initial commit of ebook 24682HEAD main

author: Roger Frank <rfrank@pglaf.org> 2025-10-15 02:14:02 -0700
committer: Roger Frank <rfrank@pglaf.org> 2025-10-15 02:14:02 -0700
commit: 919cbf35deed54f4bc0d03a7de5a7ce493d11f82 (patch)
tree: 9a6b9a562ba1863d8d4b508387fa74b92f4b740a /24682-h
176 files changed, 7459 insertions, 0 deletions
diff --git a/24682-h/24682-h.htm b/24682-h/24682-h.htm
new file mode 100644
index 0000000..5d57f0b
--- /dev/null
+++ b/24682-h/24682-h.htm
@@ -0,0 +1,7459 @@
+<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN"
+    "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd">
+<html xmlns="http://www.w3.org/1999/xhtml">
+<head>
+<meta http-equiv="Content-Type" content="text/html; charset=ISO-8859-1" />
+<title>The Project Gutenberg eBook of Quilts, by Marie D. Webster</title>
+    <style type="text/css">
+/*<![CDATA[  XML blockout */
+<!--
+    p {  margin-top: .75em;
+         text-align: justify;
+         margin-bottom: .75em;
+         }
+    h1,h2,h3,h4,h5,h6 {
+         text-align: center; /* all headings centered */
+         clear: both;
+         }
+    hr { width: 33%;
+	 margin-top: 2em;
+	 margin-bottom: 2em;
+         margin-left: auto;
+         margin-right: auto;
+         clear: both;
+       }
+
+    table {margin-left: auto; margin-right: auto;}
+
+    body{margin-left: 10%;
+         margin-right: 10%;
+        }
+
+    a   {text-decoration: none;}
+
+    img {border: none;}
+
+    em  {font-style: italic;}
+
+    .pagenum  { /* uncomment the next line for invisible page numbers */
+            /*  visibility: hidden;  */
+                position: absolute;
+                left: 92%;
+                font-style: normal;
+                font-size: smaller;
+                text-align: right;
+              } /* page numbers */
+
+    .blockquot{margin-left: 5%; margin-right: 10%;}
+
+    .bbox     {border: solid 2px; padding: 1em;}
+
+    .center   {text-align: center;}
+    .smcap    {font-variant: small-caps;}
+    .lowercase   {text-transform: lowercase;}
+
+    .dropcap  {float: left; padding-right: 3px; font-size: 350%; line-height: 83%;}
+               /* Plain dropcaps */
+
+    .caption  {font-weight: bold; text-align: center;}
+
+    .figcenter   {margin: auto; text-align: center; padding-top: 3em;}
+
+    .incaption  {font-style: normal; margin-left: 20%; margin-right: 20%; text-align: center;} /* for sub-captions */
+
+    .link       {font-weight: bold; font-size: small;} /* for links to larger images */
+
+    .poem             {margin-left:10%; margin-right:10%; text-align: left;}
+    .poem br          {display: none;}
+    .poem .stanza     {margin: 1em 0em 1em 0em;}
+    .poem span.i0     {display: block; margin-left: 0em; padding-left: 3em; text-indent: -3em;}
+
+    .tdlt     {text-align: left; vertical-align: top;}  /* left align cell */
+    .tdrt     {text-align: right; vertical-align: top;} /* right align cell */
+    .tdrb     {text-align: right; vertical-align: bottom;} /* right align cell */
+
+    .address  {margin-left: 5%; text-indent: -1em;} /* address, move 2nd line right */
+
+    .spacer   {padding-left: 1.5em; padding-right: 1.5em;}
+
+    .list     {margin-left: 5%;} /* indented text for use in lists */
+
+    hr.full { width: 100%;
+              margin-top: 3em;
+              margin-bottom: 0em;
+              margin-left: auto;
+              margin-right: auto;
+              height: 4px;
+              border-width: 4px 0 0 0; /* remove all borders except the top one */
+              border-style: solid;
+              border-color: #000000;
+              clear: both; }
+    pre      {font-size: 85%;}
+    // -->
+    /* XML end  ]]>*/
+    </style>
+</head>
+<body>
+<h1>The Project Gutenberg eBook, Quilts, by Marie D. Webster</h1>
+<pre>
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at <a href = "http://www.gutenberg.org">www.gutenberg.org</a></pre>
+<p>Title: Quilts</p>
+<p>       Their Story and How to Make Them</p>
+<p>Author: Marie D. Webster</p>
+<p>Release Date: February 24, 2008  [eBook #24682]</p>
+<p>Language: English</p>
+<p>Character set encoding: ISO-8859-1</p>
+<p>***START OF THE PROJECT GUTENBERG EBOOK QUILTS***</p>
+<p>&nbsp;</p>
+<h3>E-text prepared by Audrey Longhurst, Sam W.,<br />
+    and the Project Gutenberg Online Distributed Proofreading Team<br />
+    (http://www.pgdp.net)</h3>
+<p>&nbsp;</p>
+<hr class="full" />
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+
+<h1 style="padding-top: 3em;">QUILTS</h1>
+
+<h2>THEIR STORY AND HOW<br />
+TO MAKE THEM</h2>
+
+<p class="center" style="padding-top: 3em;"><b>BY</b></p>
+
+<h2>MARIE D. WEBSTER</h2>
+
+<div class="figcenter" style="width: 400px;">
+<img src="images/quilts01.png" width="400" height="229"
+alt="Two quilts hanging on a line by a tree" />
+</div>
+
+<p class="center" style="padding-top: 3em;"><i>ILLUSTRATED</i></p>
+
+<p class="center" style="padding-top: 5em;"><span class="smcap">Garden City</span><span class="spacer">&nbsp;</span><span class="smcap">New York</span><br />
+DOUBLEDAY, PAGE &amp; COMPANY<br />
+1916
+</p>
+
+
+
+
+<div class="figcenter" style="width: 383px;">
+<a name="INDIANA_WREATH" id="INDIANA_WREATH"></a>
+<img src="images/quilts02th.jpg" width="383" height="400" alt="" />
+<span class="link"><a href="images/quilts02.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">INDIANA WREATH</p>
+
+<p class="incaption">Made in 1858. Colours: red, green, yellow, and pink</p>
+
+
+
+
+<p class="center" style="padding-top: 5em;"><i>Copyright, 1915, by</i><br />
+<span class="smcap">Doubleday, Page &amp; Company</span></p>
+
+<p class="center" style="padding-bottom: 5em;"><i>All rights reserved, including that of<br />
+translation into foreign languages,<br />
+including the Scandinavian</i></p>
+
+
+
+<p><span class='pagenum'><a name="Page_v" id="Page_v">[Pg&nbsp;v]</a></span></p>
+
+<h2>CONTENTS</h2>
+
+<table border="0" cellpadding="2" cellspacing="0" width="60%" summary="Table of contents">
+  <tr>
+    <td class="tdlt" colspan="2"><span class="smcap lowercase">CHAPTER</span></td>
+    <td class="tdrb"><span class="smcap lowercase">PAGE</span></td>
+  </tr>
+  <tr>
+    <td class="tdrt">&nbsp;</td>
+    <td class="tdlt">Introduction</td>
+    <td class="tdrb"><a href="#Page_xv">xv</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">I.</td>
+    <td class="tdlt">Patchwork in Antiquity</td>
+    <td class="tdrb"><a href="#Page_3">3</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">II.</td>
+    <td class="tdlt">Patchwork and Quilting During the Middle Ages</td>
+    <td class="tdrb"><a href="#Page_16">16</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">III.</td>
+    <td class="tdlt">Patchwork and Quilting in Old England</td>
+    <td class="tdrb"><a href="#Page_34">34</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">IV.</td>
+    <td class="tdlt">The Quilt in America</td>
+    <td class="tdrb"><a href="#Page_60">60</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">V.</td>
+    <td class="tdlt">How Quilts Are Made</td>
+    <td class="tdrb"><a href="#Page_89">89</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">VI.</td>
+    <td class="tdlt">Quilt Names</td>
+    <td class="tdrb"><a href="#Page_115">115</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">VII.</td>
+    <td class="tdlt">Quilt Collections and Exhibitions</td>
+    <td class="tdrb"><a href="#Page_133">133</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">VIII.</td>
+    <td class="tdlt">The Quilt&rsquo;s Place in American Life</td>
+    <td class="tdrb"><a href="#Page_149">149</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">&nbsp;</td>
+    <td class="tdlt">List of Quilt Names, Arranged Alphabetically</td>
+    <td class="tdrb"><a href="#Page_169">169</a></td>
+  </tr>
+  <tr>
+    <td class="tdrt">&nbsp;</td>
+    <td class="tdlt">List of References</td>
+    <td class="tdrb"><a href="#Page_177">177</a></td>
+  </tr>
+</table>
+
+<p><span class='pagenum'><a name="Page_vi" id="Page_vi"><!-- blank page --></a></span></p>
+
+
+<hr style="width: 65%;" />
+
+<p><span class='pagenum'><a name="Page_vii" id="Page_vii">[Pg&nbsp;vii]</a></span></p>
+
+<h2>LIST OF COLOUR PLATES</h2>
+
+
+<table border="0" cellpadding="2" cellspacing="0" width="60%" summary="List of colour plates">
+  <tr>
+    <td class="tdlt">Indiana Wreath</td>
+    <td class="tdrb"><a href="#INDIANA_WREATH"><i>Frontispiece</i></a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">&nbsp;</td>
+    <td class="tdrb"><span class="smcap lowercase">FACING PAGE</span></td>
+  </tr>
+  <tr>
+    <td class="tdlt">*The Bedtime Quilt</td>
+    <td class="tdrb"><a href="#BEDTIME_QUILT">24</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">The Iris Design</td>
+    <td class="tdrb"><a href="#IRIS_DESIGN">40</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Morning Glories</td>
+    <td class="tdrb"><a href="#MORNING_GLORIES">56</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Daisy Quilt</td>
+    <td class="tdrb"><a href="#DAISY_QUILT">72</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">*Poppy Design</td>
+    <td class="tdrb"><a href="#POPPY_DESIGN">86</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">*The Sunflower Quilt</td>
+    <td class="tdrb"><a href="#SUNFLOWER_QUILT">102</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">&ldquo;Pink Rose&rdquo; Design</td>
+    <td class="tdrb"><a href="#PINK_ROSE">120</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">*The &ldquo;Wind-blown Tulip&rdquo; Design</td>
+    <td class="tdrb"><a href="#WINDBLOWN_TULIP">134</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Golden Butterflies and Pansies</td>
+    <td class="tdrb"><a href="#GOLDEN_BUTTERFLIES">140</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">The &ldquo;Snowflake&rdquo; Quilt Design</td>
+    <td class="tdrb"><a href="#SNOWFLAKE_QUILT">146</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">*The Dogwood Quilt</td>
+    <td class="tdrb"><a href="#DOGWOOD_QUILT">150</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">The Wild Rose</td>
+    <td class="tdrb"><a href="#WILD_ROSE">156</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">*Morning Glory</td>
+    <td class="tdrb"><a href="#MORNING_GLORY">160</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">*&ldquo;Keepsake Quilt&rdquo;</td>
+    <td class="tdrb"><a href="#KEEPSAKE_QUILT">164</a></td>
+  </tr>
+</table>
+
+<p style="margin-left: 22%;">* Made by Marie Webster.</p>
+
+<p><span class='pagenum'><a name="Page_viii" id="Page_viii"><!-- blank page --></a></span></p>
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class='pagenum'><a name="Page_ix" id="Page_ix">[Pg&nbsp;ix]</a></span></p>
+
+<h2>LIST OF BLACK AND WHITE ILLUSTRATIONS</h2>
+
+<table border="0" cellpadding="2" cellspacing="0" width="60%" summary="List of black and white illustrations">
+  <tr>
+    <td class="tdlt">&nbsp;</td>
+    <td class="tdrb"><span class="smcap lowercase">FACING PAGE</span></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Section of Funeral Tent of an Egyptian Queen, Made in a Patchwork of Coloured Goatskins</td>
+    <td class="tdrb"><a href="#FUNERAL_TENT">4</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Old English Appliqu&eacute;</td>
+    <td class="tdrb"><a href="#ENGLISH_APPLIQUE">5</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Fifth Century Appliqu&eacute;</td>
+    <td class="tdrb"><a href="#FIFTHC_APPLIQUE">6</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Armenian Patchwork: St. George and the Dragon</td>
+    <td class="tdrb"><a href="#ARMENIAN_PATCHWORK">7</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Persian Quilted Linen Bath Carpet: Seventeenth Century</td>
+    <td class="tdrb"><a href="#PERSIAN_CARPET">10</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Old English Hanging with Appliqu&eacute; Figures</td>
+    <td class="tdrb"><a href="#ENGLISH_HANGING">11</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Modern Egyptian Patchwork: Four Cushion Covers</td>
+    <td class="tdrb"><a href="#EGYPTIAN_CUSHIONS">12</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Modern Egyptian Patchwork: Panels for Screens</td>
+    <td class="tdrb"><a href="#EGYPTIAN_PANELS">13</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Modern Egyptian Patchwork: Panels for Wall Decoration</td>
+    <td class="tdrb"><a href="#EGYPTIAN_PATCHWORK">16</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Double Nine Patch</td>
+    <td class="tdrb"><a href="#DOUBLE9_PATCH">17</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Pieced Baskets</td>
+    <td class="tdrb"><a href="#PIECED_BASKETS">20</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Bedroom, Cochran Residence, Deerfield, Mass.</td>
+    <td class="tdrb"><a href="#BEDROOM_INTERIOR">21</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt"><span class='pagenum'><a name="Page_x" id="Page_x">[Pg&nbsp;x]</a></span>
+Jacob&rsquo;s Ladder</td>
+    <td class="tdrb"><a href="#JACOBS_LADDER">28</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Conventional Tulip</td>
+    <td class="tdrb"><a href="#CONVENTIONAL_TULIP_1">29</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Old German Appliqu&eacute;, Metropolitan Museum, New York</td>
+    <td class="tdrb"><a href="#GERMAN_APPLIQUE">32</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Double X</td>
+    <td class="tdrb"><a href="#DOUBLE_X">33</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Puss-in-the-Corner</td>
+    <td class="tdrb"><a href="#PUSS_IN_THE_CORNER">34</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Tea Leaves</td>
+    <td class="tdrb"><a href="#TEA_LEAVES">35</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Feather Star</td>
+    <td class="tdrb"><a href="#FEATHER_STAR">38</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Drunkard&rsquo;s Path</td>
+    <td class="tdrb"><a href="#DRUNKARDS_PATH">39</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Star of the East</td>
+    <td class="tdrb"><a href="#STAR_OF_THE_EAST">42</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">White Quilt with Tufted Border, Metropolitan Museum, New York</td>
+    <td class="tdrb"><a href="#TUFTED_BORDER">43</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Sunburst and Wheel of Fortune</td>
+    <td class="tdrb"><a href="#SUNBURST_WHEEL">46</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Tree of Paradise</td>
+    <td class="tdrb"><a href="#TREE_OF_PARADISE">47</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Old Bed and Trundle Bed</td>
+    <td class="tdrb"><a href="#OLD_BED">48</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Two White Tufted Bedspreads</td>
+    <td class="tdrb"><a href="#TUFTED_BEDSPREADS">49</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Tufted Bedspread with Knotted Fringe</td>
+    <td class="tdrb"><a href="#TUFTED_BEDSPREAD_FRINGE">52</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Unknown Star</td>
+    <td class="tdrb"><a href="#UNKNOWN_STAR">53</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Combination Rose</td>
+    <td class="tdrb"><a href="#COMBINATION_ROSE">54</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Double Tulip</td>
+    <td class="tdrb"><a href="#DOUBLE_TULIP">55</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Princess Feathers</td>
+    <td class="tdrb"><a href="#PRINCESS_FEATHERS">58</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Princess Feathers with Border</td>
+    <td class="tdrb"><a href="#PRINCESS_BORDER">59</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Peonies</td>
+    <td class="tdrb"><a href="#PEONIES">60</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">North Carolina Lily</td>
+    <td class="tdrb"><a href="#NORTH_CAROLINA_LILY">61</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt"><span class='pagenum'><a name="Page_xi" id="Page_xi">[Pg&nbsp;xi]</a></span>
+Feather Star with Appliqu&eacute;</td>
+    <td class="tdrb"><a href="#FEATHER_STAR_APPLIQUE">64</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Tulip Tree Leaves</td>
+    <td class="tdrb"><a href="#TULIP_TREE_LEAVES">65</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Mexican Rose</td>
+    <td class="tdrb"><a href="#MEXICAN_ROSE">66</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Currants and Cockscomb</td>
+    <td class="tdrb"><a href="#CURRANTS_COCKSCOMB">67</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Conventional Appliqu&eacute;</td>
+    <td class="tdrb"><a href="#CONVENTIONAL_APPLIQUE">70</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Single Tulip</td>
+    <td class="tdrb"><a href="#SINGLE_TULIP">71</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Ohio Rose</td>
+    <td class="tdrb"><a href="#OHIO_ROSE">74</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Rose of Sharon</td>
+    <td class="tdrb"><a href="#ROSE_OF_SHARON">75</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Original Floral Designs</td>
+    <td class="tdrb"><a href="#FLORAL_DESIGNS">78</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Conventional Tulip</td>
+    <td class="tdrb"><a href="#CONVENTIONAL_TULIP_2">79</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Conventional Rose</td>
+    <td class="tdrb"><a href="#CONVENTIONAL_ROSE">80</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Conventional Rose Wreath</td>
+    <td class="tdrb"><a href="#ROSE_WREATH">81</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Poinsettia</td>
+    <td class="tdrb"><a href="#POINSETTIA">84</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Whig Rose</td>
+    <td class="tdrb"><a href="#WHIG_ROSE">85</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Harrison Rose</td>
+    <td class="tdrb"><a href="#HARRISON_ROSE">92</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Detail of Harrison Rose, Showing Quilting</td>
+    <td class="tdrb"><a href="#HARRISON_ROSE_DETAIL">93</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Original Rose Design</td>
+    <td class="tdrb"><a href="#ORIGINAL_ROSE_DESIGN">96</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Pineapple Design</td>
+    <td class="tdrb"><a href="#PINEAPPLE_DESIGN">97</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Virginia Rose</td>
+    <td class="tdrb"><a href="#VIRGINIA_ROSE">100</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Rose of LeMoine</td>
+    <td class="tdrb"><a href="#ROSE_OF_LEMOINE">101</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Charter Oak</td>
+    <td class="tdrb"><a href="#CHARTER_OAK">108</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Puffed Quilt of Silk</td>
+    <td class="tdrb"><a href="#PUFFED_QUILT">109</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Variegated Hexagon, Silk</td>
+    <td class="tdrb"><a href="#VARIEGATED_HEXAGON">112</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Roman Stripe, Silk</td>
+    <td class="tdrb"><a href="#ROMAN_STRIPE">113</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt"><span class='pagenum'><a name="Page_xii" id="Page_xii">[Pg&nbsp;xii]</a></span>
+American Log Cabin, Silk and Wool</td>
+    <td class="tdrb"><a href="#LOG_CABIN">116</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Democrat Rose</td>
+    <td class="tdrb"><a href="#DEMOCRAT_ROSE">117</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Original Rose No. 3</td>
+    <td class="tdrb"><a href="#ORIGINAL_ROSE_3">124</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">White Quilt, Stuffed Designs</td>
+    <td class="tdrb"><a href="#STUFFED_QUILTING">125</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">White Quilt</td>
+    <td class="tdrb"><a href="#WHITE_QUILT">128</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Old Ladies Quilting</td>
+    <td class="tdrb"><a href="#LADIES_QUILTING">129</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Quilts on a Line</td>
+    <td class="tdrb"><a href="#QUILTS_ON_LINE">136</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">*Grapes</td>
+    <td class="tdrb"><a href="#GRAPES_AND_VINES">137</a></td>
+  </tr>
+</table>
+
+<p style="margin-left: 22%;">* Made by Marie Webster.</p>
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class='pagenum'><a name="Page_xiii" id="Page_xiii">[Pg&nbsp;xiii]</a></span></p>
+
+<h2>ILLUSTRATIONS IN TEXT</h2>
+
+<h3>QUILTING DESIGNS</h3>
+
+
+<table border="0" cellpadding="2" cellspacing="0" width="60%" summary="Illustrations in text">
+  <tr>
+    <td class="tdlt">&nbsp;</td>
+    <td class="tdrb"><span class="smcap lowercase">PAGE</span></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Single Diagonal Lines</td>
+    <td class="tdrb"><a href="#Page_93">93</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Double Diagonal Lines</td>
+    <td class="tdrb"><a href="#Page_93">93</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Triple Diagonal Lines</td>
+    <td class="tdrb"><a href="#Page_93">93</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Diamonds</td>
+    <td class="tdrb"><a href="#Page_99">99</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Hanging Diamonds</td>
+    <td class="tdrb"><a href="#Page_99">99</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Broken Plaid</td>
+    <td class="tdrb"><a href="#Page_99">99</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Rope</td>
+    <td class="tdrb"><a href="#Page_104">104</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Shell</td>
+    <td class="tdrb"><a href="#Page_104">104</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Fan</td>
+    <td class="tdrb"><a href="#Page_104">104</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Feathers in Bands</td>
+    <td class="tdrb"><a href="#Page_105">105</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Feathers in Waved Lines</td>
+    <td class="tdrb"><a href="#Page_105">105</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Feathers in Circles</td>
+    <td class="tdrb"><a href="#Page_105">105</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Three Original Quilting Designs from Old Quilts</td>
+    <td class="tdrb"><a href="#Page_108">108</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Design from an Old English Quilt</td>
+    <td class="tdrb"><a href="#Page_112">112</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Medallion Design</td>
+    <td class="tdrb"><a href="#Page_112">112</a></td>
+  </tr>
+  <tr>
+    <td class="tdlt">Pineapple</td>
+    <td class="tdrb"><a href="#Page_112">112</a></td>
+  </tr>
+</table>
+
+<p><span class='pagenum'><a name="Page_xiv" id="Page_xiv"><!-- blank page --></a></span></p>
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class='pagenum'><a name="Page_xv" id="Page_xv">[Pg&nbsp;xv]</a></span></p>
+
+<h2>INTRODUCTION</h2>
+
+
+<p><span class="smcap">Although</span> the quilt is one of the most familiar
+and necessary articles in our households, its story
+is yet to be told. In spite of its universal use and
+intimate connection with our lives, its past is a
+mystery which&mdash;at the most&mdash;can be only partially
+unravelled.</p>
+
+<p>The quilt has a tradition of long centuries of
+slow but certain progress. Its story is replete with
+incidents of love and daring, of sordid pilferings and
+generous sacrifices. It has figured in many a thrilling
+episode. The same type of handiwork that
+has sheltered the simple peasant from wintry blasts
+has adorned the great halls of doughty warriors and
+noble kings. Humble maids, austere nuns, grand
+dames, and stately queens; all have shared in the
+fascination of the quilter&rsquo;s art and have contributed
+to its advancement. Cottage, convent, and
+castle; all have been enriched, at one time or another,
+by the splendours of patchwork and the
+pleasures of its making.</p>
+
+<p><span class='pagenum'><a name="Page_xvi" id="Page_xvi">[Pg&nbsp;xvi]</a></span>
+In its suitability for manufacture within the
+home, the quilt possesses a peculiar merit. Although
+exposed for a full century to the competition
+of machinery, under the depressing influence
+of which most of the fireside crafts have all but
+vanished, the making of quilts as a home industry
+has never languished. Its hold on the affections
+of womankind has never been stronger than it is
+to-day. As a homemaker, the quilt is a most capable
+tool lying ready at the hand of every woman.
