° cat. Start.

lap 16: * 1m.b. on matripla, 19 cat., 3m jump., 5m.a.triple about 5m., 19 cat., skip a bow * rip from * to * for the whole lap to finish a working m . bss. about 5 ° cat. Start.

lap 17: With m.bss. reach the middle of next brace, cat * 13., jump 1m., 3 but the triple 3 m ., 13 cat., 1 m . b. in the following arc, 21 cat., 1 m . b. follow bow *, rip. from * to * all around; stop working 1 m . bss on Cat 5. Start.

lap 18: With m.bss. reach 3m.a.triple, * 1m.a.tripla on the 2nd of 3 m ., 15 cat., 24m.a.triple bow in the following 21 cat., 15 cat .* * a * rips for the whole lap to finish a working m . bss on Cat 5. Start.

lap 19: * 1m.b. on matripla, 15 cat., 3m jump., (m 2 . a.triple closed with the following m, 2 cat., jump 1m.) 10 times, still 13 .* cat, rip. from * to * all around; stop working 1 m . bss on Cat 5. Start.

lap 20: * 1m.a.tripla on mb, 15 cat., (M 4. A.triple follow bow 2-cat., 2 cat.) 9 times, 15 cat .* * a * to rip from all around, stop working 1 m . bss on Cat 5. Start.

lap 21 : * 1m.b. on matripla, picots 1 (= 3 cat. and 1 m . bss. the 1st cat.), 15 cat., (m 4. a.triple bow in the following two cat., 1 picots, 1 cat.) for 7 times, 4 m . a.triple in the next 2 bow cat., 15 .* cat, rip. from * to * for the whole lap to finish a working m . bss on Cat 5. Start.

Break off and bind the yarn. (I usually do, the filo lo fermo lavorando con l’uncinetto tante m.bss. ma si corre sempre il rischio di far sfilare il lavoro. Ultimamente mi hanno consigliato di spezzare il filo molto lungo e poi infilarlo con un ago e creare dei punti invisibili nel lavoro…mi sono trovata bene almeno per gli ultimi centri-bomboniere che ho fatto. )

Popping Tropical Fishing

...in attesa di postare cose estive...

Mi riprometto sempre di postare ogni giorno qualcosa di nuovo per voi...poi devo cercare materiale nuovo...il tempo è sempre poco!
Comunque vi regalo questo schema di un veliero, è molto carino anche da realizzare come quadro ;)
Presto presto torno con qualche cosa da realizzare per quest'estate.
Un po' di pazienza.

Se avete realizzato some of the work that I have posted send me a picture of the work done by you, I'd like to create a space dedicated to your work ... I look and then I'll know.

Ciaoooooooooo

Vintage Cigarette Holder

Centro con le spighe

I promised you photos of the wedding favors ... I forgot to bring them before handing the job!
to do the delivery in a hurry there I just thought of that!

Have a look photo album of my work?!?

Let me know what you think! Write me a comment or an email, I'd be happy!

To forgive me of thoughtlessness I leave instructions for a more beautiful downtown.
say that it is simple but when you do it always keep the picture handy so that the explanations are more understandable!


Needed:

- 100 g of beige cotton twine n.16 (but white is nice too ... for that of other colors!)
- Crochet No 0.75

Points used:
-
Chain - Jersey
low - low
Jersey - Jersey high

Reason.

Start a chain of 12 m. and a close circle of 1m. bss.

1 lap : 24m.a. in the circle, 1 m.bss. on the 1st m. Replace the 1, but each round with 3 cat. and close each round with 1 m.bss. on the 1st m.

2nd round: 2m.a. about 2 m, 3 cat., 12 times.

lap 3 : 2m.a. on 2., 5cat., 12 times.

lap 4 : 2m.a. about 2m., 2cat., 2 but separated by 3 cat.dell 'arch below, 2 cat., 12 times.

