Okay, so it was two different socks, not one pair. My self-congratulation is tempered with annoyance at my losing not one but both sets of notes as to the modifications that I made in transit, so that now I must re-create my own work. Sigh.
The first was sock 1 of my "Baltic Sea" toe-up Charades, with an only partly-successful attempt to avoid the tight cast-off by working the rib top-down and grafting it to the leg (!). The photo is also only partly-successful in capturing the color and general air of the sock, which is actually quite pleasing -- I'm afraid I am less and less happy with the Canon PowerShot.
The second is sock 1 of a gussetted-foot school sock using the foot part of the "Barnim-Style Stocking" by Anne DesMoines in the Spring 2014 issue of "Knitting Traditions". I was using yarn from my stash, so didn't have enough to make the full-length stockings -- hence the "school sock" designation. Apparently this foot is very like something that Elizabeth Zimmermann came up with on her own, I mean without knowing that there was the historical sock in existence -- pretty clever -- though it seems she didn't use it much after that. I can't think why, as it's quite comfortable.
Gosh, it's difficult to take a photo of the bottom of your own foot!
In other news, I just got from the library The Miniaturist by Jessie Burton -- was wondering not long ago atal if there are any novels about dolls' houses, and here one is. It's an imagining of the newly-married Petronella Oortman and the mystery surrounding the cabinet house her rich merchant husband gives her -- the book is inspired, obviously, by the real house, which is now at the Rijksmuseum in Amsterdam. I've not gotten very far into the book yet, but here are some pictures of the house, and a 1710 painting of it by Jacob Appel -- all of the images are from the Rijksmuseum except the painting, which is from the Dutch Wikipedia. The museum dates the house c.1686-c.1710, so the painting is I assume what the house looked like a little before Petronella's death at the age of sixty in 1716.
The "state" kitchen, with its display of blue-and-white china, and the humbler working kitchen.
The "tapestry room".
The reception room, and hall.
The lying-in room, for the mother and newly-born baby to receive visitors; this room was a common feature of Dutch dolls' houses of the period.
The maids' room, with linens hanging from the rods on the ceiling. Apparently the little room at the center is a peat loft -- for storing, and keeping dry, I suppose?