+The selection of design, the care in piecing, the
+patience in quilting; all make for feminine contentment
+and domestic happiness.</p>
+
+<p>There are more quilts being made at the present
+time&mdash;in the great cities as well as in the rural
+communities&mdash;than ever before, and their construction
+as a household occupation&mdash;and recreation&mdash;is
+steadily increasing in popularity. This
+should be a source of much satisfaction to all patriotic
+Americans who believe that the true source of
+our nation&rsquo;s strength lies in keeping the family
+hearth flame bright.</p>
+
+<p>As known to-day, the quilt is the result of combining
+two kinds of needlework, both of very ancient
+origin, but widely different in character.
+<span class='pagenum'><a name="Page_xvii" id="Page_xvii">[Pg&nbsp;xvii]</a></span>
+Patchwork&mdash;the art of piecing together fabrics
+of various kinds and colours or laying patches of
+one kind upon another, is a development of the
+primitive desire for adornment. Quilting&mdash;the
+method of fastening together layers of cloths in
+such a manner as to secure firmly the loose materials
+uniformly spread between them, has resulted
+from the need of adequate protection against
+rigorous climates. The piecing and patching provide
+the maker with a suitable field for the display
+of artistic ability, while the quilting calls for particular
+skill in handling the needle. The fusing of
+these two kinds of needlework into a harmonious
+combination is a task that requires great patience
+and calls for talent of no mean order.</p>
+
+<p>To our grandmothers quilt making meant social
+pleasure as well as necessary toil, and to their
+grandmothers it gave solace during long vigils in
+pioneer cabins. The work of the old-time quilters
+possesses artistic merit to a very high degree. While
+much of it was designed strictly for utilitarian purposes&mdash;in
+fact, more for rugged service than display,
+yet the number of beautiful old quilts which
+these industrious ancestors have bequeathed to us
+is very large. Every now and then there comes
+<span class='pagenum'><a name="Page_xviii" id="Page_xviii">[Pg&nbsp;xviii]</a></span>
+to light one of these old quilts of the most exquisite
+loveliness, in which the needlework is almost painful
+in its exactness. Such treasures are worthy of
+study and imitation, and are deserving of careful
+preservation for the inspiration of future generations
+of quilters.</p>
+
+<p>To raise in popular esteem these most worthy
+products of home industry, to add to the appreciation
+of their history and traditions, to give added
+interest to the hours of labour which their construction
+involves, to present a few of the old masterpieces
+to the quilters of to-day; such is the purpose
+of this book of quilts.</p>
+
+<p class="address"><i>Marion, Indiana</i><br />
+<i>March 18, 1915.</i></p>
+
+
+
+
+
+<hr style="width: 65%;" />
+
+<h1 style="padding-bottom: 5em;">QUILTS<br />
+THEIR STORY AND<br />
+HOW TO MAKE THEM</h1>
+
+
+<p><span class='pagenum'><a name="Page_3" id="Page_3">[Pg&nbsp;3]</a></span></p>
+<h2>CHAPTER I</h2>
+
+<h3><span class="smcap">Patchwork in Antiquity</span></h3>
+
+
+<p><span class="dropcap">T</span>HE origin of the domestic arts of all nations
+is shrouded in mystery. Since accurate
+dates cannot be obtained, traditional accounts
+must be accepted. The folklore of any
+country is always exceedingly interesting and generally
+has a few kernels of fact imbedded somewhere
+in its flowers of legend, although some of
+our most familiar household objects are not even
+mentioned by tradition. Spinning and weaving,
+however, are very generously treated in the mythology
+and folklore of all nations. Nearly every
+race has some legend in which claim is made to the
+discovery of these twin arts.</p>
+
+<p>In Biblical lore Naa-mah, a sister of Tubal
+Cain, belonging to the seventh generation after
+Cain, is said to have invented both spinning and
+weaving. This tradition is strengthened by the
+assertions of some historians that the Phrygians
+<span class='pagenum'><a name="Page_4" id="Page_4">[Pg&nbsp;4]</a></span>
+were the oldest of races, since their birthplace was
+in Armenia, which in turn is credited with having
+the Garden of Eden within its boundaries. The
+Chinese also can advance very substantial claims
+that primeval man was born with eyes aslant. They
+at least have a fixed date for the invention of the
+loom. This was in 2640 <span class="smcap lowercase">B.&nbsp;C.</span> by Lady of Si-Ling,
+the wife of a famous emperor, Huang-ti.</p>
+
+<p>The Egyptians who, according to their traditions,
+sprung from the soil, and who despised the
+Greeks for their late coming into the human arena,
+were probably quite as ancient as the Phrygians.
+It is known positively that in the wonderful valley
+of the Nile there has lived for more than six thousand
+years a race remarkable for its inventive
+faculties and the developing of the industrial arts.
+In the first dawn of human progress, while his
+nomadic neighbours roamed carefree about him,
+the Egyptian toiled steadily, and left the records
+of his achievements beside his God, the Nile.</p>
+
+<div class="figcenter" style="width: 107px;">
+<a name="FUNERAL_TENT" id="FUNERAL_TENT"></a>
+<img src="images/quilts03th.jpg" width="107" height="400" alt="" />
+<span class="link"><a href="images/quilts03.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">SECTION OF FUNERAL TENT OF
+AN EGYPTIAN QUEEN</p>
+
+<p class="incaption">Made in a patchwork of coloured goatskins</p>
+
+<div class="figcenter" style="width: 400px;">
+<a name="ENGLISH_APPLIQUE" id="ENGLISH_APPLIQUE"></a>
+<img src="images/quilts04th.jpg" width="400" height="337" alt="" />
+<span class="link"><a href="images/quilts04.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">OLD ENGLISH APPLIQU&Eacute;</p>
+
+<p class="incaption" style="padding-bottom: 3em;">Figure of a knight on horseback. Thirteenth century</p>
+
+<p>When investigating any subject, the ability to
+see the actual thing itself is more helpful than pages
+of description. In Egypt are preserved for us
+thousands of wonderful tombs which serve as storehouses
+of facts concerning the early civilization of
+<span class='pagenum'><a name="Page_5" id="Page_5">[Pg&nbsp;5]</a></span>
+this land. The mummy wrappings reveal very
+distinctly the development of the textiles and decorative
+arts. The Egyptians, since the earliest
+historical times, were always celebrated for their
+manufacture of linen, cotton, and woollen cloths,
+and the products of their looms were eagerly sought
+by surrounding nations. The fine linen and embroidered
+work, yarns and woollen fabrics of both
+upper and lower Egypt, were held in the highest
+esteem.</p>
+
+<p>Sir J. Gardner Wilkinson, in his history of &ldquo;Ancient
+Egypt,&rdquo; tells of their knowledge of dyeing and
+of the nature of the fabrics found in the tombs:
+&ldquo;The quantity of linen manufactured and used in
+Egypt was very great; and, independent of that
+made up into articles of dress, the numerous wrappers
+required for enveloping the mummies, both of
+men and animals, show how large a supply must
+have been kept ready for the constant demand at
+home as well as for that of the foreign market.&rdquo;</p>
+
+<p>&ldquo;The actual experiments made, with the aid of
+powerful microscopes ... on the nature of the
+fibres of linen and cotton threads, have shown that
+the former invariably present a cylindrical form,
+transparent, and articulated, or joined like a cane,
+<span class='pagenum'><a name="Page_6" id="Page_6">[Pg&nbsp;6]</a></span>
+while the latter offer the appearance of a flat riband,
+with a hem or border at each edge; so that
+there is no possibility of mistaking the fibres of
+either, except, perhaps, when the cotton is in an
+unripe state, and the flattened shape of the centre
+is less apparent. The results having been found
+similar in every instance, and the structure of the
+fibres thus unquestionably determined, the threads
+of mummy cloths were submitted to the same test,
+and no exception was found to their being linen,
+nor were they even a mixture of linen and cotton.&rdquo;</p>
+
+<p>&ldquo;Another very remarkable discovery of the
+Egyptians was the use of mordants. They were
+acquainted with the effect of acids on colour, and
+submitted the cloth they dyed to one of the same
+processes adopted in our modern manufactories;
+and while, from his account, we perceive how little
+Pliny understood the process he was describing,
+he at the same time gives us the strongest evidence
+of its truth.&rdquo;</p>
+
+<div class="figcenter" style="width: 280px;">
+<a name="FIFTHC_APPLIQUE" id="FIFTHC_APPLIQUE"></a>
+<img src="images/quilts05th.jpg" width="280" height="400" alt="" />
+<span class="link"><a href="images/quilts05.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">FIFTH CENTURY APPLIQU&Eacute;</p>
+
+<div class="figcenter" style="width: 372px;">
+<a name="ARMENIAN_PATCHWORK" id="ARMENIAN_PATCHWORK"></a>
+<img src="images/quilts06th.jpg" width="372" height="400" alt="" />
+<span class="link"><a href="images/quilts06.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">ARMENIAN PATCHWORK</p>
+
+<p class="incaption" style="padding-bottom: 3em;">Illustrating the story of St. George and the dragon, and
+other Christian subjects</p>
+
+<p>&ldquo;In Egypt,&rdquo; he says, &ldquo;they stain cloths in a
+wonderful manner. They take them in their original
+state, quite white, and imbue them, not with
+a dye, but with certain drugs which have the power
+of absorbing and taking colour. When this is
+<span class='pagenum'><a name="Page_7" id="Page_7">[Pg&nbsp;7]</a></span>
+done, there is still no appearance of change in the
+cloths; but so soon as they are dipped into a bath
+of the pigment, which has been prepared for the
+purpose, they are taken out properly coloured.
+The singular thing is, that though the bath contains
+only one colour, several hues are imparted to
+the piece, these changes depending on the natures
+of the drug employed; nor can the colour be afterward
+washed off; and surely if the bath had many
+colours in it, they must have presented a confused
+appearance on the cloth.&rdquo;</p>
+
+<p>The ability of the Egyptians to have a variety
+of colours for use in their embroideries and patchworks
+contributed much to the beauty of these
+arts.</p>
+
+<p>Embroidery in various forms, applied to all sorts
+of objects, was commonly practised throughout
+ancient Egypt, and the Israelites, at the time of the
+Exodus, carried their knowledge of the textile arts
+with them to India. Ezekiel in chapter twenty-seven,
+verse seven, in telling of the glories of Tyre,
+says: &ldquo;Of fine linen with broidered work Egypt
+was thy sail, that it might be to thee for an ensign.&rdquo;
+In &ldquo;De Bello Judaico,&rdquo; by Flavius Josephus,
+another reference is made to ancient needlework:</p>
+<p><span class='pagenum'><a name="Page_8" id="Page_8">[Pg&nbsp;8]</a></span>
+&ldquo;When Herod the Great rebuilt the temple of
+Jerusalem nineteen years before our era, he was
+careful not to omit in the decoration of the sanctuary
+the marvels of textile art which had been the
+chief embellishment of the tabernacle during the
+long wanderings in the desert. Before the doors
+of the most sacred place he hung a Babylonian
+tapestry fifty cubits high by sixteen wide: azure
+and flax, scarlet and purple were blended in it with
+admirable art and rare ingenuity, for these represented
+the various elements. Scarlet signified
+fire; linen, the earth; azure, the air; and purple, the
+sea. These meanings were derived in two instances
+from similarity of colour: in the other two
+from their origin, the earth yielding linen and the
+sea purple. The whole range of the heavens, except
+the signs, was wrought upon this veil or hanging.
+The porticos were also enriched with many coloured
+tapestries ornamented with purple flowers.&rdquo;</p>
+
+<p>There is very meagre information concerning the
+character and style of tapestry in Egypt during the
+rule of the Pharaohs. MM. Perrot and Chipiex,
+in their &ldquo;Histoire de l&rsquo;Art dans l&rsquo;Antiquit&eacute;,&rdquo; publish
+a painting containing a hanging of purely ornamental
+design formed of circles, triangles, and
+<span class='pagenum'><a name="Page_9" id="Page_9">[Pg&nbsp;9]</a></span>
+palm leaves reversed. Wilkinson describes an
+Egyptian hanging&mdash;an original, not a reproduction&mdash;found
+in an English collection: &ldquo;In the
+centre, on a green ground, stands a boy in white,
+with a goose beside him; and around this centre a
+border of red and blue lines; then white figures on
+a yellow ground; again blue lines and red ornaments;
+and lastly red, white, and blue embroideries.&rdquo;
+This is a very ancient example of true
+applied work combined with embroidery. In the
+Psalms it is said that Pharaoh&rsquo;s daughter shall be
+brought to the king in a raiment of needlework
+and that &ldquo;her clothing is of wrought gold.&rdquo;</p>
+
+<p>The huge columns, bas-reliefs, and the various
+architectural details of the early Egyptian buildings
+were all decorated in vivid colours. The interiors
+of their temples were also covered with
+gayly coloured scenes which have preserved for
+us a most extensive knowledge of their life and customs.
+Their mummy cases were painted in the
+most brilliant hues, and often the wrappings of the
+mummies themselves bore brightly coloured portraits
+of the deceased. Since the Egyptians lived
+in an atmosphere of brilliant colour, with ever-shining
+sun, the bluest of skies, and the purple
+<span class='pagenum'><a name="Page_10" id="Page_10">[Pg&nbsp;10]</a></span>
+glow of the desert always before them, it is
+not surprising that they used their brushes with
+lavish hand. Every plane surface called for ornamentation,
+whether on temple or shroud. Their
+pigments, both mineral and vegetable, were remarkable
+for their permanence.</p>
+
+<p>The crude and childish way in which the Egyptians
+applied their paint in distinct patches would
+lead one to believe that patchwork was included
+in their earliest needlework, even if no actual proof
+existed. But all nations have at some period used
+the needle to copy the masterpieces of great artists.
+The English, as a typical example of this spirit of
+imitation, sought on a background of cloth of gold
+to embroider the saints from the canvas of Fra
+Angelico. Also the French, in the manufacture
+of their tapestries, copied the works of many of the
+old masters. Positive proof of the existence of
+patchwork, or as some choose to call it, &ldquo;applied
+work,&rdquo; in Egypt at a very early period is found on a
+robe belonging to an early sovereign. This article
+of apparel was of linen and, in general design, resembled
+a modern apron. According to Wilkinson,
+it was &ldquo;richly ornamented in front with lions&rsquo;
+heads and other devices, probably of coloured
+<span class='pagenum'><a name="Page_11" id="Page_11">[Pg&nbsp;11]</a></span>
+leather; and the border was formed of a row of asps,
+the emblem of royalty. Sometimes the royal name
+with an asp on each side was embroidered upon it.&rdquo;</p>
+
+<div class="figcenter" style="width: 250px;">
+<a name="PERSIAN_CARPET" id="PERSIAN_CARPET"></a>
+<img src="images/quilts07th.jpg" width="250" height="400" alt="" />
+<span class="link"><a href="images/quilts07.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">PERSIAN QUILTED LINEN BATH CARPET</p>
+
+<p class="incaption">Seventeenth century</p>
+
+<div class="figcenter" style="width: 300px;">
+<a name="ENGLISH_HANGING" id="ENGLISH_HANGING"></a>
+<img src="images/quilts08th.jpg" width="300" height="400" alt="" />
+<span class="link"><a href="images/quilts08.jpg">See larger image</a></span>
+</div>
+
+<p class="caption" style="padding-bottom: 3em;">OLD ENGLISH HANGING WITH APPLIQU&Eacute;
+FIGURES</p>
+
+<p>The most ancient example of patchwork is a
+coloured gazelle hide presented in the Museum of
+Cairo. The colours of the different pieces of skin
+are bright pink, deep golden yellow, pale primrose,
+bluish green, and pale blue. This patchwork served
+as the canopy or pall of an Egyptian queen about
+the year 960 <span class="smcap lowercase">B.&nbsp;C.</span> She was the mother-in-law of
+Shishak, who besieged and captured Jerusalem
+shortly after the death of Solomon. On its upper
+border this interesting specimen has repeated
+scarabs, cartouches with inscriptions, discs, and
+serpents. The lower border has a central device
+of radiating lotus flowers; this is flanked by two
+narrow panels with cartouches; beyond these are
+two gazelles facing toward the lotus device. Next
+to the gazelles on each side is a curious detail consisting
+of two oddly shaped ducks, back to back;
+then come the two outer compartments of the border,
+each of which enclose a winged beetle, or scarab&aelig;us,
+bearing a disc or emblem of the sun. The
+other main division of the field is spotted in regular
+order with open blossom forms. There is decided
+<span class='pagenum'><a name="Page_12" id="Page_12">[Pg&nbsp;12]</a></span>
+order in the repetition and arrangement of these
+details, which gives a rather stiff and formal look
+to the whole design.</p>
+
+<p>To-day Egyptians are making patchwork that is
+undoubtedly a development of the very art practised
+in the days of Ptolemy, Rameses, and Cleopatra.
+They do not use their patchwork to adorn
+quilts, since these are unknown in the warm Nile
+valley, but as covers for cushions, panels for screens,
+and decorations suitable for wall hangings. Generally
+but two kinds of material are employed in its
+construction: a rather loosely woven cotton cloth,
+and a firm, coarse linen. The cottons used are all
+gayly dyed in plain colours, and the linens are in
+the natural shades, with perhaps a slight mixture
+of white. The patchwork designs are typically
+Egyptian, many pieces being covered with replicas
+of paintings found on tombs and temples. These
+paintings are copied as faithfully in colour as in
+design, even the hieroglyphics being exactly reproduced,
+and altogether make very striking and
+effective decorations.</p>
+
+<div class="figcenter" style="width: 394px;">
+<a name="EGYPTIAN_CUSHIONS" id="EGYPTIAN_CUSHIONS"></a>
+<img src="images/quilts09th.jpg" width="394" height="400" alt="" />
+<span class="link"><a href="images/quilts09.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">MODERN EGYPTIAN PATCHWORK</p>
+
+<p class="incaption">Four cushion covers</p>
+
+<div class="figcenter" style="width: 250px;">
+<a name="EGYPTIAN_PANELS" id="EGYPTIAN_PANELS"></a>
+<img src="images/quilts10th.jpg" width="250" height="400" alt="" />
+<span class="link"><a href="images/quilts10.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">MODERN EGYPTIAN PATCHWORK</p>
+
+<p class="incaption" style="padding-bottom: 3em;">Panels for screens</p>
+
+<p>The modern Egyptians have the innate taste and
+ability of all Orientals for harmonizing colour.