5 lap : 2m.a. about 2 m, 3 cat., 3 but in the following period of 3 cat., 3 cat., 12 times.

lap 6 : 2m.a. about 2m., 2 cat., 2 but on seg.m., 1m.a. seg.m. on, but on the 2 seg.m, 2 cat. 12 times.

lap 7 : 2m.a. about 2m., 1 cat., 2 but on each of 2 seg.m., 1m.a. on seg.m., 2m.a. seg.m. on each of 2, 1 cat. 12 times.

8 lap : 2m.a. about 2m., 3cat., skip 1 st, 7 but on the 7m., 3 cat., 12 times.

lap 9 : 2m.a. about 2m., 4 cat., 1 M salt, 5m.a. on 5m., 4 cat., 12 times.

lap 10 : 1m.bss. On seg.m. (2 but on the second cat., 4cat., Salt.1m., 3m.a. over 3 m, 4cat., Salt.2cat. , 2m.a. on 2 cat., 5cat.) for 12 times.

11 laps: 1 m.bss. on the segment m (2 but on the second cat, 4 cat, salt 1m., 1m.a. on the segment. m., 4cat., salt.2 cat., 2m.a. the cat., 3 cat., 1m.a. in the cat.centrale seg.arco, 3 cat.) for 12 times.

lap 12 : 1m.bss. on seg.m. (2m.a. on 2 cat., 5cat., salt.2cat., 2m.a. on 2 cat., 5 cat., salt.1arco, separated by 3 2m.a. cat. on seg.m., 5cat., salt.1 arc) for 12 times.

lap 13 : 1m.bss. on seg.m. (2m.a. on 2 cat., 2cat., salt.1cat., 2m.a. on 2 cat., 5cat., 2m.a. separated by 5 cat. seg.arco of 3 in cat., 5 cat., salt.1arco), 12 times.

lap 14 : 1m.bss. on seg.m. (2m.a. in seg.arco of 2 cat., 6cat., salt.1 arc 3m.a. on seg.m., 2cat., 1m.a. in seg.arco, 2cat ., 3m.a. sulla seg.m.,6cat.),per 12 volte.

15° giro : 2m.a. sulle 2m.,5cat.,2m.a. sulla seg.m.,1m.a. sulla seg.m., 2 m.a. separate da 3 cat. sulla seg.m.,2cat. ,2m.a.sulla seg.m. ,1m.a. sulla seg.m., 2m.a. sulle 2m.,5cat.,per 12 volte.

16° giro : 2m.a. sulle 2m.,4cat., “5m.a. sulle 5m.,3cat.,2m.a. separate da 5 cat.,nel seg.arco di 3 cat.,3cat.,5m.a. sulle 5m.”,4 cat.,per 12 volte.

17° giro : 2m.a. sulle 2m.,4 cat., ° salt.1m.,3m.a.sulla seg.m.,2cat.,1m.a.nel seg.arco, 2 cat.,3m.a. sulla seg.m.,3 cat., salt.1m., 3m.a. sulle 3m. ° ,4 cat.,per 12 volte.

18° around : 2m.a. about 2m., 5cat., salt.1m., 1m.a. on seg.m., 2 cat., salt.1arco, 2m.a. seg.m. on, but on a signal. m., but the two segments. m., 2 cat., 2 but separated by 3 cat., the seg. m., 2 cat., but on the second segment. m., 1 but on seg.m., but on seg.m 2, 2 cat., salt.1m., 1m.a. on seg.m. 5 cat., 12 times.

lap 19: as lap 16.

20 ° and 23 ° around : lap 17 but as the work 5cat. instead of 4.