+Their universal use of black to outline and define
+<span class='pagenum'><a name="Page_13" id="Page_13">[Pg&nbsp;13]</a></span>
+most of the designs produces a beautiful harmony
+between otherwise clashing hues. With nearly as
+many shades at their disposal in cloth as a painter
+has in paint, they are quite ambitious in their attempts
+to produce realistic scenes. On some of the
+best specimens of modern Egyptian patchwork
+gods and goddesses are shown sitting enthroned
+surrounded by attendants and slaves bearing
+trophies of war and chase as offerings to the divine
+beings. On others, groups of men and women are
+shown, humbly presenting salvers of fruit and the
+sacred flower&mdash;the lotus&mdash;to their gods. Some of
+the most effective work is decorated with a simple
+life-size figure of Osiris or Rameses the Great in
+brilliant colours. A few of the more subdued patchwork
+designs consist of a solitary scarab, the sacred
+beetle of the Pharaohs, or an asp or two gracefully
+entwined. The smaller pieces make practical and
+admirable cushion covers. There are many attractive
+shops in Cairo that sell quantities of this gay
+patchwork, and few tourists leave Egypt without a
+specimen or two as mementoes of the paintings
+that give us a glimpse of Egypt&rsquo;s ancient splendour.</p>
+
+<p>While among the ancient Greeks and Romans
+all the arts of the needle were held in the greatest
+<span class='pagenum'><a name="Page_14" id="Page_14">[Pg&nbsp;14]</a></span>
+esteem, comparatively little attention was paid to
+the adornment of their sleeping apartments. Accounts
+of early Greek houses state that, while the
+bedchambers were hung all about with curtains
+and draperies, these were usually of plain fabrics
+with little attempt at decoration. Of patchwork
+or appliqu&eacute;, as known to the Egyptians and Hebrews,
+the Greeks and Romans have left us no
+trace. However, as substantiating the regard
+shown for needlework by the Greeks and Romans,
+the following two pleasing myths have come down
+to us: one, the &ldquo;Story of Arachne,&rdquo; as related by
+Ovid; the other from the &ldquo;Odyssey&rdquo; of Homer.</p>
+
+<p>Arachne, a most industrious needleworker, had
+the audacity to contest against Pallas, the goddess
+of the art of weaving. With her bobbins, Arachne
+wove such wonderful pictures of the Loves of the
+Gods that Pallas, conscious of having been surpassed
+by a mortal, in an outburst of anger struck
+her. Arachne, humiliated by the blow, and unable
+to avenge it, hanged herself in despair. Whereupon
+the goddess relented, and with the intention
+of gratifying Arachne&rsquo;s passionate love of weaving,
+transformed her into a spider and bade her weave
+on forever.</p>
+
+<p><span class='pagenum'><a name="Page_15" id="Page_15">[Pg&nbsp;15]</a></span>
+The other interesting incident of ancient times is
+that of Penelope&rsquo;s patient weaving. It is related
+that, after one short year of wedded happiness, her
+husband Ulysses was called to take part in the
+Trojan War. Not a single message having been
+received from him by Penelope during his long absence,
+a doubt finally arose as to his being still
+alive. Numerous suitors then sought her hand,
+but Penelope begged for time and sought to put
+them off with many excuses. One of her devices
+for delay was that of being very busy preparing
+a funeral robe for Ulysses&rsquo; father. She announced
+that she would be unable to choose another husband
+until after this robe was finished. Day after
+day she industriously wove, spending patient hours
+at her loom, but each night secretly ravelled out
+the product of her day&rsquo;s labour. By this stratagem
+Penelope restrained the crowd of ardent suitors
+up to the very day of Ulysses&rsquo; return.</p>
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class='pagenum'><a name="Page_16" id="Page_16">[Pg&nbsp;16]</a></span></p>
+
+<h2>CHAPTER II</h2>
+
+<h3><span class="smcap">Patchwork and Quilting During the Middle
+Ages</span></h3>
+
+
+<p><span class="dropcap">I</span>N THE early days of Christianity the various
+organizations of the mother church took a
+deep interest in all the textile arts, and we are
+indebted to the ecclesiastical orders for what progress
+was made in needlework during the beginning
+of the Middle Ages. The makers of church hangings
+and vestments were stimulated by thoughts
+of the spiritual blessings with which they were assured
+their work would be rewarded. Much of
+this early ecclesiastic needlework is extremely
+elaborate and was always eagerly desired by the
+holy orders. At one time the craze for gorgeous
+vestments reached such an extreme that we have
+record of one worthy bishop chiding his priests because
+they &ldquo;carried their religion on their backs instead
+of in their hearts.&rdquo;</p>
+
+<div class="figcenter" style="width: 217px;">
+<a name="EGYPTIAN_PATCHWORK" id="EGYPTIAN_PATCHWORK"></a>
+<img src="images/quilts11th.jpg" width="217" height="400" alt="" title="" />
+<span class="link"><a href="images/quilts11.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">MODERN EGYPTIAN PATCHWORK</p>
+
+<p class="incaption">Panels for wall decoration</p>
+
+<div class="figcenter" style="width: 386px;">
+<a name="DOUBLE9_PATCH" id="DOUBLE9_PATCH"></a>
+<img src="images/quilts12th.jpg" width="386" height="400" alt="" />
+<span class="link"><a href="images/quilts12.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">DOUBLE NINE PATCH</p>
+
+<p class="incaption" style="padding-bottom: 3em;">Made in Ohio in 1808. Colours: blue and white, and beautifully quilted</p>
+
+<p>The artistic needlework of the Christian era
+<span class='pagenum'><a name="Page_17" id="Page_17">[Pg&nbsp;17]</a></span>
+consists almost entirely of embroidery; no positive
+reference to patchwork or quilting being found in
+western Europe prior to the time of the Crusades.
+But with this great movement, thousands of the
+most intelligent men in Europe, urged by religious
+enthusiasm combined with love of adventure, forced
+their way into eastern countries whose culture and
+refinements of living far surpassed their own. The
+luxuries which they found in Syria were eagerly
+seized and carried home to all the western lands.
+Returning Crusaders exhibited fine stuffs of every
+description that roused the envy of all who obtained
+a glimpse of them. A vigorous commerce with
+the east was immediately stimulated. From
+Syria merchants brought into Italy, Spain, and
+France silks and cottons to supplement the native
+linen and wool, and also many kinds of embroidered
+work of a quality much finer than ever known
+before. As a result dyeing, weaving, and needlework
+entered on an era of great development.</p>
+
+<p>Previous to the eleventh century so memorable
+in the history of the Crusaders, references to quilting
+and patchwork are few and uncertain, but from
+that time on these twin arts became more and more
+conspicuous in the needlecraft of nearly every
+<span class='pagenum'><a name="Page_18" id="Page_18">[Pg&nbsp;18]</a></span>
+country in western Europe. This is explained by
+the stimulus which was given to these arts by the
+specimens of appliqu&eacute; hangings and garments
+brought from Syria, where the natives wrought for
+centuries the identical applied work carried into
+Palestine from Egypt in Biblical times by the
+Hebrews and the Ph&oelig;nicians.</p>
+
+<p>About the earliest applied work of which we have
+record were the armorial bearings of the Crusaders.
+A little later came rather elaborate designs applied
+to their cloaks and banners. Among other specimens
+of Old English needlework is a piece of applied
+work at Stonyhurst College depicting a knight on
+horseback. That this knight represents a Crusader
+is beyond question since the cross, the insignia
+of the cause, is a prominent figure in the
+ornamentation of the knight&rsquo;s helmet and shield,
+and is also prominent on the blanket on the horse.</p>
+
+<p>Noticeable progress in the arts of both quilting
+and appliqu&eacute; was made during the Middle Ages in
+Spain. Spanish women have always been noted
+for their cleverness with the needle, and quite a
+few of the stitches now in use are credited to them.
+At the time of King Ferdinand and Queen Isabella,
+applied work had long been known. Whether
+<span class='pagenum'><a name="Page_19" id="Page_19">[Pg&nbsp;19]</a></span>
+it developed from imitating garments brought home
+by the returning Crusaders, or was adopted from
+the Moors, who gave the best of their arts to Spain
+during the thirteenth and fourteenth centuries,
+cannot be positively stated. However, it is worthy
+of notice that whenever the Christian came in
+contact with the Moor, a great advance in the
+textile arts of the former could generally be observed.
+This holds true even down to this day,
+our eagerness to possess the rugs of Turkey and
+Afghanistan, and the imitation of these designs in
+the manufacture of domestic carpets, being a case
+in point.</p>
+
+<p>During the reign of King Philip II, 1527-1598,
+the grandees of the Spanish court wore beautifully
+wrought garments, rich with applied work and
+embroidery. A sixteenth-century hanging of silk
+and velvet appliqu&eacute;, now preserved in Madrid, is
+typical of the best Spanish work. It is described
+as having a gray-green silk foundation, on which
+are applied small white silk designs outlined with
+yellow cord; alternating with the green silk are
+bands of dark red velvet with ornamented designs
+cut from the green silk, and upon which are small
+pieces of white silk representing berries. Also,
+<span class='pagenum'><a name="Page_20" id="Page_20">[Pg&nbsp;20]</a></span>
+another handsome specimen of Spanish applied
+work of the seventeenth century is a linen curtain
+richly embellished with heraldic emblems couched
+with gold thread. Horse trappings and reposters,
+loaded with appliqu&eacute; flowers cut from gold and
+silver cloth, were much in evidence among the
+Spanish nobility of this period.</p>
+
+<p>Of particular interest, as showing how oriental
+quilting designs filtered into Europe through the
+intercourse of the early Portuguese traders and
+missionaries with the East Indies, is the brief
+mention by Margaret S. Burton of a very elaborate
+old quilt now in a New York collection: &ldquo;My next
+find was a tremendous bed quilt which is used as
+a porti&egrave;re for double folding doors. It formed
+part of a collection of hangings owned by the
+late Stanford White. He claimed there were only
+four of its kind in existence, and this the only one
+in America. It is valued at $1,000. It is a Portuguese
+bed quilt and was embroidered centuries
+ago by the Portuguese missionary monks sent to
+India. They were commissioned by their queen
+to embroider them for her to present as wedding
+gifts to her favourite ladies-in-waiting.&rdquo; On account
+of intricacy and originality of design this
+<span class='pagenum'><a name="Page_21" id="Page_21">[Pg&nbsp;21]</a></span>
+quilt represents years of patient work. It is
+hand embroidered in golden coloured floss upon a
+loosely woven linen which had been previously
+quilted very closely. The work is in chain stitch,
+and there are at least fifty different stitch patterns.
+In the centre panel is the sacred cat of India.
+Doves bearing olive branches, pomegranates, daisies,
+and passion flowers are intermingled in the
+beautiful design.</p>
+
+<div class="figcenter" style="width: 367px;">
+<a name="PIECED_BASKETS" id="PIECED_BASKETS"></a>
+<img src="images/quilts13th.jpg" width="367" height="400" alt="" />
+<span class="link"><a href="images/quilts13.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">PIECED BASKETS</p>
+
+<p class="incaption">A design much used by the old-time quilt makers. This quilt, which is about
+85 years old, is unusual, in that the baskets are so small</p>
+
+<div class="figcenter" style="width: 400px;">
+<a name="BEDROOM_INTERIOR" id="BEDROOM_INTERIOR"></a>
+<img src="images/quilts14th.jpg" width="400" height="324" alt="" />
+<span class="link"><a href="images/quilts14.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">INTERIOR OF BEDROOM</p>
+
+<p class="incaption" style="padding-bottom: 3em;">Cochran residence, Deerfield, Mass., showing colonial bedstead with quilt and canopy</p>
+
+<p>While the uses of patchwork were known over
+Europe long before the Renaissance, some credit
+its introduction, into Italy at least, to the Florentine
+painter, Botticelli (1446-1510). The applied
+work, or &ldquo;thought work,&rdquo; of the Armenians so
+appealed to him that he used it on hangings for
+church decoration. Under his influence the use
+of the applied work, <i>opus conservetum</i>, for chapel
+curtains and draperies was greatly extended. In
+time these simple patchwork hangings were supplanted
+by the mural paintings and tapestries
+now so famous. There are still in existence some
+rare pieces of Italian needlework of the sixteenth
+century having designs of fine lace interspersed
+among the embroidered appliqu&eacute; of silk.</p>
+
+<p>A homely cousin of the gorgeous <i>opus
+<span class='pagenum'><a name="Page_22" id="Page_22">[Pg&nbsp;22]</a></span>
+conservetum</i>, which has filled its useful though
+humble office down to the present day, is the heavy
+quilted and padded leather curtain used in many
+Italian churches in lieu of a door. Many of the
+church doors are too massive and cumbersome to
+be opened readily by the entering worshippers, so
+they are left constantly open. Leather hangings
+often several inches thick and quilted with rows of
+horizontal stitches rather widely spaced, are hung
+before the open doorways. Even these curtains
+are often quite stiff and unyielding, so that holding
+back corners for the passage of both worshipper
+and tourist forms a favourite occupation for
+numerous beggars.</p>
+
+<p>Appliqu&eacute;, described as <i>opus consutum</i>, or cut
+work, was made in Florence and Venice, chiefly
+for ecclesiastical purposes, during the height of
+their glory in the fifteenth century. One such piece
+of Florentine cut work is remarkable for its great
+beauty and the skill shown in bringing together both
+weaving and embroidery. &ldquo;Much of the architectural
+accessories is loom wrought, while the
+extremities of the evangelists are all done by the
+needle; but the head, neck, and long beard are
+worked by themselves upon very fine linen, and
+<span class='pagenum'><a name="Page_23" id="Page_23">[Pg&nbsp;23]</a></span>
+afterward put together in such a way that the full
+white beard overlaps the tunics.... For the
+sake of expedition, all the figures were sometimes
+at once shaped out of woven silk, satin, velvet,
+linen, or woollen cloth, and sewed upon the grounding
+of the article.... Sometimes the cut
+work done in this way is framed, as it were, with
+an edging either in plain or gilt leather, hempen or
+silken cord, like the leadings of a stained-glass
+window.&rdquo; Gold and silver starlike flowers, sewn
+on appliqu&eacute; embroideries, were common to Venice
+and also southern Germany in the fifteenth century.</p>
+
+<p>Belonging to the Italian Renaissance period are
+some marvellous panels, once part of a curtain,
+which are now preserved in the South Kensington
+Museum in London. The foundation of these
+panels is of beautiful blue damask having applied
+designs cut from yellow satin. These hangings
+are described as being very rich in effect and unusually
+handsome, and nothing in the annals of
+needlework of their period was more glorious.</p>
+
+<p>A very ingenious patchwork, originating in
+Italy during the sixteenth century and peculiar
+to that country and Spain, consisted of patterns
+<span class='pagenum'><a name="Page_24" id="Page_24">[Pg&nbsp;24]</a></span>
+designed so as to be counter hanging. For example,
+if one section of a length of such patchwork
+consisted of a blue satin pattern on a yellow velvet
+ground, the adjoining section would, through the
+interchange of materials, consist of a yellow velvet
+pattern on a blue satin ground. The joints of the
+patching were overlaid with cord or gimp, stitched
+down so as to conceal them entirely and give definition
+to the forms constituting the pattern.</p>
+
+<p>Italian needleworkers were very fond of this
+&ldquo;transposed appliqu&eacute; upon two fabrics,&rdquo; especially
+when composed of designs of foliage conventionally
+treated, or of arabesques and scrolls. On a
+piece of old Milanese damask, figured with violet
+on violet, appear designs in appliqu&eacute; cut from two
+shades of yellow satin. These are remarkable
+for their powerful relief, suggesting sculpture rather
+than embroidery, and have been pronounced
+worthy of the best masters of their time&mdash;namely,
+that period so rich in suggestions of ornament&mdash;the
+seventeenth century.</p>
+
+<div class="figcenter" style="width: 326px;">
+<a name="BEDTIME_QUILT" id="BEDTIME_QUILT"></a>
+<img src="images/quilts15th.jpg" width="326" height="400" alt="" />
+<span class="link"><a href="images/quilts15.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">THE BEDTIME QUILT</p>
+
+<p class="incaption" style="padding-bottom: 3em;">With its procession of night-clad children will be excellent &ldquo;company&rdquo; for
+a tot, to whom a story may be told of the birds that sleep in the
+little trees while the friendly stars keep watch</p>
+
+<p>Closely related to patchwork, but not as commonly
+used, is &ldquo;inlay.&rdquo; In the making of this style
+of decoration one material is not laid on to another,
+but into it. It is the fitting together of small
+<span class='pagenum'><a name="Page_25" id="Page_25">[Pg&nbsp;25]</a></span>
+sections of any desired fabric in a prearranged
+design. For convenience, all the pieces are placed
+upon a foundation of sufficient firmness, but which
+does not appear when the work is finished. Ornamental
+stitches conceal the seams where the edges
+meet, and it is especially adapted for making
+heraldic devices. During the Renaissance it was
+much used by both Spaniards and Italians, who
+learned the art from the Moors.</p>
+
+<p>An example of quilting, attributed to the Island
+of Sicily about the year 1400, is described as being
+a ground of buff-coloured linen. The raised effect
+is obtained by an interpadding of wool, and the
+designs are outlined in brown thread. This entire
+coverlet is embroidered with scenes from the life
+of Tristan, who frequently engaged in battle
+against King Langair, the oppressor of his country.
+This bit of quilting hangs in the Victoria and
+Albert Museum in London. Another hanging of
+the fourteenth century, belonging to the same collection,
+shows a spirited naval battle between
+galleys. A striking peculiarity of this hanging is
+that floral designs are scattered in great profusion
+among the boats of the combatants.</p>
+
+<p>A patchwork made by the application of bits of
+<span class='pagenum'><a name="Page_26" id="Page_26">[Pg&nbsp;26]</a></span>
+leather to velvet was extensively used in some
+European countries during the Middle Ages. As
+leather did not fray and needed no sewing over
+at the edge, but only sewing down, stitching well
+within the edge gave the effect of a double outline.
+This combination of leather and velvet was introduced
+from Morocco. A wonderful tent of this
+leather patchwork, belonging to the French king,
+Fran&ccedil;ois I, was taken by the Spanish at the battle
+of Pavia (1525), and is still preserved in the armoury
+at Madrid.</p>
+
+<p>Some of the very finest specimens of the quilting
+of the Middle Ages have been preserved for us in
+Persia. Here the art, borrowed at a very early
+period from the Arabs, was developed in an unusual
+and typically oriental manner. Prayer
+rugs, carpets, and draperies of linen, silk, and satin
+were among the products of the Persian quilters.</p>
+
+<p>We are indebted to Mr. Alan S. Cole for the
+following description of a seventeenth-century
+Persian quilted bath carpet, now preserved at the
+South Kensington Museum in London. &ldquo;This
+typical Persian embroidery is a linen prayer or
+bath carpet, the bordering or outer design of which
+partly takes the shape of the favourite Persian
+<span class='pagenum'><a name="Page_27" id="Page_27">[Pg&nbsp;27]</a></span>
+architectural niche filled in with such delicate
+scrolling stem ornament as is so lavishly used in
+that monument of sixteenth-century Mohammedan
+art, the Taj Mahal at Agra. In the centre of the
+carpet beneath the niche form is a thickly blossoming
+shrub, laid out on a strictly geometric or
+formal plan, but nevertheless depicted with a fairly
+close approach to the actual appearance of bunches
+of blossoms and of leaves in nature. But the
+regular and corresponding curves of the stems, and
+the ordered recurrence of the blossom bunches,
+give greater importance to ornamental character
+than to any intention of giving a picture of a tree.
+Similar stems, blossoms, and leaves are still more
+formally and ornamentally adapted in the border
+of the carpet, and to fill in the space between the
+border and the niche shape. The embroidery is of
+chain stitch with white, yellow, green, and red
+silks. But before this embroidery was taken in
+hand the whole of the linen was minutely stitched.&rdquo;</p>
+
+<p>Worthy of mention is a patchwork panel made
+in Resht, Persia, in the eighteenth century: &ldquo;The
+foundation ground is of ivory coloured cloth, and
+applied to it, almost entirely covering the ivory
+background, are designs cut from crimson, cinnamon,
+<span class='pagenum'><a name="Page_28" id="Page_28">[Pg&nbsp;28]</a></span>
+pink, black, turquoise, and sapphire coloured
+cloths, all richly embroidered in marigold and
+green silk.&rdquo;</p>
+
+<p>The following is a quilt anecdote, typically
+oriental, which contains a bit of true philosophy.
+It seems that the hero, Nass-ed-Din Hodja, was
+a Turkish person who became chief jester to the
+terrible Tamerlane during his invasion of Asia
+Minor. He was also the hero, real or imaginary,
+of many other stories which originated during the
+close of the fourteenth and the beginning of the
+fifteenth centuries. His tomb is still shown at
+Akshekir. The story is given entire as it appeared
+in &ldquo;Turkey of the Ottoman&rdquo; by L.&nbsp;M. Garnett:</p>
+
+
+<h4>HOW THE HODJA LOST HIS QUILT</h4>
+
+<div class="blockquot">
+<p>&ldquo;One winter&rsquo;s night, when the Hodja and his
+wife were snugly asleep, two men began to quarrel
+and fight under the window. Both drew knives
+and the dispute threatened to become serious.
+Hearing the noise, the Hodja&rsquo;s wife got up, looked
+out of the window and, seeing the state of affairs,
+woke her husband, saying: &lsquo;Great heavens, get up
+and separate them or they will kill each other.&rsquo;
+But the Hodja only answered sleepily: &lsquo;Wife,
+<span class='pagenum'><a name="Page_29" id="Page_29">[Pg&nbsp;29]</a></span>
+dear, come to bed again; on my faith there are no
+men in the world; I wish to be quiet; it is a winter&rsquo;s
+night. I am an old man, and perhaps if I
+went out they might beat me.&rsquo; The Hodja&rsquo;s
+wife was a wise woman. She kissed his hands and
+his feet. The Hodja was cross and scolded her,
+but he threw the quilt about him, went downstairs
+and out to where the disputants were, and said
+to them: &lsquo;For the sake of my white beard cease,
+my sons, your strife.&rsquo; The men, in reply, pulled
+the quilt from the Hodja&rsquo;s shoulders and made
+off with it. &lsquo;Very well,&rsquo; observed the old man.
+He re&euml;ntered, locked the door, and went upstairs.
+Said his wife: &lsquo;You did very well to go out to
+those men. Have they left off quarrelling?&rsquo; &lsquo;They
+have,&rsquo; replied the Hodja. &lsquo;What were they quarrelling
+about, Hodja?&rsquo; &lsquo;Fool,&rsquo; replied the Hodja,
+&lsquo;they were quarrelling for my quilt. Henceforward
+my motto shall be, &ldquo;Beware of serpents.&rdquo;&rsquo;&rdquo;</p>
+</div>
+
+<div class="figcenter" style="width: 357px;">
+<a name="JACOBS_LADDER" id="JACOBS_LADDER"></a>
+<img src="images/quilts16th.jpg" width="357" height="400" alt="" />
+<span class="link"><a href="images/quilts16.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">JACOB&rsquo;S LADDER</p>
+
+<p class="incaption">One of the most striking of the quilts having Biblical names. Colours: blue
+and white</p>
+
+<div class="figcenter" style="width: 326px;">
+<a name="CONVENTIONAL_TULIP_1" id="CONVENTIONAL_TULIP_1"></a>
+<img src="images/quilts17th.jpg" width="326" height="400" alt="" />
+<span class="link"><a href="images/quilts17.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">CONVENTIONAL TULIP</p>
+
+<p class="incaption" style="padding-bottom: 3em;">Made in Ohio about 1840. Beautifully quilted in medallions and pineapples
+of original design. Colors: red, pink, and green</p>
+
+<p>Appliqu&eacute;, or applied work, has never been used
+in France to the same extent as in England, even
+though the French name &ldquo;appliqu&eacute;&rdquo; is more
+frequently used than any other. However, there
+is one striking example of appliqu&eacute; work, of Rhenish
+or French origin, now hanging in the Victoria
+<span class='pagenum'><a name="Page_30" id="Page_30">[Pg&nbsp;30]</a></span>
+and Albert Museum in London. This realistic
+patchwork represents a fight between an armoured
+knight mounted on a high-stepping white horse and
+a ferocious dragon. The designs are arranged in a
+fashion similar to the blocks in a modern quilt, and
+depict several scenes showing the progress of the
+combat. There is also a border covered closely
+with figures of monks, knights, and ladies.</p>
+
+<p>An extract from &ldquo;First Steps in Collecting,&rdquo; by
+Grace M. Vallois, gives an interesting glimpse of
+an old French attic. An object of great interest
+to us is the old, unfinished quilt she discovered
+there: &ldquo;A rummaging expedition in a French
+<i>grenier</i> yields more treasures than one taken in an
+English lumber room. The French are more
+conservative; they dislike change and never throw
+away anything. Among valuable antiques found
+in the <i>grenier</i> of a Louis XV house in the Pyrenees
+were some rare curtains of white linen ornamented
+with designs cut from beautiful old chintz; the
+edges of the applied designs were covered with
+tightly twisted cotton cord. Also, in the same
+room, in a drawer of an old chestnut-wood bureau,
+was found an unfinished bed quilt very curiously
+worked. It was of linen with a filling of rather
+<span class='pagenum'><a name="Page_31" id="Page_31">[Pg&nbsp;31]</a></span>
+soft cotton cord about an eighth of an inch wide.
+These cords were held in place by rows of minute
+stitching of white silk, making the bedcover almost
+solid needlework. Besides the quilting there were
+at rather wide intervals conventional flowers in
+peacock shades of blue and green silk executed in
+chain stitch. When found, the needle was still
+sticking in one of the flowers, and many were
+traced ready for work. The traced lines appear to
+have been made with India ink and were very
+clear and delicate. What caused the abrupt interruption
+of the old quilt no one can tell. It is possible
+that the great terror of 1793 caused the patient
+maker to flee from her unfinished task.&rdquo;</p>
+
+<p>In the countries of northern Europe there is
+scarcely any record concerning the art of quilting
+and patchwork, and little can be said beyond the
+fact that both existed in some form or other. In
+Germany the quilt so familiar to us is practically
+unknown. In the past appliqu&eacute; was very little
+used, except as cut work, or <i>opus consutum</i>, in
+blazonments and heraldic devices. The thick
+feather beds of medieval Germany were covered
+with various kinds of thick comforts filled with
+either wool or feathers, and sometimes sparsely
+<span class='pagenum'><a name="Page_32" id="Page_32">[Pg&nbsp;32]</a></span>
+quilted. The only decoration of the comfort consisted
+of a band of ornamental work, ten to twenty
+inches wide, usually worked in cross-stitch design
+with brightly coloured yarns. These bands were
+generally loose upon the comfort, one edge being
+held down by the pillow, but occasionally they
+were sewed to the edge of the bedcover.</p>
+
+<p>In a work on arts and crafts relating to their
+presence in Sweden, it is written that &ldquo;woven
+hangings were used to decorate the timbered walls
+of the halls of the vikings. They were hung over
+the temples, and they decorated the timber sepulchres
+of the dead. When the timbered grave of the
+Danish queen, Fyra Danabode, who died about
+950, was opened, remains of woven woollen cloth
+were found.&rdquo; As far back as Swedish records
+go it can be shown that Swedish women wove and
+sewed figured material.</p>
+
+<div class="figcenter" style="width: 400px;">
+<a name="GERMAN_APPLIQUE" id="GERMAN_APPLIQUE"></a>
+<img src="images/quilts18th.jpg" width="400" height="328" alt="" />
+<span class="link"><a href="images/quilts18.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">FINE EXAMPLE OF OLD GERMAN APPLIQU&Eacute;</p>
+
+<p class="incaption">Now in the Metropolitan Museum, New York</p>
+
+<div class="figcenter" style="width: 343px;">
+<a name="DOUBLE_X" id="DOUBLE_X"></a>
+<img src="images/quilts19th.jpg" width="343" height="400" alt="" />
+<span class="link"><a href="images/quilts19.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">DOUBLE X</p>
+
+<p class="incaption" style="padding-bottom: 3em;">A modern quilt. Colours: blue and white</p>
+
+<p>On account of the cold there is urgent need
+of wall hangings, and they are used extensively
+throughout Scandinavia. On festive occasions
+the stiff, cold appearance of Swedish peasants&rsquo;
+homes is transformed by the gay wall coverings
+to one of hospitality and warmth. The hangings
+used are made of linen, either painted or embroidered
+<span class='pagenum'><a name="Page_33" id="Page_33">[Pg&nbsp;33]</a></span>
+in bright colours. The painted ones are especially
+interesting as they depict many historical
+scenes. Allegorical and religious subjects are also
+used to decorate many of these linen hangings.
+The Swedes are very patriotic, and on their wall
+hangings show all the saints clad in typical Swedish
+costumes. The apostles wear Swedish jack boots,
+loose collars, and pea jackets; and Joseph, as governor
+of Egypt, is shown wearing a three-cornered
+hat and smoking a pipe.</p>
+
+<p>There is a valuable collection of Swedish needlework
+in the Northern Museum of Stockholm, dating
+from 1639 to the nineteenth century. Among
+this collection there are a few small pieces of applied
+work: some cushions, glove gauntlets, and a woman&rsquo;s
+handbag. It is possible that patchwork
+was used more extensively than the museum&rsquo;s display
+would indicate, but since large pieces are
+very rarely found, patchwork was evidently not
+held in the same esteem as embroidery and painting.</p>
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class='pagenum'><a name="Page_34" id="Page_34">[Pg&nbsp;34]</a></span></p>
+
+<h2>CHAPTER III</h2>
+
+<h3><span class="smcap">Patchwork and Quilting in Old England</span></h3>
+
+
+<p><span class="dropcap">I</span>N SEARCHING for the beginning of needlework
+in England, the first authentic date revealed relating
+directly to this subject is 709, when the
+Bishop of Sherborne writes of the skill Englishwomen
+had attained at that time in the use of the needle.
+Preserved in various museums are some examples of
+Anglo-Saxon embroidery of uncertain date, that are
+known to have been made before the Bishop of Sherborne&rsquo;s
+time. Mention should also be made of the
+wonderful Bayeux Tapestry. This ancient piece is
+227 feet long and twenty inches wide, and is of great
+historical interest, in that it illustrates events of English
+history from the accession of Edward the Confessor
+to the English defeat at Hastings by the
+Normans in 1066. There is some doubt as to whether
+this tapestry, which has the characteristic of typical
+appliqu&eacute;&mdash;namely, the absence of shading&mdash;is actually
+of English workmanship, but it is unquestionably
+<span class='pagenum'><a name="Page_35" id="Page_35">[Pg&nbsp;35]</a></span>
+of Anglo-Saxon origin. It was first hung in
+Bayeux Cathedral in 1476.</p>
+
+<div class="figcenter" style="width: 379px;">
+<a name="PUSS_IN_THE_CORNER" id="PUSS_IN_THE_CORNER"></a>
+<img src="images/quilts20th.jpg" width="379" height="400" alt="" />
+<span class="link"><a href="images/quilts20.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">PUSS-IN-THE-CORNER</p>
+
+<p class="incaption">A beautifully quilted design made about 1855. Colours: a dull green calico
+having small red flowers and white</p>
+
+<div class="figcenter" style="width: 386px;">
+<a name="TEA_LEAVES" id="TEA_LEAVES"></a>
+<img src="images/quilts21th.jpg" width="386" height="400" alt="" />
+<span class="link"><a href="images/quilts21.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">TEA LEAVES</p>
+
+<p class="incaption" style="padding-bottom: 3em;">A quaint old design combining a pieced block with an applied leaf stem.
+Colours: green and white</p>
+
+<p>It is a generally accepted fact that appliqu&eacute; and
+embroidery are closely related and of about equal
+age, although relatively few examples of the former
+are preserved in collections of needlework. One
+of the oldest authentic bits of appliqu&eacute; is at Stonyhurst
+College. It represents a knight clad in full
+armour, mounted on a spirited galloping horse.
+The horse is covered with an elaborately wrought
+blanket and has an imposing ornament on his
+head. The knight wears a headdress of design
+similar to that of the horse and, with arm uplifted
+and sword drawn, appears about to attack
+a foe. This work is well done, and the pose of
+both man and horse shows spirit. It is said to have
+been made during the thirteenth century. Preserved
+to us from this same period is the tattered
+fragment of a coat worn by Edward, the Black
+Prince, and which now hangs over his tomb in
+Canterbury Cathedral. With it are the helmet
+and gauntlets he wore and the shield he carried.
+The coat is of a red and blue velvet, now sadly
+faded, applied to a calico background and closely
+quilted. It is too elaborate to have been made to
+<span class='pagenum'><a name="Page_36" id="Page_36">[Pg&nbsp;36]</a></span>
+wear under his armour, and was probably worn during
+state functions where armour was not required,
+although it was then customary to wear thickly
+padded and quilted coats and hoods in order to
+ease the weight of the heavy and unyielding coats
+of mail.</p>
+
+<p>Much of the best needlework in England at this
+early period was for the church. Neither labour
+nor expense was spared to make the magnificent
+decorations used in the old cathedrals. Aside
+from the linens, silks, and velvets used in this construction,
+much gold and silver bullion was wrought
+into the elaborate altar hangings, altar fronts, and
+ecclesiastical vestments. In their ornamentation
+applied work was freely used, especially on the
+large hangings draped over the altar.</p>
+
+<p>It was during the earliest period that the Latin
+name <i>opus consutum</i> was commonly used to designate
+patchwork. Chain stitch also was much used
+on early English embroidery; to such an extent
+that it is now of great service as an identification
+mark to fix the dates of medieval needlework.
+Chain stitch was dignified by the Latin name <i>opus
+anglicanum</i>. Only the most elaborate and richest
+of embroideries have been preserved; the reason
+<span class='pagenum'><a name="Page_37" id="Page_37">[Pg&nbsp;37]</a></span>
+being that much of the work was done with silver
+and gold threads which were in reality fine wires
+of these precious metals. Being exceedingly costly,
+they were given unusual care, many being kept
+with the royal plate and jewels. One specimen
+made in 905 by Aelfled, the queen of Edward,
+the Elder, is now treasured in Durham Cathedral.
+It is described as being &ldquo;of almost solid gold thread,
+so exquisitely embroidered that it resembles a fine
+illuminated manuscript,&rdquo; and is indescribably beautiful.
+In many instances the fabrics of these old
+embroideries have partly fallen away, leaving
+only frail fragments of the original material held
+together by the lasting threads of gold and
+silver.</p>
+
+<p>The great amount of precious metals used in
+making the richest garments and hangings sometimes
+made them objects to be desired by avaricious
+invaders. In an inventory of the contents
+of Cardinal Wolsey&rsquo;s great palace at Hampton
+Court there are mentioned, among many other
+rare specimens of needlework of that period, &ldquo;230
+bed hangings of English embroidery.&rdquo; None of
+them is now in existence, and it is supposed that
+they were torn apart in order to fill the coffers of
+<span class='pagenum'><a name="Page_38" id="Page_38">[Pg&nbsp;38]</a></span>
+some vandal who preferred the metal in them to
+their beauty as hangings.</p>
+
+<p>Among the sumptuous furnishings belonging to
+the Tudor period, applied work held a prominent
+place. Vast spaces of cold palace walls were
+covered by great wall hangings, archways were
+screened, and every bed was enclosed with curtains
+made of stoutly woven material, usually more
+or less ornamented. This was before the advent
+of French tapestry, which later supplanted the English
+appliqu&eacute; wall draperies. The Tudor period
+was also the time when great rivalry in dress existed.
+&ldquo;The esquire endeavoured to outshine the
+knight, the knight the baron, the baron the
+earl, the earl the king himself, in the richness of
+his apparel.&rdquo;</p>
+
+<div class="figcenter" style="width: 374px;">
+<a name="FEATHER_STAR" id="FEATHER_STAR"></a>
+<img src="images/quilts22th.jpg" width="374" height="400" alt="" />
+<span class="link"><a href="images/quilts22.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">FEATHER STAR</p>
+
+<p class="incaption">Made about 1850. Colours: blue and white</p>
+
+<div class="figcenter" style="width: 329px;">
+<a name="DRUNKARDS_PATH" id="DRUNKARDS_PATH"></a>
+<img src="images/quilts23th.jpg" width="329" height="400" alt="" />
+<span class="link"><a href="images/quilts23.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">DRUNKARD&rsquo;S PATH</p>
+
+<p class="incaption" style="padding-bottom: 3em;">A modern quilt after an old pattern. Colours: light blue
+and white</p>
+
+<p>In direct contrast to the long inventories of
+beautiful and valuable clothing, bedcovers, and
+hangings of the rich, are the meagre details relating
+to the life and household effects of the landless
+English peasant. In all probability he copied as
+far as he was able some of the utilities and comforts
+used by his superiors. If he possessed a cover for
+his bed, it was doubtless made of the cheapest
+woven material obtainable. No doubt the pieced
+<span class='pagenum'><a name="Page_39" id="Page_39">[Pg&nbsp;39]</a></span>
+or patched quilt contributed materially to his comfort.
+In &ldquo;Arts and Crafts in the Middle Ages,&rdquo;
+Julia de Wolf Addison describes a child&rsquo;s bed
+quilt included in an inventory of furniture at the
+Priory in Durham in 1446, &ldquo;which was embroidered
+in the four corners with the Evangelistic symbols.&rdquo;
+In the &ldquo;Squier of Lowe Degree,&rdquo; a fifteenth-century
+romance, there is allusion to a bed of which
+the head sheet is described as embroidered &ldquo;with
+diamonds and rubies bright.&rdquo;</p>
+
+<p>It was during the gorgeous reign of Henry VIII
+that the finest specimens of combined embroidery
+and patchwork, now preserved in various museums,
+were made. It was really patch upon patch, for
+before the motives were applied to the foundation
+they were elaborately embroidered in intricate
+designs; and after being applied, they had their
+edges couched with gold and silver cord and ornate
+embroidery stitches. Mrs. Lowes relates in &ldquo;Old
+Lace and Needlework&rdquo; that, during the time of
+Henry VIII, embroidery, as distinct from garment
+making, appeared; and every article of wearing
+apparel became an object worthy of decoration.
+&ldquo;Much fine stitching was put into the fine white
+undergarments of that time, and the overdresses
+<span class='pagenum'><a name="Page_40" id="Page_40">[Pg&nbsp;40]</a></span>
+of both men and women became stiff with gold
+thread and jewels. Much use was made of slashing
+and quilting, the point of junction being dotted
+with pearls and precious stones. Noble ladies
+wore dresses heavily and richly embroidered with
+gold, and the train was so weighty that train
+bearers were pressed into service. In the old
+paintings the horses belonging to kings and nobles
+wear trappings of heavily embroidered gold. Even
+the hounds, which are frequently represented with
+their masters, have collars massively decorated with
+gold bullion.&rdquo;</p>
+
+<p>Mary, Queen of Scots, was devoted to the needle
+and was expert in its use. It is said that while in
+France she learned lace making and embroidery.
+Many wall hangings, bed draperies, bedcovers,
+and house linens are the work of her skilful fingers,
+or were made under her personal direction.
+A number of examples of her work are now owned
+by the Duke of Devonshire. It is said also that
+many of the French costumes and laces of her
+wardrobe were appropriated by Queen Elizabeth,
+who had little sympathy for the unfortunate
+queen. As a solace during long days of loneliness,
+Queen Mary found consolation in her needle, as
+<span class='pagenum'><a name="Page_41" id="Page_41">[Pg&nbsp;41]</a></span>
+have many women of lower degree before and since
+her unhappy time. She stands forth as the most
+expert and indefatigable of royal needleworkers.</p>
+
+<div class="figcenter" style="width: 388px;">
+<a name="IRIS_DESIGN" id="IRIS_DESIGN"></a>
+<img src="images/quilts24th.jpg" width="388" height="400" alt="" />
+<span class="link"><a href="images/quilts24.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">THE IRIS DESIGN</p>
+
+<p class="incaption" style="padding-bottom: 3em;">In this design the iris has been conventionalized so as to make it consistent
+with its natural growth&mdash;the flowers stretching up in a stately
+array beyond their long-pointed leaves</p>
+
+<p>Hardwick Hall is intimately associated with
+Queen Mary&rsquo;s life, and is rich in relics of her industry.
+In one room named for her there are bed
+curtains and a quilt said to be her own work. Extracts
+from old letters relating to her conduct during
+captivity show how devoted she was to her
+needlework. An attendant, on being asked how
+the queen passed her time, wrote, &ldquo;that all day
+she wrought with her nydil and that the diversity
+of the colours made the work seem less tedious and
+that she contynued so long at it that veray payn
+made hir to give over.&rdquo; This shows that fatigue
+alone made her desist from her beloved work.</p>
+
+<p>There is a very interesting fragment of a bed
+hanging at Hardwick Hall said to have been made
+by Queen Mary. It is of applied patchwork, with
+cream-coloured medallions curiously ornamented
+by means of designs singed with a hot iron upon
+the light-coloured velvet. The singed birds,
+flowers, and butterflies are outlined with black silk
+thread. The worked medallions are applied to a
+foundation of green velvet, ornamented between
+<span class='pagenum'><a name="Page_42" id="Page_42">[Pg&nbsp;42]</a></span>
+and around them with yellow silk cord. This is
+only one of a number of examples of curious and
+beautiful patchwork still in existence and attributed
+to the Tudor period.</p>
+
+<p>Queen Elizabeth herself was not devoted to
+needlework, but judging from the accounts of the
+gorgeous costumes which she delighted to wear,
+she was one of its greatest patronesses. It is said
+that at her death she left one of the most extensive
+wardrobes of history: in it were more than a thousand
+dresses, which were most voluminous in style
+and elaborately trimmed with bullion, pearls, and
+jewels. Before the precious stones were applied,
+her garments were solidly covered with gold and
+silver quilting and embroidery, which made them
+so heavy as to be a noticeable burden even for this
+proud and ambitious queen. In Berkeley Castle,
+as prized mementoes of Queen Elizabeth, are five
+white linen cushions beautifully embroidered with
+silver threads and cherry-coloured silk. Also
+with them is the quilt, a wonderful piece of needlework,
+that matches the hangings of the bed wherein
+she slept.</p>
+
+<div class="figcenter" style="width: 338px;">
+<a name="STAR_OF_THE_EAST" id="STAR_OF_THE_EAST"></a>
+<img src="images/quilts25th.jpg" width="338" height="400" alt="" />
+<span class="link"><a href="images/quilts25.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">STAR OF THE EAST</p>
+
+<p class="incaption">Elaborate pineapple quilting designs in the corners. Colours:
+red and white</p>
+
+<div class="figcenter" style="width: 376px;">
+<a name="TUFTED_BORDER" id="TUFTED_BORDER"></a>
+<img src="images/quilts26th.jpg" width="376" height="400" alt="" />
+<span class="link"><a href="images/quilts26.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">WHITE QUILT WITH TUFTED BORDER</p>
+
+<p class="incaption" style="padding-bottom:3em;">Now in Metropolitan Museum, New York</p>
+
+<p>The magnificence of Queen Elizabeth&rsquo;s reign
+gave great impetus to all kinds of needlework.