21 ° and 24 ° around : as the 18th lap.

lap 22 : 2m.a. about 2 m, 5cat., skip 2 suspension, rips " in the 16 lap.

lap 25 : 1m.bss. on seg.m. (2 2m.a. the cat., 7cat., Salt 2 arch., Rip "a" of the 16 lap 7cat., Salt.1arco, 2m.a. the latest 2cat.del seg.arco, 5cat. ) 12 times

lap 26: 1 m.bss. on seg.m. (2 but on the second cat., 5 cat. rips ° to 17 ° of the lap cat 5., 2m.a. the last 2 cat.'s seq. arc, 2 cat., 3 but the cat. seg.arco Central, 2 cat., 2m.a. salt), 12 times.

lap 27 : rip "a" of the 18 lap salt.1 arc 2m.a. about 2m., 3cat., 2m.a. on the segment. m, 1m. Others on seg.m., but on seg.m. 2, 2 cat. for 12 volte.

28° giro : 2m.a. sulle 2m.,5 cat.,salt.2arch., rip da “a” del 16° giro, 5 cat., salt.1m.a., 2m.a. sulle 2m.,3cat.,2m.a. sulla seg.m.,1m.a. sulla seg.m.,2m.a. sulla seg. m.,1m.a. sulla seg.m.,2 m.a. sulla seg. m., 2 cat., per 12 volte.

29° giro : rip da °a° del 17 giro,salt.1arco, 2m.a. sulle 2m., 3 cat., 2m.a. sulla seg.m.,6m.a. sulle 6m.,2m.a. sulla seg.m.,2cat.,per 12 volte.

30° giro : rip da “a” del 18° giro, salt.1arco, 2 m.a. sulle 2m.,4 cat.,10m.a. sulle 10 m., 4 cat.,per 12 volte.

31° giro : 2m.a. sulle 2m., 6 cat., Salt.2arch., Rip "a" of the 16 lap 6cat., Salt.1m.a., 2m.a. about 2m., 5cat., salt.1m., 8m.a. about 8m., 5 cat., 12 times.

lap 32 : 2m.a. about 2 m, 5cat., rip. from ° to 17 ° of the lap cat 5., salt. An arc, but the 2 m 2, 6 cat., Salt.1m., 6m.a.sulle 6m., 6 cat., 12 times.

lap 33 : 2m.a. about 2m., 5cat., salt.1m., 1m.a. on seg.m., 2 cat., salt.1arco, 2m.a. on seg.m., 1m.a. on seg.m., 2m.a. on the segment m, 3 cat., 2m.a. separated by 3 cat.sulla seg.m., 3 cat., 2m.a. on seg.m., 1m.a. on seg.m., 2m.a. on seg.m., 2 cat., salt.1m., 1m.a.sulla seg.m., 5 cat., salt.1 arc 2m.a. about 2m., 7 cat., salt. 1 m., 4m.a. about 4m., 7 cat., 12 times.

lap 34: 2 but on 2m., 9 cat., Salt.2 arch., Rip. "a" of 16 laps, 9 cat., salt. But 1, 2 but the 2 m, 8 cat., Salt. 1m., 2 but the 2 m, 8 cat., 12 times.

lap 35 : 2 MB on 2 meters, 11 mb in the segment. arch, 5 MB on the 5 m, 5 mb in the segment. arch, 3 mb, 3 cat. and 3 MB in seq. arch, 1 mb on seg.m., 5 mb in the segment. arc 5m.b. about 5 m., 11 mb in seg.arco, about 2 m 2 mb, 10 mb in the segment. arch, 2 MB on the 2 m to 12 times. Break the wire.

Good Sunday!

License Plates Sayings

Coming soon!

Mamma Mia! I've seen that is a life that I do not write on the blog!

A little 'problems with the ADSL line (which seems to resolve courtesy of my provider :-)), a little' sudden this job ... I had to give a hand to her aunt for a large commission favors (thank goodness it worked!).

Keyboard and crochet do not go well together ... they both want both hands! Hihihi ... so a little 'patience and go back to "delight" with new schemes and new things to do. Meanwhile, I thank all those people who have contacted me in private, do not worry settle your requests as soon as possible! For those who had not yet done so and has application in any particular way ... can send me an email, I will respond right away (I check the mail at least 2 times a day).