+<span class='pagenum'><a name="Page_43" id="Page_43">[Pg&nbsp;43]</a></span>
+France at that time led in the development of fine
+arts, and furnished many of the skilled workmen
+employed by the nobility solely as embroiderers.
+There seemed to be no limit to the ambitions of
+these workers, and the gorgeous results of their
+labours were beyond anything attempted after
+them.</p>
+
+<p>To those who wish to study the work of the
+Tudor period, Hardwick Hall is recommended as
+the place where the best specimens have been preserved.
+To Elizabeth, daughter of John Hardwick,
+born in 1520, and so poor that her marriage
+portion as the bride of the Earl of Shrewsbury
+was only thirty pounds, credit is given for the
+richness of this collection. She was a woman of
+great ability in the management of her estates,
+became very wealthy, and gave employment to
+many people. Included among her dependents
+were many needleworkers who plied their trade under
+rigorous administration. Elizabeth of Shrewsbury
+was a hard mistress, but not above doing an
+occasional bit of needlework herself, for some pieces
+bearing her initials and done with remarkable skill
+are preserved in the collection. She, as much as
+any Englishwoman, fostered and developed applied
+<span class='pagenum'><a name="Page_44" id="Page_44">[Pg&nbsp;44]</a></span>
+patchwork along the ambitious line of pictorial
+needlework.</p>
+
+<p>In Hardwick Hall are several hangings of pictorial
+needlework that are very interesting. One
+of black velvet has a picture of a lady strongly
+resembling Queen Elizabeth. She carries a book
+in her hand and at her feet reclines a turbaned
+Turk. In the background is an ecclesiastical
+hanging which is embroidered to represent a cathedral
+window. The realistic effect of the whole
+picture is gained by the use of coloured silks cut in
+correct proportions and applied to the velvet
+foundation; very little embroidery entering into
+the main composition. Another hanging, also of
+black velvet, has an even more ambitious design.
+It is described by M. Jourdain in &ldquo;The History of
+English Secular Embroidery&rdquo; as follows: &ldquo;The
+ornamentation on the black velvet is with appliqu&eacute;
+in coloured silks consisting of figures under arches.
+In the centre is &lsquo;Lucrecia,&rsquo; on the left &lsquo;Chastite,&rsquo;
+and on the right &lsquo;Liberalitas.&rsquo; The oval panel on
+the right contains a shield bearing the arms of
+Hardwick.&rdquo; At each end of the hanging are fluted
+Ionic columns, and a decorated frieze is carried
+across the top. The figures have grace and beauty;
+<span class='pagenum'><a name="Page_45" id="Page_45">[Pg&nbsp;45]</a></span>
+the drapery of their robes falls in natural folds; and
+altogether it is a remarkable picture to have been
+made with patches.</p>
+
+<p>That this fine collection of medieval needlework
+is preserved for the admiration of people to-day
+is due to the faithful execution of the Countess of
+Shrewsbury&rsquo;s will, in which she left all her household
+furnishings, entailed as heirlooms, to always
+remain in her House of Hardwick.</p>
+
+<p>In the interesting Hardwick collection are pieces
+of beautiful needlework known to have been used
+by Mary, Queen of Scots, during the years she
+spent as a prisoner at Tutbury. Her rooms there,
+furnished in regal splendour, are still kept just
+as she arranged them. The Earl of Shrewsbury
+was her custodian, and his wife, the countess, often
+sat and sewed with the unfortunate queen, both
+making pastime of their needlework.</p>
+
+<p>During the Middle Ages appliqu&eacute; was in universal
+use, and not confined merely to wall hangings,
+quilts, and bed draperies. It was used
+to ornament all kinds of wearing apparel, including
+caps, gloves, and shoes. Special designs
+were made for upholstery, but because of the
+hard wear imposed upon stools and chairs but
+<span class='pagenum'><a name="Page_46" id="Page_46">[Pg&nbsp;46]</a></span>
+few specimens of this work have been preserved.</p>
+
+<p>Quilting also came into vogue in the making of
+bedspreads, of which great numbers were required
+during the winter nights in the poorly heated bedrooms.
+The quilts intended for service were made
+of substantial, well-wearing material. None of
+these strictly utilitarian quilts is left, but they
+were certainly plentiful. The old chroniclers give
+us a glimpse of what the women of these days
+cherished by telling us that in 1540 Katherine
+Howard, afterward wife of Henry VIII, was presented
+with twenty-three quilts of Sarsenet, closely
+quilted, from the Royal Wardrobe.</p>
+
+<p>Tradition says that, during the reign of Henry
+VIII, the much used and popular &ldquo;black work&rdquo; or
+&ldquo;Spanish work&rdquo; was introduced into England by
+his Spanish wife, Catherine of Aragon. It has been
+found that this work did not originate in Spain but
+was taken there probably by the Moors or by the
+Crusaders, for it is known to have been perfected at
+a very remote period in both Persia and China. The
+following interesting description of black work is
+from Mrs. Lowes&rsquo; &ldquo;Chats on Old Lace and Needlework&rdquo;:</p>
+
+<div class="figcenter" style="width: 358px;">
+<a name="SUNBURST_WHEEL" id="SUNBURST_WHEEL"></a>
+<img src="images/quilts27th.jpg" width="358" height="400" alt="" />
+<span class="link"><a href="images/quilts27.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">SUNBURST AND WHEEL OF FORTUNE</p>
+
+<p class="incaption">Comparatively modern quilts. Colours: blue and white</p>
+
+<div class="figcenter" style="width: 360px;">
+<a name="TREE_OF_PARADISE" id="TREE_OF_PARADISE"></a>
+<img src="images/quilts28th.jpg" width="360" height="400" alt="" />
+<span class="link"><a href="images/quilts28.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">TREE OF PARADISE</p>
+
+<p class="incaption" style="padding-bottom: 3em;">Made in Indiana over 75 years ago. Colours: red and green</p>
+
+<p><span class='pagenum'><a name="Page_47" id="Page_47">[Pg&nbsp;47]</a></span>
+&ldquo;The work itself was a marvel of neatness,
+precision, and elegant design, but the result cannot
+be said to have been commensurate with the
+labour of its production. More frequently the
+design was of scrollwork, worked with a fine black
+silk back stitching or chain stitch. Round and
+round the stitches go, following each other closely.
+Bunches of grapes are frequently worked solidly,
+and even the popular peascod is worked in outline
+stitch, and often the petit point period lace
+stitches are copied, and roses and birds worked
+separately and afterward stitched to the design.&rdquo;
+There are many examples of this famous &ldquo;Spanish
+work&rdquo; in the South Kensington Museum in London.
+Quilts, hangings, coats, caps, jackets, smocks, are
+all to be seen, some with a couched thread of gold
+and silver following the lines of the scrolls. This
+is said to be the Spanish stitch referred to in the
+old list of stitches, and very likely may be so, as
+the style and manner are certainly not English;
+and we know that Catherine of Aragon brought
+wonders of Spanish stitchery with her, and she
+herself was devoted to the use of the needle. The
+story of how, when called before Cardinal Wolsey
+and Campeggio, to answer to King Henry&rsquo;s
+<span class='pagenum'><a name="Page_48" id="Page_48">[Pg&nbsp;48]</a></span>
+accusations, she had a skein of embroidery silk round
+her neck, is well known.</p>
+
+<p>&ldquo;The black silk outline stitchery on linen lasted
+well through the late seventeenth and eighteenth
+centuries. Very little of it is seen outside the
+museums, as, not being strikingly beautiful or
+attractive, it has been destroyed. Another phase
+of the same stitchery was working cotton and linen
+garments, hangings and quilts in a kind of quilted
+pattern with yellow silk. The finest materials
+were used, the padding being placed bit by bit into
+its place. The quilting work was made in tiny
+panels, illustrating shields and other heraldic devices,
+and had a surface as fine as carved ivory.
+When, as in the case of one sample at South Kensington,
+the quilt is additionally embroidered with
+fine floss silk flowers, the effect is very lovely.&rdquo;</p>
+
+<p>One interesting feature of &ldquo;black work&rdquo; and
+similar flat embroideries was their constant use
+in decorating furnishings for the bedroom. It was
+peculiarly well adapted for quilts, as its rather
+smooth surface admirably resisted wear.</p>
+
+<div class="figcenter" style="width: 400px;">
+<a name="OLD_BED" id="OLD_BED"></a>
+<img src="images/quilts29th.jpg" width="400" height="256" alt="" />
+<span class="link"><a href="images/quilts29.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">OLD BED WITH QUILT AND CANOPY AND TRUNDLE BED BENEATH</p>
+
+<p class="incaption">Now in Memorial Hall, Deerfield, Mass.</p>
+
+<div class="figcenter" style="width: 328px;">
+<a name="TUFTED_BEDSPREADS" id="TUFTED_BEDSPREADS"></a>
+<img src="images/quilts30th.jpg" width="328" height="400" alt="" />
+<span class="link"><a href="images/quilts30.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">TWO WHITE TUFTED BEDSPREADS</p>
+
+<p class="incaption" style="padding-bottom: 3em;">Both made in Pennsylvania about 100 years ago</p>
+
+<p>Fashions in needlework changed, but not with
+the same rapidity as in clothing. Gradually ideas
+and customs from other countries crept into
+<span class='pagenum'><a name="Page_49" id="Page_49">[Pg&nbsp;49]</a></span>
+England and new influences were felt. An established
+trade with the Orient brought Eastern products
+to her markets, and oriental designs in needlework
+became popular. About this time &ldquo;crewel&rdquo; was
+much in vogue. This was embroidery done with
+coloured woollen threads and was a step backward
+in the art. Some of this &ldquo;crewel&rdquo; work, done in
+the seventeenth century, is described by M. Jourdain
+in &ldquo;English Secular Embroidery&rdquo;: &ldquo;These
+hangings, bed curtains, quilts, and valances are of
+linen or a mixture of cotton and linen, and one type
+is embroidered with bold, freely designed patterns
+in worsted. They are worked almost always in dull
+blues and greens mixed with more vivid greens and
+some browns, but rarely any other colouring.&rdquo;</p>
+
+<p>A very curious custom of these days was the use
+of &ldquo;mourning beds,&rdquo; with black hangings, coverlets,
+and even sheets. As these funereal articles
+of furniture were quite expensive, it was a friendly
+custom to lend these mourning beds to families in
+time of affliction. In 1644 Mrs. Eure wrote to
+Sir Ralph Verney: &ldquo;Sweet Nephew, I am now overrun
+with miserys and troubles, but the greatest
+misfortune that could happen to me was the death
+of the gallantest man (her husband) that I ever
+<span class='pagenum'><a name="Page_50" id="Page_50">[Pg&nbsp;50]</a></span>
+knew.&rdquo; Whereupon Sir Ralph, full of sympathy,
+&ldquo;offers her the loan of the great black bed and
+hangings from Claydon.&rdquo;</p>
+
+<p>Interesting indeed are descriptions of wonderful
+old quilts that are now guarded with zealous care
+in English museums. One, an original and striking
+design, is closely quilted all over in small diamonds.
+Upon it is embroidered an orange tree in
+full leaf and loaded with fruit. This tree, together
+with the fancy pot in which it is planted, covers
+practically the entire quilt. In the lower corners
+a gentleman is shown picking oranges and a lady
+in a patient attitude is waiting to receive them, the
+figures of both being scarcely taller than the flower
+pot. The whole design is made up of gayly coloured
+silks evidently worked in after the quilting was
+done. Mention is also made of an elaborate quilt
+said to be the work of Queen Anne, which is preserved
+at Madresfield Court. Sarah, Duchess of
+Marlborough, in giving an order for house furnishings
+for her &ldquo;wild, unmerciful house&rdquo; about 1720,
+asks for &ldquo;a vast number of feather beds, some filled
+with swansdown, and a vast number of quilts.&rdquo;</p>
+
+<p>Mrs. Delany, who lived from 1700 to 1788, and
+left a large correspondence relating to needlework,
+<span class='pagenum'><a name="Page_51" id="Page_51">[Pg&nbsp;51]</a></span>
+which was later edited by Lady Llanover, was a
+most prolific worker with her needle as well as a
+profuse letter writer. She was often quoted as
+an authority and given credit for much originality
+in her designs. A quilt that she made is described
+as follows: &ldquo;Of white linen worked in flowers, the
+size of nature, delineated with the finest coloured
+silks in running stitch, which is made use of in
+the same way as by a pen etching on paper; the
+outline was drawn with pencil. Each flower is
+different, and evidently done at the moment from
+the original.&rdquo; Another quilt of Mrs. Delany&rsquo;s
+was made upon a foundation of nankeen. This
+was unique in that no colours were used besides the
+dull yellow of the background. Applied designs
+of leaves tied together with ribbons, all cut from
+white linen and stitched to the nankeen with
+white thread, made a quilt no wise resembling the
+silken ones of earlier periods. This quilt may be
+termed a forerunner of the vast array of pieced
+and patched washable quilts belonging to the nineteenth
+century.</p>
+
+<p>The embroidering of quilts followed the process
+of quilting, which afforded the firm foundation
+essential for heavy and elaborate designs. There
+<span class='pagenum'><a name="Page_52" id="Page_52">[Pg&nbsp;52]</a></span>
+were many quilts made of white linen quilted with
+yellow silk thread, and afterward embroidered
+very tastefully with yellow silk floss. Terry, in
+the history of his &ldquo;Voyage to the East Indies,&rdquo;
+made about the middle of the seventeenth century,
+says: &ldquo;The natives show very much ingenuity
+in their manufactures, also in making excellent
+quilts of their stained cloth, or of fresh-coloured
+taffeta lined with their prints, or of their satin with
+taffeta, betwixt which they put cotton wool, and
+work them together with silk.&rdquo;</p>
+
+<p>Among many articles in a list of Eastern products,
+which Charles I, in 1631, permitted to be
+brought to England, were &ldquo;quilts of China embroidered
+in Gold.&rdquo; There is a possibility that
+these quilts were appreciated quite as much for
+the precious metal used in the embroidery as for
+the beauty of design and workmanship. It was
+but a short time after this that women began to
+realize how much gold and silver had gone into all
+forms of needlework. They looked upon rare and
+beautiful embroidery with greedy eyes, and a deplorable
+fashion sprang up, known in France as
+&ldquo;parfilage&rdquo; and in England as &ldquo;drizzling.&rdquo; This
+was nothing more or less than ripping up, stitch
+<span class='pagenum'><a name="Page_53" id="Page_53">[Pg&nbsp;53]</a></span>
+by stitch, the magnificent old hangings, quilts,
+and even church vestments, to secure gold and
+silver thread. Lady Mary Coke, writing from
+the Austrian Court, says: &ldquo;All the ladies who do
+not play cards pick gold. It is the most general
+fashion I ever saw, and they all carry their bags
+containing the necessary tools in their pockets.
+They even begged sword knots, epaulettes, and
+galons that they might add more of the precious
+threads to the spool on which they wound the
+ravelled bullion, which they sold.&rdquo; To the appreciative
+collector this seems wanton sacrilege.</p>
+
+<div class="figcenter" style="width: 381px;">
+<a name="TUFTED_BEDSPREAD_FRINGE" id="TUFTED_BEDSPREAD_FRINGE"></a>
+<img src="images/quilts31th.jpg" width="381" height="400" alt="" />
+<span class="link"><a href="images/quilts31.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">TUFTED BEDSPREAD WITH KNOTTED FRINGE</p>
+
+<p class="incaption">A design of very remarkable beauty. Over 100 years old</p>
+
+<div class="figcenter" style="width: 356px;">
+<a name="UNKNOWN_STAR" id="UNKNOWN_STAR"></a>
+<img src="images/quilts32th.jpg" width="356" height="400" alt="" />
+<span class="link"><a href="images/quilts32.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">UNKNOWN STAR</p>
+
+<p class="incaption" style="padding-bottom: 3em;">A New England quilt about 115 years old. Colours: once bright red
+and green are now old rose and dull green. The original
+quilting designs are very beautiful</p>
+
+<p>John Locke, 1632-1704, a very famous man of
+Charles II&rsquo;s time, and one of the greatest philosophers
+and ardent champions of civil and religious
+rights which England ever produced,
+mentioned quilts in his &ldquo;Thoughts Concerning
+Education.&rdquo; In telling of the correct sort of beds
+for children he writes as follows: &ldquo;Let his Bed be
+hard, and rather Quilts than Feathers. Hard
+Lodging strengthens the Parts, whereas being
+buryed every Night in Feathers melts and dissolves
+the Body.... Besides, he that is used to
+hard Lodging at Home will not miss his Sleep
+(where he has most Need of it) in his travels
+<span class='pagenum'><a name="Page_54" id="Page_54">[Pg&nbsp;54]</a></span>
+Abroad for want of his soft Bed, and his Pillows
+laid in Order.&rdquo;</p>
+
+<p>Pepys, a contemporary of Locke, in his incomparable
+and delicious Diary, remarks: &ldquo;Home to my
+poor wife, who works all day like a horse, at the
+making of her hanging for our chamber and bed,&rdquo;
+thus telling us that he was following the fashion
+of the day in having wall, window, and bed draperies
+alike. It is plain, too, by his frequent &ldquo;and
+so to bed,&rdquo; that his place of sleep and rest was one
+of comfort in his house.</p>
+
+<p>A quilt depending solely upon the stitching used
+in quilting, whether it be of the simple running
+stitch, the back stitch, or the chain stitch, is not
+particularly ornamental. However, when viewed
+at close range, the effect is a shadowy design in
+low relief that has a distinctive but modest beauty
+when well done. Early in the eighteenth century
+a liking for this fashion prevailed, and was put to
+a variety of uses. Frequently there was no interlining
+between the right and wrong sides. At
+Canons Ashby there are now preserved some handsome
+quilted curtains of this type, belonging to
+Sir Alfred Dryden, Baronet.</p>
+
+<div class="figcenter" style="width: 375px;">
+<a name="COMBINATION_ROSE" id="COMBINATION_ROSE"></a>
+<img src="images/quilts33th.jpg" width="375" height="400" alt="" />
+<span class="link"><a href="images/quilts33.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">COMBINATION ROSE</p>
+
+<p class="incaption">More than 85 years old. Colours: rose, pink, and green</p>
+
+<div class="figcenter" style="width: 325px;">
+<a name="DOUBLE_TULIP" id="DOUBLE_TULIP"></a>
+<img src="images/quilts34th.jpg" width="325" height="400" alt="" />
+<span class="link"><a href="images/quilts34.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">DOUBLE TULIP</p>
+
+<p class="incaption" style="padding-bottom: 3em;">Made in Ohio, date unknown. The tulips are made of red calico covered
+with small yellow flowers. The roses have yellow centres</p>
+
+<p>During the Middle Ages instruction in the use
+<span class='pagenum'><a name="Page_55" id="Page_55">[Pg&nbsp;55]</a></span>
+of the needle was considered a necessary part of
+the English girl&rsquo;s education. By the seventeenth
+century &ldquo;working fine works with the needle&rdquo;
+was considered of equal importance with singing,
+dancing, and French in the accomplishments of a
+lady of quality. In the eighteenth century much
+the same sentiment prevailed, and Lady Montagu
+is quoted as saying: &ldquo;It is as scandalous for a
+woman not to know how to use a needle as for a
+man not to know how to use a sword.&rdquo;</p>
+
+<p>The <i>Spectator</i> of that time sarcastically tells of
+two sisters highly educated in domestic arts who
+spend so much time making cushions and &ldquo;sets
+of hangings&rdquo; that they had never learned to read
+and write! A sober-minded old lady, grieved by
+frivolous nieces, begs the <i>Spectator</i> &ldquo;to take the
+laudable mystery of embroidery into your serious
+consideration,&rdquo; for, says she, &ldquo;I have two nieces,
+who so often run gadding abroad that I do not
+know when to have them. Those hours which, in
+this age, are thrown away in dress, visits, and the
+like, were employed in my time in writing out receipts,
+or working beds, chairs, and hangings for
+the family. For my part I have plied the needle
+these fifty years, and by my good-will would never
+<span class='pagenum'><a name="Page_56" id="Page_56">[Pg&nbsp;56]</a></span>
+have it out of my hand. It grieves my heart to
+see a couple of proud, idle flirts sipping the tea
+for a whole afternoon in a room hung round with
+the industry of their great-grandmothers.&rdquo; Another
+old lady of the eighteenth century, Miss
+Hutton, proudly makes the following statement
+of the results of years of close application to the
+needle: &ldquo;I have quilted counterpanes and chest
+covers in fine white linen, in various patterns of
+my own invention. I have made patchwork beyond
+calculation.&rdquo;</p>
+
+<p>Emblems and motifs were great favourites with
+the quilt workers of &ldquo;ye olden times&rdquo; and together
+with mottoes were worked into many pieces of
+embroidery. The following mottoes were copied
+from an old quilt made in the seventeenth century:
+&ldquo;Covet not to wax riche through deceit,&rdquo; &ldquo;He
+that has lest witte is most poore,&rdquo; &ldquo;It is better to
+want riches than witte,&rdquo; &ldquo;A covetous man cannot
+be riche.&rdquo;</p>
+
+<div class="figcenter" style="width: 328px;">
+<a name="MORNING_GLORIES" id="MORNING_GLORIES"></a>
+<img src="images/quilts35th.jpg" width="328" height="400" alt="" />
+<span class="link"><a href="images/quilts35.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">MORNING GLORIES</p>
+
+<p class="incaption" style="padding-bottom: 3em;">In one of their many beautiful and delicate varieties were chosen for this
+quilt, and while the design is conventional to a certain extent
+it shows the natural grace of the growing vine</p>
+
+<p>The needle and its products have always been
+held in great esteem in England, and many of the
+old writers refer to needlework with much respect.
+In 1640 John Taylor, sometimes called the &ldquo;Water
+Poet,&rdquo; published a collection of essays, etc., called
+<span class='pagenum'><a name="Page_57" id="Page_57">[Pg&nbsp;57]</a></span>
+&ldquo;The Needle&rsquo;s Excellency,&rdquo; which was very popular
+in its day and ran through twelve editions.
+In it is a long poem entitled, &ldquo;The Prayse of the
+Needle.&rdquo; The following are the opening lines:</p>
+
+<div class="poem">
+<div class="stanza">
+<span class="i0">&ldquo;To all dispersed sorts of Arts and Trades<br /></span>
+<span class="i0">I write the needles prayse (that never fades)<br /></span>
+<span class="i0">So long as children shall begot and borne,<br /></span>
+<span class="i0">So long as garments shall be made and worne.<br /></span>
+<span class="i0">So long as Hemp or Flax or Sheep shall bear<br /></span>
+<span class="i0">Their linnen Woollen fleeces yeare by yeare;<br /></span>
+<span class="i0">So long as silk-worms, with exhausted spoile,<br /></span>
+<span class="i0">Of their own entrailes for man&rsquo;s game shall toyle;<br /></span>
+<span class="i0">Yea, till the world be quite dissolved and past,<br /></span>
+<span class="i0">So long at least, the Needles use shall last.&rdquo;<br /></span>
+</div>
+</div>
+
+<p>It is interesting to read what Elizabeth Glaister,
+an Englishwoman, writes of quilts in England:</p>
+
+<p>&ldquo;Perhaps no piece of secular needlework gave
+our ancestors more satisfaction, both in the making
+and when made, as the quilt or bed coverlet. We
+have seen a good many specimens of them, both of
+the real quilted counterpanes, in which several
+thicknesses of material were stitched together into
+a solid covering, and the lighter silken or linen
+coverlets ornamented with all sorts of embroidery.
+Cradle quilts also were favourite pieces of needlework
+and figure in inventories of Henry VIII&rsquo;s time.</p>
+
+<p><span class='pagenum'><a name="Page_58" id="Page_58">[Pg&nbsp;58]</a></span>
+&ldquo;The real quilts were very handsome and the
+amount of labour bestowed on them was enormous.
+The seventeenth century was a great time for
+them, and the work of this period is generally
+very good. The quilting of some of them is made
+by sewing several strands of thick cotton between
+the fine linen of the surface and the lining. When
+one line was completed the cotton was laid down
+again next to it, and another line formed.</p>
+
+<p>&ldquo;A sort of shell pattern was a favourite for quilting.
+When a sufficient space was covered with
+the ground pattern, flowers or other ornaments
+were embroidered on this excellent foundation.
+Perhaps the best results as a work of art were attained
+when both quilting and flowers were done
+in bright yellow silk; the effect of this colour on a
+white ground being always particularly good. A
+handsome quilt may be worked with a darned
+background. It is done most easily on huckaback
+towelling of rather loose weave, running the needle
+under the raised threads for the ground.</p>
+
+<div class="figcenter" style="width: 389px;">
+<a name="PRINCESS_FEATHERS" id="PRINCESS_FEATHERS"></a>
+<img src="images/quilts36th.jpg" width="389" height="400" alt="" />
+<span class="link"><a href="images/quilts36.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">PRINCESS FEATHERS</p>
+
+<p class="incaption">Made in Indiana about 1835. Colours: soft dull green and old rose</p>
+
+<div class="figcenter" style="width: 316px;">
+<a name="PRINCESS_BORDER" id="PRINCESS_BORDER"></a>
+<img src="images/quilts37th.jpg" width="316" height="400" alt="" />
+<span class="link"><a href="images/quilts37.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">PRINCESS FEATHERS WITH BORDER</p>
+
+<p class="incaption" style="padding-bottom: 3em;">Notice the maple leaf inserted in the border. Colours: red and green</p>
+
+<p>&ldquo;A very effective quilt in quite a different style is
+made in applied work on unbleached cotton sheeting.
+A pattern of yellow fruit or flower with
+leaves is cut out in coloured serges sewn on with
+<span class='pagenum'><a name="Page_59" id="Page_59">[Pg&nbsp;59]</a></span>
+crewels in buttonhole stitch; stems, veins, and
+buds being also worked in crewels, and the ground
+slightly darned in dim yellow crewel. It is elaborate,
+but a very pleasant and repaying piece of
+work.</p>
+
+<p>&ldquo;Many beautiful old quilts are made of silk and
+satin embroidered in pure silks or in gold and silver
+twist. Most of the best specimens are from
+France and Italy, where from the arrangement of
+the houses the beds have continued to be more
+<i>en evidence</i> than has been the case in England for
+the last two centuries. Many also are of Indian
+origin; the ground of these is sometimes of fine soft
+silk and sometimes of thick muslin, over which
+the pattern is worked in silk. Others, though of
+Indian workmanship, show a European influence,
+of which the most curious are those worked at
+Goa, under Portuguese dominion in the seventeenth
+century.&rdquo;</p>
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class='pagenum'><a name="Page_60" id="Page_60">[Pg&nbsp;60]</a></span></p>
+
+<h2>CHAPTER IV</h2>
+
+<h3><span class="smcap">The Quilt in America</span></h3>
+
+
+<p><span class="dropcap">T</span>HE date of the quilt&rsquo;s advent into America
+is unknown, and&mdash;because of the lack of
+knowledge concerning the house furnishings
+of the early colonists&mdash;can never be positively
+determined. Quilts were in such general use and
+were considered as such ordinary articles that the
+early writers about family life in the colonies
+neglected to mention them. We do know, however,
+that quilted garments, bedspreads, curtains,
+and the like were very essential to the comfort and
+well-being of the original settlers along the Atlantic
+seaboard.</p>
+
+<div class="figcenter" style="width: 358px;">
+<a name="PEONIES" id="PEONIES"></a>
+<img src="images/quilts38th.jpg" width="358" height="400" alt="" />
+<span class="link"><a href="images/quilts38.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">PEONIES</p>
+
+<p class="incaption">About 75 years old. Made for exhibition at state fairs in the Middle West.
+Colours: red, green, and yellow</p>
+
+<div class="figcenter" style="width: 327px;">
+<a name="NORTH_CAROLINA_LILY" id="NORTH_CAROLINA_LILY"></a>
+<img src="images/quilts39th.jpg" width="327" height="400" alt="" />
+<span class="link"><a href="images/quilts39.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">NORTH CAROLINA LILY</p>
+
+<p class="incaption" style="padding-bottom: 3em;">Over 80 years old. Flowers: red and green; the border has green buds with
+red centres. The quilting designs are remarkable for
+their beauty and originality</p>
+
+<p>Extensive investigation has shown that the introduction
+of the arts of patchwork and quilting
+to the American continent is due entirely to the
+English and the Dutch. No evidence has been
+found that Spanish or French colonists made use
+of quilting. The Spaniards in the warm lands of
+<span class='pagenum'><a name="Page_61" id="Page_61">[Pg&nbsp;61]</a></span>
+the South had little real need of warm clothing, and&mdash;outside
+of possible appliqu&eacute; heraldic devices on
+the coats of the early explorers&mdash;may be considered
+as having brought to the New World none
+of the art so popular in Spain at the time. The
+French who opened up Canada brought none of
+the quilting or patchwork of France with them.
+While needlework was taught at a very early date
+in the convents of Quebec, it was apparently only
+the more fanciful kinds of embroidery. As a protection
+against the biting northern winters, the
+early French settlers sought protection under furs,
+which could be obtained quite readily in the great
+woods. To secure more bed clothing, it was very
+much easier to engage in a little hunting than to
+go through the laborious processes of piecing and
+quilting. To both Spanish and French, the new
+world was strictly a man&rsquo;s country&mdash;to adventure
+in and win riches upon which to retire to a life of
+ease in their native lands. With them, therefore,
+the inspiration of founding a home and providing
+it with the comforts of life was lacking; and without
+such inspiration the household arts could never
+flourish.</p>
+
+<p>The English and Dutch planted their colonies
+<span class='pagenum'><a name="Page_62" id="Page_62">[Pg&nbsp;62]</a></span>
+along the coast from Virginia to Massachusetts
+with the primary object of founding new homes for
+themselves. With them came their wives and
+daughters, who brought along as their portion such
+household comforts and conveniences as they possessed.
+Under their willing hands spinning, weaving,
+and the manufacture of garments began
+immediately. Their poorly heated log houses made
+necessary an adequate supply of bedding and
+hangings for protection against the winter cold.
+Substantial, heavy curtains, frequently lined and
+quilted, were hung over both doors and windows
+and were kept closely drawn during the bitter winter
+nights. In the more imposing homes were silk
+damask curtains with linings of quilted silk to keep
+out the drafts of cold that swept through the rooms.</p>
+
+<p>In Massachusetts in the early colonial days
+quilted garments, especially petticoats, were in general
+use. It is a curious circumstance that we
+owe this bit of information largely to the description
+of runaway slaves. The Boston <i>News Letter</i>
+of October, 1707, contains an advertisement describing
+an Indian woman who ran away, clad in
+the best garments she could purloin from her mistress&rsquo;s
+wardrobe: &ldquo;A tall Lusty Carolina Indian
+<span class='pagenum'><a name="Page_63" id="Page_63">[Pg&nbsp;63]</a></span>
+Woman, named Keziah Wampun Had on a striped
+red, blue and white Home-spun Jacket and a Red
+one, a Black and quilted White Silk Crape Petticoat,
+a White Shift and also a blue with her, and a
+mixt Blue and White Linsey Woolsey Apron.&rdquo;
+In 1728 the <i>News Letter</i> published an advertisement
+of a runaway Indian servant who, wearied by the
+round of domestic drudgery, adorned herself in
+borrowed finery and fled: &ldquo;She wore off a Narrow
+Stript pinck cherredary Gown turned up with
+a little floured red and white Callico. A Stript
+Home-spun quilted petticoat, a plain muslin Apron,
+a suit of plain Pinners and a red and white flowered
+knot, also a pair of green stone earrings, with
+white cotton stockings and leather heel&rsquo;d wooden
+shoes.&rdquo;</p>
+
+<p>A few items in a list of articles ordered from England
+for a New England bride, Miss Judith Sewall,
+who was married in 1720, give some idea of what
+was considered as a suitable wedding outfit during
+that period. The bride belonged to a rich family
+and no doubt had furnishings much more extensive
+than usual: &ldquo;A Duzen of good Black Walnut
+Chairs, A Duzen Cane Chairs, and a great chair
+for a chamber, all black Walnut. One Duzen large
+<span class='pagenum'><a name="Page_64" id="Page_64">[Pg&nbsp;64]</a></span>
+Pewter Plates, new fashion, a Duzen Ivory-hafted
+knives and forks. Four Duzen small glass salt cellars,
+Curtains and Vallens for a Bed with Counterpane,
+Head Cloth, and Tester made of good yellow
+watered camlet with Trimming. Send also of the
+same camlet and trimming as may be enough to
+make cushions for the chamber chairs. A good
+fine larger Chintz quilt, well made.&rdquo; This list
+also includes such items as kitchen utensils, warming
+pans, brass fenders, tongs, and shovels, and
+&ldquo;four pairs of large Brass candlesticks.&rdquo;</p>
+
+<p>As the resources of the new country were developed,
+the women were given some respite from
+their spinning, weaving, and garment making.
+Much of their hard-won leisure was spent piecing
+quilts. In the rigorous climate of bleak New England
+there was great need of warm clothing and
+bedding, and the spare moments of the housekeeper
+were largely occupied in increasing her supply.
+To make the great amount of bedding necessary
+in the unheated sleeping rooms, every scrap and
+remnant of woollen material left from the manufacture
+of garments was saved. To supplement
+these, the best parts of worn-out garments were
+carefully cut out, and made into quilt pieces.</p>
+
+<div class="figcenter" style="width: 259px;">
+<a name="FEATHER_STAR_APPLIQUE" id="FEATHER_STAR_APPLIQUE"></a>
+<img src="images/quilts40th.jpg" width="259" height="400" alt="" />
+<span class="link"><a href="images/quilts40.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">FEATHER STAR WITH APPLIQU&Eacute;</p>
+
+<p class="incaption">The &ldquo;Feather Star&rdquo; pieced blocks alternate with blue and white blocks
+on which are applied scroll designs. This quilt, which is the only one of
+this pattern, was made about 1835. It was designed by a Mr. Hamill for
+his sweetheart, Mary Hayward</p>
+
+<div class="figcenter" style="width: 351px;">
+<a name="TULIP_TREE_LEAVES" id="TULIP_TREE_LEAVES"></a>
+<img src="images/quilts41th.jpg" width="351" height="400" alt="" />
+<span class="link"><a href="images/quilts41.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">TULIP TREE LEAVES</p>
+
+<p class="incaption" style="padding-bottom: 3em;">A modern quilt made by the mountaineers of South Carolina. Colours:
+light blue and pink</p>
+
+<p><span class='pagenum'><a name="Page_65" id="Page_65">[Pg&nbsp;65]</a></span>
+Beautiful, even gorgeous, materials were imported
+for costumes of the wives and daughters of
+the wealthy colonists. There may be a greater
+variety of fabrics woven to-day, but none is more
+splendid in texture and colour than those worn by
+the stately ladies of colonial times. The teachings
+of the strict Puritans advocated plainness and simplicity
+of dress; even the ministers in the churches
+preached against the &ldquo;sinfulness of display of fine
+raiment.&rdquo; Notwithstanding the teachings and
+pleadings of the clergy, there was great rivalry in
+dress among the inhabitants of the larger colonial
+towns. &ldquo;Costly thy habit as thy purse can buy,&rdquo;
+was unnecessary advice to give to the rich colonist
+or to his wife. Men&rsquo;s attire was also of costly velvets
+lined with handsome brocades; beautifully
+embroidered waistcoats, silk stockings, and gold
+lace trimmings were further additions to their costumes
+during the pre-Revolutionary period.</p>
+
+<p>After these gay and costly fabrics had served
+their time as wearing apparel, they were carefully
+preserved and made over into useful articles for the
+household. The pinch of hard times during the
+struggle for independence made it imperative for
+many well-to-do families to economize.
+<span class='pagenum'><a name="Page_66" id="Page_66">[Pg&nbsp;66]</a></span>
+Consequently, in many old patchwork quilts may be
+found bits of the finest silks, satins, velvets, and
+brocades, relics of more prosperous days.</p>
+
+<p>Alice Morse Earle, in her charming book on
+&ldquo;Home Life in Colonial Days,&rdquo; gives us a rare insight
+into our great-grandmothers&rsquo; fondness for
+patchwork, and how highly they prized their bits
+of highly coloured fabrics:</p>
+
+<p>&ldquo;The feminine love of colour, the longing for
+decoration, as well as pride in skill of needlecraft,
+found riotous expression in quilt making. Women
+revelled in intricate and difficult patchwork; they
+eagerly exchanged patterns with one another; they
+talked over the designs, and admired pretty bits of
+calico and pondered what combinations to make,
+with far more zest than women ever discuss art
+or examine high art specimens together to-day.
+There was one satisfactory condition in the work,
+and that was the quality of cottons and linens
+of which the patchwork was made. Real India
+chintzes and palampores are found in these quilts,
+beautiful and artistic stuffs, and the firm, unyielding,
+high-priced, &lsquo;real&rsquo; French calicoes.</p>
+
+<div class="figcenter" style="width: 325px;">
+<a name="MEXICAN_ROSE" id="MEXICAN_ROSE"></a>
+<img src="images/quilts42th.jpg" width="325" height="400" alt="" />
+<span class="link"><a href="images/quilts42.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">MEXICAN ROSE</p>
+
+<p class="incaption">Made in 1842. Colours: red and green. Note the exquisite quilting</p>
+
+<div class="figcenter" style="width: 369px;">
+<a name="CURRANTS_COCKSCOMB" id="CURRANTS_COCKSCOMB"></a>
+<img src="images/quilts43th.jpg" width="369" height="400" alt="" />
+<span class="link"><a href="images/quilts43.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">CURRANTS AND COCKSCOMB</p>
+
+<p class="incaption" style="padding-bottom: 3em;">Small red berries combined with conventionalized leaves. This quilt has
+captured first prizes at many state fairs</p>
+
+<p>&ldquo;Portions of discarded uniforms, old coat and
+cloak linings, brilliantly dyed worn flannel shirts
+<span class='pagenum'><a name="Page_67" id="Page_67">[Pg&nbsp;67]</a></span>
+and well-worn petticoats were component parts of
+quilts that were needed for warmth. A magnificent
+scarlet cloak, worn by a Lord Mayor of London
+and brought to America by a member of the
+Merrit family of Salisbury, Massachusetts, went
+through a series of adventures and migrations and
+ended its days as small bits of vivid colour, casting
+a grateful glory and variety on a patchwork
+quilt in the Saco Valley of Maine.</p>
+
+<p>&ldquo;Around the outstretched quilt a dozen quilters
+could sit, running the whole together with fanciful
+set designs of stitchery. Sometimes several quilts
+were set up, and I know of a ten days&rsquo; quilting bee
+in Narragansett in 1752.&rdquo;</p>
+
+<p>The women who came from Holland to make
+their homes on the narrow island at the mouth
+of the Hudson were housekeepers of traditional
+Dutch excellence. They delighted in well-stocked
+linen closets and possessed unusual quantities of
+sheets, pillow cases, and bedding, mostly of their
+own spinning and weaving. Like their English
+neighbours to the north, in Connecticut and Massachusetts,
+they adopted quilted hangings and garments
+for protection against the severity of winter.
+Their quilted petticoats were the pride and joy of
+<span class='pagenum'><a name="Page_68" id="Page_68">[Pg&nbsp;68]</a></span>
+these transplanted Hollanders, and in their construction
+they exerted their highest talents in
+design and needlework. These petticoats, which
+were worn short enough to display the home-knitted
+hose, were thickly interlined as well as
+quilted. They were very warm, as the interlining
+was usually of wool. The fuller the purse, the
+richer and gayer were the petticoats of the New
+Amsterdam dames.</p>
+
+<p>While not so strict in religious matters as their
+Puritan neighbours, the early inhabitants of New
+Amsterdam always observed Sunday and attended
+church regularly. Within the fort at the battery
+stood the church, built of &ldquo;Manhattan Stone&rdquo; in
+1642. Its two peaked roofs with the watch-tower
+between was the most prominent object of the
+fortress. &ldquo;On Sunday mornings the two main
+streets, Broadway and Whitehall, were filled with
+dignified and sedate churchgoers arrayed in their
+best clothes. The tucked-up panniers worn by
+the women displayed to the best advantage the
+quilted petticoats. Red, blue, black, and white
+were the favourite and predominating colours,
+and the different materials included fine woollen
+cloth, camlet, grosgrain silk, and satin. Of all the
+<span class='pagenum'><a name="Page_69" id="Page_69">[Pg&nbsp;69]</a></span>
+articles of feminine attire of that period the quilted
+petticoat was the most important. They were
+worn short, displaying the low shoes with high
+heels and coloured hose with scarlet clockings;
+silken hoods partially covered their curled and
+powdered hair; altogether a charming and delightful
+picture.&rdquo;</p>
+
+<p>The low, flat land of South Manhattan lying
+along the Hudson, because of its similarity to their
+mother country, was a favourite dwelling-place in
+New Netherlands. This region, known as Flatbush,
+was quickly covered with Dutch homes and
+big, orderly, flourishing gardens. A descendant
+of one of the oldest Dutch families which settled
+in this locality, Mrs. Gertrude Lefferts Vanderbilt,
+in her book, &ldquo;The Social History of Flatbush,&rdquo;
+has given many interesting details of early New
+York life. She tells of the place quilt making
+held in the community, and how the many intricate
+patterns of patchwork pleasantly occupied
+the spare moments of the women, thus serving as
+a means of expression of their love of colour and
+design. The following little domestic picture
+shows how conveniently near the thrifty housewife
+kept her quilt blocks: &ldquo;A low chair with a
+<span class='pagenum'><a name="Page_70" id="Page_70">[Pg&nbsp;70]</a></span>
+seat of twisted osier, on which was tied a loose
+feather-filled cushion, covered with some gay material.