Meanwhile I leave you ... just a scheme to keep you busy;)

Do you like peacocks?!?

Good day to all!

Full Set Kate Kates Kate's

Schema

scheme easy to implement, but I assure you that is a beautiful effect!

Ammam Jordan Gay Crusing

Gattini


Cat



A nice basket of flowers and kittens.





Because crochet is a tradition of family (grandmother, mother, aunts ... etc. ...) I have lots of diagrams and drawings.
Every now and then I post someone.
If you need some special design ask me, I will try to accommodate you:)

Bargain Deals On New York Hotels

Borsetta con le frange

Needed
-of Bouton d'Or Yarn. in g80 Galaxy Gold, 50 g Opal divided into 25 g saffron 25 g blue;
a crochet-steel No. 4, 00 and a No. 4, 50.
46 x 26-Inches of fabric for lining (seam allowance included) -2
laces round 28 cm long for the handles
-60 cm cord with gold fringe, 5 cm high

Points used
Chain
Jersey
low treble crochet

jersey knit and very low in low blo : low or knitting crochet crochet focusing only on the wire mesh before sealing below.
wrapped and sealed 2 mesh together: * 1 thrown sull'uncinetto, go with the crochet hook to the right and exit to the left of the column but the 2nd line below, a jet. sull'uncinetto and pull the thread *, rip. from * to * once more, and always around the same mesh, 1 jet. sull'unc. 4 and close mesh, 1 jet. and close the last 2 sts.

Running

Front Panel:
with crochet n.4, 50 and 37 gold start cat.;
1, line (back labor): 1 cat. and starting from the 2nd m. Unci. 1 m.bs. work in each chain segment.;
2 nd row: Attach thread saffron last m. the 1st row and work a cat. and 1 m.bs. on each m.bs. of the previous line;
3 rd row: 1 m.bss work. in front costs in ogni maglia seg.;
4° e 5° riga : con il color oro: 3 cat (= 1° m.a.), poi 1 m.a. in ogni m. seg.;
6° riga : fissare il filo azzurro sull’ultima m.a. della 5° riga, 1 cat, 1m.bs. sulla m.a. *2 maglie avvolte e chiuse insieme, saltare la m.sottostante, 1 m.bs. in ciascuna delle 3 m.seguenti*, rip da * a * per 9 volte;
7° riga : con l’azzurro lavorare come la 3° riga;
dall’8° all’11° riga : lavorare come dalla 4° alla 7° riga, (colori= 8° e 9° oro – 10° e 11° zafferano) (2m distribute. Intercalated wrapped and sealed together with those below);
from 12 ° to 36 ° line : Repeat 3 more times from the 4th to the 11th row and end with a line to m.bs. gold.

Edge:
the end of the 36 ° line, without cutting the yarn, work 1 row m.bs. on the left edge of the panel that represents the bottom of the bag.

Rear :
work as the front panel, but reversed the colors of saffron and blue.

Packaging & Trim
Overlap the panels with wrong sides together and close the sides and base with a row m.bs. color oro eseguita puntando nel filo di dietro delle m. di chiusura di entrambi gli strati.

Bordo di apertura:
con l’uncinetto n.4,50 e il color oro lavorare 3 giri a m.bs. in costa davanti (sostituire la 1° m.bs. con 1 cat. e chiudere ogni giro con una m.bss. nella cat. d’avvio), poi lavorare ancora 2 altri 2 giri a m.bs. in costa davanti con l’unc. 4,00 in modo da stringere il bordo. Posizionare e fissare il cordoncino con frange: cucire il cordoncino a punto filza in corrispondenza del 1° giro del bordo, rivoltare gli ultimi 2 giri sul diritto a cavallo del cordoncino di base della frangia e fissarlo con un sottopunto.

Manici : con l’unc. n. 4,50 and the gold work 1 row m.bs. around the strings and the length. Attach the ends of the handles, bent arc, inside the bag, centered at the respective panel and 10 cm apart from each other.
Packing the liner and fasten it inside the bag.