+On the back of these chairs hung the bag
+of knitting, with the little red stocking and shining
+needles plainly visible, indicating that this was
+the favourite seat of the industrious mother of the
+family; or a basket of patchwork held its place
+upon a low stool (bankje) beside the chair, also
+to be snatched up at odd intervals (ledige tyd).&rdquo;</p>
+
+<p>One reliable source of information of the comforts
+and luxuries that contributed to pleasant
+dwelling in old New York is found in old inventories
+of household effects. Occasionally complete
+lists are found that throw much light on the furnishings
+of early days. Such an inventory of the
+household belongings of Captain John Kidd, before
+he went to sea and turned pirate, mentions over
+sixty different kinds of house furnishings, from a
+skillet to a dozen chairs embellished with Turkish
+embroidery. Among the articles with which John
+Kidd and his wife Sarah began housekeeping in
+New York in 1692, as recorded in this inventory,
+were four bedsteads, with three suits of hangings,
+curtains, and valances to go with them. Feather
+beds, feather pillows, linen sheets, tablecloths, and
+<span class='pagenum'><a name="Page_71" id="Page_71">[Pg&nbsp;71]</a></span>
+napkins, ten blankets, and three quilts. How
+much of this store of household linens was part of
+his wife&rsquo;s wedding dower is not stated.</p>
+
+<div class="figcenter" style="width: 323px;">
+<a name="CONVENTIONAL_APPLIQUE" id="CONVENTIONAL_APPLIQUE"></a>
+<img src="images/quilts44th.jpg" width="323" height="400" alt="" />
+<span class="link"><a href="images/quilts44.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">CONVENTIONAL APPLIQU&Eacute;</p>
+
+<p class="incaption">The designs are buttonholed around. Colours: soft green and rose. This
+quilt is over 100 years old</p>
+
+<div class="figcenter" style="width: 321px;">
+<a name="SINGLE_TULIP" id="SINGLE_TULIP"></a>
+<img src="images/quilts45th.jpg" width="321" height="400" alt="" />
+<span class="link"><a href="images/quilts45.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">SINGLE TULIP</p>
+
+<p class="incaption" style="padding-bottom: 3em;">Colours: red and yellow. Seventy-five years old</p>
+
+<p>The early settlers in Virginia and the Carolinas
+were mostly English of the better class, who had
+been landed proprietors with considerable retinues
+of servants. As soon as these original colonists
+secured a firm foothold, large estates were developed
+on which the manners and customs of old
+England were followed as closely as possible. Each
+plantation became a self-supporting community,
+since nearly all the actual necessities were produced
+or manufactured thereon. The loom worked ceaselessly,
+turning the wool, cotton, and flax into
+household commodities, and even the shoes for both
+slave and master were made from home-tanned
+leather. For their luxuries, the ships that carried
+tobacco and rice to the English markets returned
+laden with books, wines, laces, silverware,
+and beautiful house furnishings of every description.</p>
+
+<p>In the colonial plantation days of household
+industry quilts, both patchwork and plain, were
+made in considerable numbers. Quilts were then
+in such general use as to be considered too commonplace
+<span class='pagenum'><a name="Page_72" id="Page_72">[Pg&nbsp;72]</a></span>
+to be described or even mentioned. Consequently,
+we are forced to depend for evidence of
+their existence in those days on bills of sale and
+inventories of auctions. These records, however,
+constitute an authority which cannot be questioned.</p>
+
+<p>In 1774 Belvoir, the home of the Fairfax family,
+one of the largest and most imposing of houses of
+Virginia, was sold and its contents were put up at
+auction. A partial list of articles bought at this
+sale by George Washington, then Colonel Washington,
+and here given, will show the luxury to which
+the Southern planter was accustomed: &ldquo;A mahogany
+shaving desk, settee bed and furnishings,
+four mahogany chairs, oval glass with gilt frame,
+mahogany sideboard, twelve chairs, and three
+window curtains from dining-room. Several pairs
+of andirons, tongs, shovels, toasting forks, pickle
+pots, wine glasses, pewter plates, many blankets,
+pillows, bolsters, and <em>nineteen coverlids</em>.&rdquo;</p>
+
+<div class="figcenter" style="width: 338px;">
+<a name="DAISY_QUILT" id="DAISY_QUILT"></a>
+<img src="images/quilts46th.jpg" width="338" height="400" alt="" />
+<span class="link"><a href="images/quilts46.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">DAISY QUILT</p>
+
+<p class="incaption" style="padding-bottom: 3em;">For a child&rsquo;s bed</p>
+
+<p>It was customary in the good old days after a
+dinner or ball for the guests, who necessarily came
+from long distances, to stay all night, and many
+bedrooms, frequently from ten to twenty-five,
+besides those needed for the family, were provided
+in the big houses. All were beautifully furnished
+<span class='pagenum'><a name="Page_73" id="Page_73">[Pg&nbsp;73]</a></span>
+with imported, massive, carved furniture from
+France and England. In one year, 1768, in Charlestown,
+South Carolina, occurred twelve weddings
+among the wealthy residents of that city, and all
+the furniture for these rich couples came from
+England. The twelve massive beds with canopies
+supported by heavily carved posts, decorated with
+rice stalks and full heads of grain, were so high
+that steps were needed in order to climb into them.
+Elaborate and expensive curtains and spreads
+were furnished to correspond. In one early inventory
+of an extensively furnished house there are
+mentioned &ldquo;four feather beds, bolsters, two stools,
+looking-glass tipt with silver, two Turkey carpets,
+one yellow mohair bed counterpane, and <em>two green
+silk quilts</em>.&rdquo; From this it is evident that the
+quilt had already found its place, and no doubt in
+great numbers, on account of the many beds to
+furnish in the spacious house of the rich planters.</p>
+
+<p>Shortly after the Revolution came the great
+migration from Virginia over the ridges of the
+Blue and the Appalachian chains into what was
+then the wilderness of Tennessee and Kentucky.
+The descendants of these hardy pioneers who first
+forced their way westward still live among the
+<span class='pagenum'><a name="Page_74" id="Page_74">[Pg&nbsp;74]</a></span>
+Kentucky and Virginia hills under the conditions
+which prevailed a hundred years ago. In this
+heavily timbered rough country they manage to
+eke out a precarious existence by cultivating small
+hillside patches of cotton, corn, and a few vegetables.
+Immured in the seclusion of the mountains
+they have remained untouched by the world&rsquo;s
+progress during the past century. Year after
+year they are satisfied to live this secluded existence,
+and but rarely make an acquaintance with a
+stranger. Educational advantages, except of the
+most elementary sort, are almost unknown, and
+the majority of these mountaineers neither read
+nor write. As a result of this condition of isolated
+and primitive living, existing in the mountains of
+Virginia, Kentucky, Tennessee, and the Carolinas,
+the household crafts that flourished in this country
+before the advent of machinery are still carried
+on exactly as in the old days.</p>
+
+<div class="figcenter" style="width: 374px;">
+<a name="OHIO_ROSE" id="OHIO_ROSE"></a>
+<img src="images/quilts47th.jpg" width="374" height="400" alt="" />
+<span class="link"><a href="images/quilts47.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">OHIO ROSE</p>
+
+<p class="incaption">This &ldquo;Rose&rdquo; quilt was made in Ohio about 80 years ago. Colours: red,
+pink, and two shades of green</p>
+
+<div class="figcenter" style="width: 324px;">
+<a name="ROSE_OF_SHARON" id="ROSE_OF_SHARON"></a>
+<img src="images/quilts48th.jpg" width="324" height="400" alt="" />
+<span class="link"><a href="images/quilts48.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">ROSE OF SHARON</p>
+
+<p class="incaption" style="padding-bottom: 3em;">Made in Indiana about 65 years ago. It has a wool interlining instead of
+the usual cotton</p>
+
+<p>The simple needs of the family are almost entirely
+supplied by the women of the household.
+They spin, weave, and make the few plain garments
+which they and their families wear. Day after day,
+year in and year out, these isolated women must
+fill in the hours with little tasks connected with
+<span class='pagenum'><a name="Page_75" id="Page_75">[Pg&nbsp;75]</a></span>
+home life. As in many other instances where women
+are dependent upon their own resources for
+amusement, they have recourse to their needles.
+Consequently, it is in the making of quilts, coverlets,
+and allied forms of needlework that these mountain
+women spend their hours of recreation.</p>
+
+<p>The quilts, both pieced and patched, that are
+made in mountaineers&rsquo; cabins have a great variety
+of designs. Many designs have been used again
+and again by each succeeding generation of quilters
+without any variation whatever, and have well-known
+names. There are also designs that have
+been originated by a proficient quilt maker, who has
+made use of some common flower as the basis for her
+conventional design. It has not been a great many
+years since the materials used in making the mountain
+quilts were dyed as well as woven in the home.
+The dyes were homemade from common roots and
+shrubs gathered from nearby woods and meadows.
+Blue was obtained from wild indigo; brown from
+walnut hulls; black from the bark of scrub-oak; and
+yellow from laurel leaves. However, the materials
+which must be purchased for a quilt are so
+meagre, and the colours called &ldquo;oil boiled&rdquo;&mdash;now
+used to dye calico&mdash;are so fast, that the mountain
+<span class='pagenum'><a name="Page_76" id="Page_76">[Pg&nbsp;76]</a></span>
+women seldom dye their own fabrics any more.
+They bring in a few chickens or eggs to the nearest
+village, and in exchange obtain a few yards of
+precious coloured calico for their quilts.</p>
+
+<p>Miss Bessie Daingerfield, a Kentuckian, who
+is in close touch with these mountaineers, tells us
+what a void the quilt fills in the lives of the lonely
+women of the hills: &ldquo;While contemporary women
+out in the world are waging feminist war, those in
+the mountains of the long Appalachian chain still
+sit at their quilting frames and create beauty and
+work wonders with patient needles. There is much
+beautiful and skilful handiwork hidden away in
+these hills. The old women still weave coverlets,
+towels, and table linen from wool from their own
+sheep and from flax grown in their own gardens.
+The girls adorn their cotton gowns with &lsquo;compass
+work,&rsquo; exact, exquisite. In some places the men
+and boys, girls and women, make baskets of hickory
+reeds and willows to delight the heart of the collector.
+But from the cradle to the grave, the women
+make quilts. The tiny girl shows you with
+pride the completed four patch or nine patch,
+square piled on square, which &lsquo;mammy aims to set
+up for her ag&rsquo;inst spring.&rsquo; The mother tells you
+<span class='pagenum'><a name="Page_77" id="Page_77">[Pg&nbsp;77]</a></span>
+half jesting, half in earnest, &lsquo;the young un will
+have several ag&rsquo;inst she has a home of her own.&rsquo;
+No bride of the old country has more pride in her
+dower chest than the mountain bride in her pile of
+quilts. The old woman will show you a stack of
+quilts from floor to ceiling of her cabin. One dear
+old soul told me she had eighty-four, all different,
+and &lsquo;ever&rsquo; stitch, piecin&rsquo;, settin&rsquo; up, quiltin&rsquo;, my
+own work and ne&rsquo;er another finger tetched hit.&rsquo;&rdquo;</p>
+
+<p>Patchwork was an important factor in making
+plain the knotty problems of existence, as Eliza
+Calvert Hall clearly shows when she makes &ldquo;Aunt
+Jane of Kentucky&rdquo; say: &ldquo;How much piecin&rsquo; a
+quilt is like livin&rsquo; a life! Many a time I&rsquo;ve set and
+listened to Parson Page preachin&rsquo; about predestination
+and free will, and I&rsquo;ve said to myself, &lsquo;If I
+could jest git up in the pulpit with one of my quilts
+I could make it a heap plainer to folks than parson&rsquo;s
+makin&rsquo; it with his big words.&rsquo; You see, you
+start out with jest so much caliker; you don&rsquo;t go
+to the store and pick it out and buy it, but the
+neighbours will give you a piece here and a piece
+there, and you&rsquo;ll have a piece left over every time
+you cut a dress, and you take jest what happens to
+come. And that&rsquo;s like predestination. But when
+<span class='pagenum'><a name="Page_78" id="Page_78">[Pg&nbsp;78]</a></span>
+it comes to the cuttin&rsquo; out, why, you&rsquo;re free to
+choose your own pattern. You can give the same
+kind o&rsquo; pieces to two persons, and one&rsquo;ll make a
+&lsquo;nine patch&rsquo; and one&rsquo;ll make a &lsquo;wild-goose chase,&rsquo;
+and there&rsquo;ll be two quilts made out of the same kind
+of pieces, and jest as different as they can be. And
+that is jest the way with livin&rsquo;. The Lord sends
+us the pieces, but we can cut them out and put
+&rsquo;em together pretty much to suit ourselves, and
+there&rsquo;s a heap more in the cuttin&rsquo; out and the sewin&rsquo;
+than there is in the caliker.&rdquo;</p>
+
+<p>In the great Central West, from Ohio to the
+Mississippi, the early settlers passed through the
+same cycle of development as did their ancestors
+in the beginnings of the original colonies along the
+seaboard. The same dangers and privations were
+faced, and the women, as well as the men, quickly
+adapted themselves to the hardships of life in a
+new country. Shortly after the War of 1812,
+which secured to the United States a clear title to
+this vast region, the great migration into the Ohio
+Valley began. Some families came by way of the
+Great Lakes, some by wagon over the Pennsylvania
+ridges, and still others by horseback over the
+mountains from Virginia. One and all of these
+<span class='pagenum'><a name="Page_79" id="Page_79">[Pg&nbsp;79]</a></span>
+pioneer families brought with them their most
+cherished household possessions. It is hardly
+necessary to say that every family had one or more
+quilts among its household goods. Many cases
+are on record of rare old mahogany bureaus and
+bedsteads transported hundreds of miles over trails
+through the wilderness on pack horses. Upon arrival
+at the site chosen for the future home, the
+real work of house building and furnishing began.</p>
+
+<div class="figcenter" style="width: 317px;">
+<a name="FLORAL_DESIGNS" id="FLORAL_DESIGNS"></a>
+<img src="images/quilts49th.jpg" width="317" height="400" alt="" />
+<span class="link"><a href="images/quilts49.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">ORIGINAL FLORAL DESIGNS</p>
+
+<p class="incaption">This quilt contains twenty blocks, each of a different design. The border
+is composed of festoons decorated with cockscomb and sprays of
+flowers. A southern Indiana quilt made about 1825</p>
+
+<div class="figcenter" style="width: 379px;">
+<a name="CONVENTIONAL_TULIP_2" id="CONVENTIONAL_TULIP_2"></a>
+<img src="images/quilts50th.jpg" width="379" height="400" alt="" />
+<span class="link"><a href="images/quilts50.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">CONVENTIONAL TULIP</p>
+
+<p class="incaption" style="padding-bottom: 3em;">Made from a pattern used 130 years ago. Colours: pink and green</p>
+
+<p>&ldquo;Only he who knows what it means to hew a
+home out of the forest; of what is involved in the
+task of replacing mighty trees with corn; only he
+who has watched the log house rising in the clearing,
+and has witnessed the devotedness that gathers
+around the old log schoolhouse and the pathos of
+a grave in the wilderness, can understand how
+sobriety, decency, age, devoutness, beauty, and
+power belong to the story of those who began the
+mighty task of changing the wild west into the
+heart of a teeming continent.&rdquo; Thus Jenkin Lloyd
+Jones, in his address on &ldquo;The Father of Lincoln,&rdquo;
+gives a graphic picture of the labours and trials
+confronting those who made the first settlements
+in what are now the flourishing states of Ohio, Indiana,
+Kentucky, Illinois, and Michigan.</p>
+
+<p><span class='pagenum'><a name="Page_80" id="Page_80">[Pg&nbsp;80]</a></span>
+As in the colonies of New England, so here, the
+comforts of the family depended upon the thrift,
+energy, and thoughtfulness of the women. Practically
+every article of clothing worn by the entire
+family, as well as all household supplies, were the
+work of their busy hands. All day in the frontier
+cabin could be heard the hum of the spinning
+wheel, the clack of the loom, or the click of knitting
+needles. In many localities the added work of
+teaching the children fell to the mothers, and the
+home lessons given around the fireplace, heaped
+with glowing logs, were the only ones possible for
+many boys and girls. It is of particular interest
+to note how often learning and housekeeping went
+hand in hand in the first homes of this new country.
+The few lines following are extracts from the
+diary of a busy Indiana housewife of the period
+preceding the Mexican War, and show how
+fully occupied was the time of the pioneer
+woman:</p>
+
+<p>&ldquo;November 10th. To-day was cider-making
+day, and all were up at sunrise.&rdquo;</p>
+
+<p>&ldquo;December 1st. We killed a beef to-day, the
+neighbours helping.&rdquo;</p>
+
+<div class="figcenter" style="width: 342px;">
+<a name="CONVENTIONAL_ROSE" id="CONVENTIONAL_ROSE"></a>
+<img src="images/quilts51th.jpg" width="342" height="400" alt="" />
+<span class="link"><a href="images/quilts51.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">CONVENTIONAL ROSE</p>
+
+<p class="incaption">A very striking pattern, made in Indiana about 75 years ago. Colours:
+red, pink, and green</p>
+
+<div class="figcenter" style="width: 304px;">
+<a name="ROSE_WREATH" id="ROSE_WREATH"></a>
+<img src="images/quilts52th.jpg" width="304" height="400" alt="" />
+<span class="link"><a href="images/quilts52.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">CONVENTIONAL ROSE WREATH</p>
+
+<p class="incaption" style="padding-bottom: 3em;">This &ldquo;Wreath of Roses&rdquo; design has been in use for over 100 years.
+Colours: red, green, pink, and yellow</p>
+
+<p>&ldquo;December 4th. I was much engaged in trying
+<span class='pagenum'><a name="Page_81" id="Page_81">[Pg&nbsp;81]</a></span>
+out my tallow. To-day I dipped candles and
+finished the &lsquo;Vicar of Wakefield.&rsquo;&rdquo;</p>
+
+<p>&ldquo;December 8th. To-day I commenced to read
+the &lsquo;Life of Washington,&rsquo; and I borrowed a singing
+book. Have been trying to make a bonnet. The
+cotton we raised served a very good purpose for
+candle-wicking when spun.&rdquo;</p>
+
+<p>In the Middle West, without friendly co&ouml;peration,
+the lot of the pioneer would have been much
+more difficult than it was. Julia Henderson
+Levering tells of the prevalence of this kindly
+custom in her interesting &ldquo;Historic Indiana&rdquo;:
+&ldquo;The social pleasures of the earliest days were
+largely connected with the helpful neighbourhood
+assistance in the homely, necessary tasks of the
+frontier. If a new cabin was to be built, the
+neighbours assembled for the house raising, for
+the logs were too heavy to be handled alone. When
+a clearing was made, the log rolling followed. All
+men for miles around came to help, and the women
+to help cook and serve the bountiful meals. Then
+there were corn huskings, wool shearings, apple
+parings, sugar boilings, and quilting bees.&rdquo;</p>
+
+<p>About 1820 a new channel of commerce was
+opened to the inhabitants of the Ohio Valley, in
+<span class='pagenum'><a name="Page_82" id="Page_82">[Pg&nbsp;82]</a></span>
+the advantages of which every household shared.
+This was the establishing of steamboat and flatboat
+communication with New Orleans. From
+out of the Wabash River alone over a thousand
+flatboats, laden with agricultural products, passed
+into the Ohio during the annual spring rise on their
+way to the seaport by the Gulf of Mexico. On their
+return voyage these boats were laden with sacks of
+coffee, quaint Chinese boxes of tea, china and silk
+from France, and mahogany and silver from England.
+In this manner the finest fabrics, which were
+hitherto obtainable only in those cities that possessed
+sea communication, were available in every
+river hamlet. Many of the fine old quilts now
+being brought to light in the Central West were
+wrought of foreign cloth which has made this
+long journey in some farmer&rsquo;s scow.</p>
+
+<p>In England during the middle of the past century,
+the Victorian period was known chiefly for
+its hideous array of cardboard mottoes done in
+brilliant wools, crochet tidies, and wax flowers.
+It is particularly fortunate that at this time the
+women of the United States were too fully occupied
+with their own household arts and industries to
+take up with the ideas of their English sisters.
+<span class='pagenum'><a name="Page_83" id="Page_83">[Pg&nbsp;83]</a></span>
+By far the best needlework of this period were the
+beautiful quilts and bedspreads, exquisite in colour
+and design, which were the product of American
+women. The finest quilts were wrought along
+designs largely original with the quilters themselves,
+who plied their needles in solitary farmhouses
+and out-of-the-way hamlets to which the
+influence of English idea in needlework could not
+penetrate. In no locality in our country can so
+many rare and beautiful quilts be found as in the
+Middle West. Many of the best were made during
+those early days of struggle for mere existence,
+when they served the busy housewife as the one
+precious outlet for her artistic aspirations.</p>
+
+<p>The type of quilt that may be called distinctively
+American was substantial in character; the material
+that entered into its construction was serviceable,
+of a good quality of cotton cloth, or
+handwoven linen, and the careful work put into it
+was intended to stand the test of time. The coloured
+materials combined with the white were also
+enduring, the colours being as nearly permanent as
+it was possible to procure. Some cottons were
+dyed by the quilt makers themselves, if desirable
+fast shades could not be readily procured otherwise.