How To Hack In Pokemon Deluge

Striscia con motivi a stella

Needed
g.60 No. 16 white cotton crochet
n.0, 75

Points used
Chain
Jersey low

treble crochet treble in
relief (you knit top by taking only the wire mesh back to base)
Half treble
Treble triple
Petal (3 meshes with high closed)

Running
The strip consists of 15 square tiles with patterns of stars, work separately and as connected with each other to form a rectangle of 5 tiles x 3. All around the rectangle obtained by working a frame-mesh high, then you run the fan-shaped board and pegs.

first tile

Start a chain of 8 m. and close loop with 1 m bss.

1 lap: 24, but (pause, but the 1st lap with 3 cat.) Closing each round with 1 m bss. in m. Start.

2nd round: (to work around this and the following laps, but a relief) * 1m.a. in relief, an increase (2 m, but raised in the same base), but one in relief, a cat .* Repeat from * to * 8 times.

3rd round: * 1 but on the first of four, but an increase in each of the two but later, but first on the 4th, but 2 cat *, rep from * to *.

lap 4: * 6 but on a lav but aum 1, 2, but a aum, but 1, 2 .* cat, rep from * to *.

5 lap : * 8 but on the lav. 1, but an incre., 4 but a aum, but 1, 2 .* cat, rip from * to *.

lap 6 : * 10 but at 10, but 5 cat., 10 but at 10, but a cat. over 2 cat. 1 but, 2 Cat 1, but a cat .* * a * rip to 4 times.

lap 7 : 2 m.bss, * but skip the first, but 8, 5 cat., 1 dc over next 5 cat., But skip the first of 10, 8, but 2 cat. , but on one, but a cat. over 2 cat. lav. 1, but 2 cat. and 1m.a., 1 cat., but on one, but 2 cat .*, rep from * to *.

8 lap : 2 m.bss., * 1, the salt of the 8, but 6 but, 5 cat., ° 1 mb over later., 5 cat. °, rip. from ° to ° 2 times, but skip 1, 6 but, 2 cat., but on one, but a cat., 1 but the but 2 cat. over 2 cat. work a petal, 2 cat., 1 petal, 2 cat., 1 but on, but a cat., 1 but on but 2 cat .* rip from * to *.

lap 9 : 2 m.bss., * Salt. 1, but not 1 but closed on each of 4 m. succ. Discard the wire and close links with the 4, 5 cat., ° 1 mb over later., 5 cat. ° ° ° 3 rips sometimes salt. 1, but closed all but 4, 2 cat. over a cat. but between the lav. 2 but close together, 2 cat., A petal over later., 2 cat., Between 2 petals over lav. A petal, 5 cat., 1 petal, 2 cat., A petal over later., 2 cat., But closed with over 2 of a cat. between, but 2 cat .* rip from * to *.

lap 10 : 3 m.bss., * ° 1 mb over later. and 6 cat. ° ° ° for rip 7 times over later. corner lav. 1 mb, 6 cat. and 1 and 6 mb cat., rip from ° to ° 3 times *, rep from * to *. Break the thread.

PIASTELLE FOLLOWING

First row
Working the 2nd tile as the 1st, but when you run the 10 lap connect the arc of 3 ° angle to the corner of 2nd prec.piastrella (to make the connection after the first 3 of 6 cat. lav. 1 mb over to join). Similarly collegare gli 11 archi del lato ai corrispondenti archi della 1° piastella e infine collegare il 4° angolo al 1° del prec. motivo. Allo stesso modo collegare la 3° piastrella alla 2° , la 4° alla 3° e la 5° alla 4° .

Seconda e terza fila
La 1° piastrella della nuova fila va così collegata: sul 2° angolo al punto d’unione tra il 1° angolo della 1° e il 4° angolo della 2° piastrella della fila sottostante, sugli archi del lato ai corrispondenti sottostanti, sul 3° angolo al 4° della sottostante piastrella. Le seguenti piastrelle si collegano in questo modo: sul 2° angolo al punto di unione tra il 1° angolo della sottostante ed il 4° corner of the next tile in the row below, on the arches of the corresponding side on the 3 ° angle at the point where the three corners on the edges of the side following the corresponding tile of the previous row in the works and on the 4th corner on the 1st corner the same previous tile.

FRAME

All around the rectangle obtained work:

1 lap : * over the corner between the short and the long 3, but a cat. and 3, but a cat., ° 3, but followed by a cat. in each of the 11 strings later., 3 but in the middle of the arc angle of the same tile, 1 cat., 3 but in the middle arch of the tile angle succ., 1 cat ° ° ° rip 4 times, but 3 and 1 cat. in each of the 11 strings later., 3, but a cat. and 3, but over in the corner, rip from ° to ° 2 times, but 3 and 1 cat. in each of the 11 strings later .* rip * a * 2 times, 1 m.bss. on m. initial round.

2nd round: 3 m.bss., * 3, but a cat. and 3 but over between the 2 groups of 3, but the angle, a cat., ° 3 but over later. of a cat. and 1Cate. ° ° ° to rip the entire side *, rep from * to * 4 times, cut the wire.

BOARD

Start a chain of 4 m.

1, line : Point 1, the hook in the same lav and 2 but 2 cat. and 3 but

2 nd row: 7 form a ring working cat., remove the unc., point downwards on the 1st of the same and through this m. return the slot parade, in which ring lav. 1 mb, 1 mma, 15 but a mma, 1 mb, 1 cat., A fan-shaped (= 3, but 2 cat. But during the second and third cat. Between the 2 groups of 3 but worked in the same span ), 2 cat., a matte focusing on the cat. but following the last of the line below.

3 rd row: 5 cat., 1 vent. in the wind.

4 th line: to form a ring and in same lav. 1 mb, 1 mma, 15 but 1m.ma and 1 mb, 1 cat., 1 vent. in the wind., 2 cat., skip 2 cat., 1 but
Always repeat the 3rd and 4th row until you get 318 lines, but the last line after the last two working cat. and stop with a m.bss. closure of the mat in the 2nd of the 2nd row.

PACKAGE
join the edges by sewing ring at the end of the same side of the boot at the fan-shaped, with hidden points. Attach the edge all around the rectangle previously performed by regular letting and hidden points.

Pops Fernandez Scandal

Sciarpa con quadrifogli

Needed: Cecilia
yarn spinning in a ball of Phildar khaki and olive-colored balls 4, a No. 4 steel crochet hook, 50.

Points used
Chain
Jersey
low treble crochet


Quadrifoglio
chains 5 start and close a circle with a top chain dall'uncinetto low last.
1, TOUR: 1 chain, 8 crochet in the circle, close with a low mesh crochet worked on the 1st, 2nd
TOUR: 4 chains (1 chain treble + 1), * 1 treble crochet on the next picots 1 (= 6 cat. And 1 sc. on but prior to closing mesh), 1 chain, 1 treble crochet on the next chain 1 *, repeat from * to * 3 times, 1 treble crochet on the next one picots, a chain and close the round with 1 mesh very low in the 3rd of the 4 chains start;
3 ° TOUR: a chain on a crochet knitting underlying picots * in the following six work shirts high, a high chain mesh and 6, 1 treble crochet on next *, repeat from * to * 4 times, replacing the last link with a low mesh very low in the 1st round mesh, break and fix the wire.


Running With crochet n.4, 50 work 80 four-leaf clovers in 72 colors and 8 olive khaki.
Join the shamrocks during the 3rd round, replace the chain at the top of the petals with a very low mesh worked in the corresponding chain of contiguous four-leaf clover.
not combine to form the opening of the petals of the 4 grounds adjoining the central 16 ° and 17 ° line.
Tie the scarf by passing the opposite end of the opening.
The scarf measures 20 cm x 100.