+<span class='pagenum'><a name="Page_84" id="Page_84">[Pg&nbsp;84]</a></span>
+The fundamental idea was to make a quilt
+that would withstand the greatest possible amount
+of wear. Some of the artistic possibilities in both
+colour and design were often subordinated to the
+desire to make quilts as nearly imperishable as
+possible. The painstaking needlework required to
+produce a quilt deserved the best of material for its
+foundation. Silks, satins, velvets, and fine linen
+and cotton fabrics of delicate shades were not
+favoured as quilt material by the old-time needleworkers,
+who wrought for service first and beauty
+afterward.</p>
+
+<p>A most beautiful example of the American quilt
+at its best is found in the &ldquo;Indiana Wreath.&rdquo; Its
+pleasing design, harmonious colours, and exquisite
+workmanship reveal to us the quilter&rsquo;s art in its
+greatest perfection. This quilt was made by Miss
+E.&nbsp;J. Hart, a most versatile and skilful needlewoman,
+in 1858, as shown by the small precise
+figures below the large wreath. The design is
+exceedingly well balanced in that the entire quilt
+surface is uniformly covered and no one feature is
+emphasized to the detriment of any other. The
+design element of the wreath is a compact group
+of flowers, fruit, and leaves, which is repeated ten
+<span class='pagenum'><a name="Page_85" id="Page_85">[Pg&nbsp;85]</a></span>
+times in making the complete circle. The vase
+filled with drooping sprays, flowers, and conventionalized
+buds forms an ideal centre for this
+wreath. Curving vines intermingled with flowers
+make a desirable and graceful border. This quilt
+is a little more than two and a half yards square,
+and the central wreath fills a space equal to the
+width of a double bed, for which it was evidently
+intended.</p>
+
+<div class="figcenter" style="width: 400px;">
+<a name="POINSETTIA" id="POINSETTIA"></a>
+<img src="images/quilts53th.jpg" width="400" height="386" alt="" />
+<span class="link"><a href="images/quilts53.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">POINSETTIA</p>
+
+<p class="incaption">An appliqu&eacute; quilt of red, blue, and green</p>
+
+<div class="figcenter" style="width: 400px;">
+<a name="WHIG_ROSE" id="WHIG_ROSE"></a>
+<img src="images/quilts54th.jpg" width="400" height="369" alt="" />
+<span class="link"><a href="images/quilts54.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">WHIG ROSE</p>
+
+<p class="incaption" style="padding-bottom: 3em;">On the reverse side is a small &ldquo;gold pocket&rdquo; in which valuables may be
+secreted. Colours: yellow, red, and green</p>
+
+<p>Miss Hart displayed unusual ability in choosing
+and combining the limited materials at the disposal
+of the quilt maker in a newly settled region.
+The foundation is fine white muslin; the coloured
+material is calico, in the serviceable quality manufactured
+at that time, and of shades considered
+absolutely fast, then known as &ldquo;oil boiled.&rdquo; Only
+four colours are used in the design: green, red,
+yellow, and pink, the latter having a small allover
+printed design in a darker shade.</p>
+
+<p>Miss Hart planned her quilting quite carefully.
+In the large blank spaces in the corners are placed
+special, original designs that have some features
+of the much-used &ldquo;feather&rdquo; pattern. Aside from
+these triangular corner designs all the quilting is in
+small diamonds, which form a very pleasing
+<span class='pagenum'><a name="Page_86" id="Page_86">[Pg&nbsp;86]</a></span>
+background for the effective coloured designs. The
+maker&rsquo;s name and the date are closely quilted in
+white in plain bold-faced type just below the
+wreath. In the centre of the wreath, in neat script
+in black thread, is quilted the name &ldquo;Indiana
+Wreath,&rdquo; and all the stitchery of top and quilting
+is the very perfection of quilt making.</p>
+
+<p>The beautiful white quilts that are treasured
+as relics of past industry by their fortunate owners
+deserve special mention. They are rare because
+nowadays no one will expend the large amount of
+time necessary to complete one. The foundation
+of such a quilt is fine white muslin, or fine homespun
+and woven linen, with a very thin interlining.
+The beauty of the quilt depends upon the design
+drawn for the quilting and the fine stitches with
+which the quilting is done. There is usually a
+special design planned for these white quilts which
+includes a large central panel or pattern, with
+smaller designs for the corners embodying some
+of the ideas of the central panel. Around these
+decorative sections the background is so closely
+quilted as to resemble a woven fabric. This
+smooth, even background throws the principal
+designs into low relief. After the entire quilt is
+<span class='pagenum'><a name="Page_87" id="Page_87">[Pg&nbsp;87]</a></span>
+quilted and removed from the frames, the main
+design is frequently further accentuated by having
+all the most prominent features, such as the leaves
+and petals of flowers, stuffed. To accomplish
+this tiny holes are made on the wrong side of each
+section of the design and cotton is pushed in with
+a large needle until the section is stuffed full and
+tight. This tedious process is followed until every
+leaf and petal stands out in bold relief.</p>
+
+<div class="figcenter" style="width: 330px;">
+<a name="POPPY_DESIGN" id="POPPY_DESIGN"></a>
+<img src="images/quilts55th.jpg" width="330" height="400" alt="" />
+<span class="link"><a href="images/quilts55.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">POPPY DESIGN</p>
+
+<p class="incaption" style="padding-bottom: 3em;">This is applied patchwork and therefore much more easily made than pieced
+work; very simple quilting gives prominence to the design</p>
+
+<p>The fashion which has prevailed for many years
+of dressing beds all in white has no doubt caused
+the destruction of many beautiful quilts. The
+white quilts that have been preserved are now considered
+too valuable to be subjected to hard wear.
+The most exquisite ones were made in the last of
+the eighteenth and the beginning of the nineteenth
+centuries.</p>
+
+<p>It was the rage for white bed coverings that
+shortened the lives of many old pieced and patched
+quilts of good colouring. The &ldquo;Country Contributor&rdquo;
+tells of her experiences in dressing up the
+white beds:</p>
+
+<p>&ldquo;I remember with regret the quilts I wore out,
+using them white side up in lieu of white Marseilles
+spreads. The latter we were far too poor to own;
+<span class='pagenum'><a name="Page_88" id="Page_88">[Pg&nbsp;88]</a></span>
+the &lsquo;tufted&rsquo; ones had worn out; and I loathed the
+cheap &lsquo;honeycombed&rsquo; cotton things we were forced
+to use unless we were going to be frankly &lsquo;poor&rsquo;
+and cover our beds with plain patchwork, made
+up hurriedly and quilted in simple &lsquo;fans&rsquo; in plebeian
+squares, as poor folk who haven&rsquo;t time for
+elegant stitches did theirs. So I used the old
+quilts, making their fine stitches in intricate patterns
+serve for the design in a &lsquo;white spread,&rsquo; turning
+the white muslin lining up. A beautiful
+white spread it made, too, I realize now, more fully
+than I did then, though I now would know much
+better than to turn the wonderful appliqu&eacute; stars
+and flowers and wheels from view. Strange, is it
+not, that we relinquish so much of life&rsquo;s best joy
+and pleasure before we know what actually is
+good?&rdquo; This fashion prevails to-day, in some instances
+insisted upon for sanitary reasons, but it
+has lost to us many of the finest examples of quilting
+that existed because where there were no
+coloured patterns to relieve the white expanse, the
+quilting had to be perfect. If you have a white
+quilt treasure it, for competent quilters are no
+longer numerous and few there are who can reproduce
+it.</p>
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class='pagenum'><a name="Page_89" id="Page_89">[Pg&nbsp;89]</a></span></p>
+
+<h2>CHAPTER V</h2>
+
+<h3><span class="smcap">How Quilts Are Made</span></h3>
+
+
+<p><span class="dropcap">I</span>T IS only in comparatively recent years that
+many articles of wearing apparel and house
+furnishings have been manufactured outside
+the home. One after another, spinning, weaving,
+shoemaking, candlemaking, tailoring, knitting, and
+similar tasks have been taken from the homekeeper
+because the same articles can be made
+better and cheaper elsewhere. The housewife still
+keeps busy, but is occupied with tasks more to her
+liking. Among the few home occupations that
+have survived is quilting. With many serviceable
+substitutes it is not really necessary for women
+to make quilts now, but the strange fascination
+about the work holds their interest. Quilt making
+has developed and progressed during the very
+period when textile arts in the home have declined
+under the influence of the factory. More quilts
+are being made at the present time and over a
+wider area than ever before.</p>
+
+<p><span class='pagenum'><a name="Page_90" id="Page_90">[Pg&nbsp;90]</a></span>
+Quilts, as known and used to-day, may be divided
+into two general classes, washable and non-washable,
+depending upon the materials of which they
+are made. The methods for constructing each class
+are the same, and are so very simple that it seems
+hardly necessary to explain them.</p>
+
+<p>The name quilt implies two or more fabrics
+held together with many stitches. Webster defines
+a quilt as &ldquo;Anything that is quilted, especially
+as a quilted bedcover or a skirt worn by women;
+any cover or garment made by putting wool, cotton,
+etc., between two cloths and stitching them together.&rdquo;
+The verb, to quilt, he defines as &ldquo;To
+stitch or to sew together at frequent intervals in
+order to confine in place the several layers of cloth
+and wadding of which a garment, comforter, etc.,
+may be made. To stitch or sew in lines or patterns.&rdquo;</p>
+
+<p>The &ldquo;Encyclop&aelig;dia Britannica&rdquo; is a little more
+explicit and also gives the derivation of the name,
+quilt, as follows: &ldquo;Probably a coverlet for a bed
+consisting of a mass of feathers, down, wool, or
+other soft substances, surrounded by an outer
+covering of linen, cloth, or other material.&rdquo; In
+its earlier days the &ldquo;quilt&rdquo; was often made thick
+and sewed as a form of mattress. The term was
+<span class='pagenum'><a name="Page_91" id="Page_91">[Pg&nbsp;91]</a></span>
+also given to a stitched, wadded lining for body armour.
+&ldquo;The word came into English from old
+French <i>cuilte</i>. This is derived from Latin <i>culcitra</i>,
+a stuffed mattress or cushion. From the form <i>culcitra</i>
+came old French <i>cotra</i>, or <i>coutre</i> whence <i>coutre
+pointe</i>; this was corrupted into counterpoint, which
+in turn was changed to counterpane. The word
+&lsquo;pane&rsquo; is also from the Latin <i>pannus</i>, a piece of
+cloth. Thus &lsquo;counterpane,&rsquo; a coverlet for a bed,
+and &lsquo;quilt&rsquo; are by origin the same word.&rdquo;</p>
+
+<p>Broadly speaking, from these definitions, any
+article made up with an interlining may be called
+a quilt. However, usage has restricted the meaning
+of the word until now it is applied to a single form
+of bed covering. In the United States the distinction
+has been carried even farther and a quilt
+is understood to be a light weight, closely stitched
+bedcover. When made thicker, and consequently
+warmer, it is called a &ldquo;comfort.&rdquo;</p>
+
+<p>The three necessary parts of a quilt are the top,
+the lining or back, and the interlining. The top,
+which is the important feature, unless the quilting
+is to be the only ornamentation, may be a single
+piece of plain cloth; or it may be pieced together
+from many small pieces different in size, colour,
+<span class='pagenum'><a name="Page_92" id="Page_92">[Pg&nbsp;92]</a></span>
+and shape, so as to form either simple or fanciful
+designs. The top may also be adorned with designs
+cut from fabrics of varying colours and applied
+to the foundation with fancy stitches, or it
+may be embroidered. The materials may be
+either cotton, linen, wool, or silk. The back is
+usually of plain material, which requires no description.
+The interlining, if the quilting is to be close
+and elaborate, must be thin. If warmth is desired
+a thicker interlining is used and the lines of quilting
+are spaced farther apart. The design of the
+top and the quilting lend themselves very readily
+to all manner of variations, and as a result there
+is an almost infinite variety of quilts.</p>
+
+<p>For convenience in making, nearly every quilt
+is composed of a number of blocks of regular form
+and size which, when joined together, make the
+body of the quilt. Each of these blocks may have
+a design complete in itself, or may be only part of
+a large and complicated design covering the whole
+top of the quilt.</p>
+
+<div class="figcenter" style="width: 348px;">
+<a name="HARRISON_ROSE" id="HARRISON_ROSE"></a>
+<img src="images/quilts56th.jpg" width="348" height="400" alt="" />
+<span class="link"><a href="images/quilts56.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">HARRISON ROSE</p>
+
+<p class="incaption">This quilt is at least 75 years old. The rose is pieced of old rose and two
+shades of pink; the stem and leaves are appliqu&eacute;</p>
+
+<div class="figcenter" style="width: 272px;">
+<a name="HARRISON_ROSE_DETAIL" id="HARRISON_ROSE_DETAIL"></a>
+<img src="images/quilts57th.jpg" width="272" height="400" alt="" />
+<span class="link"><a href="images/quilts57.jpg">See larger image</a></span>
+</div>
+
+<p class="caption" style="padding-bottom: 3em;">DETAIL OF HARRISON ROSE, SHOWING QUILTING</p>
+
+<p><span class='pagenum'><a name="Page_93" id="Page_93">[Pg&nbsp;93]</a></span></p>
+
+<div class="figcenter" style="width: 302px;">
+<img src="images/quilts58th.png" width="302" height="400" alt="" />
+<span class="link"><a href="images/quilts58.png">See larger image</a></span>
+</div>
+
+<p class="caption">QUILTING DESIGNS</p>
+
+<p class="incaption" style="padding-bottom: 3em;">
+(<i>a</i>) Single Diagonal Lines<span class="spacer">&nbsp;</span>
+(<i>b</i>) Double Diagonal Lines<span class="spacer">&nbsp;</span>
+(<i>c</i>) Triple Diagonal Lines</p>
+
+<p>There is a radical distinction between the verbs
+&ldquo;to piece&rdquo; and &ldquo;to patch,&rdquo; as used in connection
+with the making of quilts. In this instance the
+former means to join together separate pieces of
+<span class='pagenum'><a name="Page_94" id="Page_94">[Pg&nbsp;94]</a></span>
+like material to make sections or blocks that are
+in turn set together to form the top of the quilt.
+The pieces are usually of uniform shape and size
+and of contrasting colours. They are sewed together
+with a running stitch, making a seam upon
+the wrong side. The quilt called &ldquo;Star of the
+East&rdquo; is an excellent example of a pieced quilt in
+which a number of small pieced sections are united
+to form a single design that embraces the entire
+top of the quilt.</p>
+
+<p>Patches are commonly associated with misfortune.
+The one who needs them is unfortunate,
+and the one who has to sew them on is usually an
+object of sympathy, according to a wise old saw:
+&ldquo;A hole may be thought to be an accident of the
+day, but a patch is a sure sign of poverty.&rdquo; But
+patch quilts belong to a different class than the
+patches of necessity, and are the aristocrats of the
+quilt family, while the pieced quilts came under
+the heading of poor relations.</p>
+
+<p>However, this term is a misnomer when applied to
+some pieced quilts. Many of the &ldquo;scrap quilts,&rdquo; as
+they are called in some localities, are very pretty
+when made from gay pieces&mdash;carefully blended&mdash;of
+the various shades of a single colour. The stars in
+<span class='pagenum'><a name="Page_95" id="Page_95">[Pg&nbsp;95]</a></span>
+the design called &ldquo;The Unknown Star&rdquo; are made
+of a great variety of different patterns of pink calico,
+yet the blending is so good that the effect is greatly
+heightened by the multiplicity of shades.</p>
+
+<p>Pieced quilts make a special appeal to women who
+delight in the precise and accurate work necessary
+in their construction. For those who enjoy making
+pieced quilts, there is practically no limit to the variety
+of designs available, some of which are as intricate
+as the choicest mosaic. The bold and rather
+heavy design known as &ldquo;Jacob&rsquo;s Ladder&rdquo; is a good
+example of the pieced quilt. Another is the &ldquo;Feathered
+Star,&rdquo; whose lightness and delicacy make it a
+most charming pattern. The pieced quilt with one
+large star in the centre, called by some &ldquo;The Star
+of the East&rdquo; and by others &ldquo;The Star of Bethlehem,&rdquo;
+is a striking example of mathematical exactness
+in quilt piecing. In quilts made after this
+pattern all the pieces must be exactly the same size
+and all the seams must be the same width in order
+to produce a perfect star.</p>
+
+<p>The French word &ldquo;appliqu&eacute;&rdquo; is frequently used
+to describe the patched or laid-on work. There
+is no single word in the English language that exactly
+translates &ldquo;appliqu&eacute;.&rdquo; The term &ldquo;applied
+<span class='pagenum'><a name="Page_96" id="Page_96">[Pg&nbsp;96]</a></span>
+work&rdquo; comes nearest and is the common English
+term. By common usage patchwork is now understood
+to mean quilt making, and while used indiscriminately
+for both pieced and patched quilts,
+it really belongs to that type where the design is
+cut from one fabric and applied upon another.
+&ldquo;Sewed on&rdquo; and &ldquo;laid quilts&rdquo; are old terms given
+to appliqu&eacute; or patched quilts.</p>
+
+<p>The distinction between &ldquo;pieced&rdquo; and &ldquo;patched&rdquo;
+quilts is fittingly described by Miss Bessie Daingerfield,
+the Kentuckian who has written interestingly
+of her experiences with mountain quilt makers.
+She says: &ldquo;To every mountain woman her piece
+quilts are her daily interest, but her patch quilts
+are her glory. Even in these days, you women of
+the low country know a piece quilt when you see
+one, and doubtless you learned to sew on a &lsquo;four-patch&rsquo;
+square. But have you among your treasures
+a patch quilt? The piece quilt, of course, is
+made of scraps, and its beauty or ugliness depends
+upon the material and colours that come to hand,
+the intricacy of the design, and one&rsquo;s skill in executing
+it. I think much character building must
+be done while hand and eye co&ouml;perate to make, for
+example, a star quilt with its endless tiny points
+<span class='pagenum'><a name="Page_97" id="Page_97">[Pg&nbsp;97]</a></span>
+for fitting and joining, but a patch quilt is a more
+ambitious affair. For this the pattern is cut from
+the whole piece and appliqu&eacute;d on unbleached cotton.
+The colours used are commonly oil red, oil
+green, and a certain rather violent yellow, and
+sometimes indigo blue. These and these only are
+considered reliable enough for a patch quilt, which
+is made for the generations that come after. The
+making of such a quilt is a work of oriental patience.&rdquo;</p>
+
+<div class="figcenter" style="width: 318px;">
+<a name="ORIGINAL_ROSE_DESIGN" id="ORIGINAL_ROSE_DESIGN"></a>
+<img src="images/quilts59th.jpg" width="318" height="400" alt="" />
+<span class="link"><a href="images/quilts59.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">ORIGINAL ROSE DESIGN MADE IN 1840</p>
+
+<p class="incaption">The maker was lame, and only able to walk about in her garden. Colours:
+red, green, pink, and yellow</p>
+
+<div class="figcenter" style="width: 363px;">
+<a name="PINEAPPLE_DESIGN" id="PINEAPPLE_DESIGN"></a>
+<img src="images/quilts60th.jpg" width="363" height="400" alt="" />
+<span class="link"><a href="images/quilts60.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">PINEAPPLE DESIGN</p>
+
+<p class="incaption" style="padding-bottom: 3em;">Colours: red and green</p>
+
+<p>&ldquo;Appliqu&eacute; work is thought by some to be an
+inferior kind of embroidery, although it is not. It
+is not a lower but another kind of needlework in
+which more is made of the stuff than of the stitching.
+In appliqu&eacute; the craft to the needleworker is
+not carried to its limit, but, on the other hand, it
+calls for great skill in design. Effective it must be:
+coarse it may be: vulgar it should not be: trivial
+it can hardly be: mere prettiness is beyond its
+scope: but it lends itself to dignity of design and
+nobility of treatment.&rdquo; The foregoing quotation
+is from &ldquo;Art in Needlework&rdquo; by Louis&nbsp;F.&nbsp;Day
+and Mary Buckle. It is of interest because it
+explains how appliqu&eacute; or &ldquo;laid-on&rdquo; needlework ranks
+with other kinds.</p>
+
+<p><span class='pagenum'><a name="Page_98" id="Page_98">[Pg&nbsp;98]</a></span>
+After all the different parts of a quilt top are
+either pieced or decorated with applied designs,
+they are joined together with narrow seams upon
+the wrong side of the quilt. If a border is included
+in the design it should harmonize in colour
+and design with the body of the quilt. However,
+in many quilts, borders seem to be &ldquo;a thing apart&rdquo;
+from the remainder of the top and, apparently, have
+been added as an afterthought to enlarge the top
+after the blocks had been joined. In old quilts a
+border frequently consisted of simple bands of
+colours similar to those found in the body of the
+quilt, but more often new material entirely different
+in colour and quality was added when greater
+size was desired. Many old quilts were three yards
+or more square, generous proportions being very
+essential in the old days of broad four-posters heaped
+with feather beds.</p>
+
+<p><span class='pagenum'><a name="Page_99" id="Page_99">[Pg&nbsp;99]</a></span></p>
+
+<div class="figcenter" style="width: 300px;">
+<img src="images/quilts61th.png" width="300" height="400" alt="" />
+<span class="link"><a href="images/quilts61.png">See larger image</a></span>
+</div>
+
+<p class="caption">QUILTING DESIGNS</p>
+
+<p class="incaption" style="padding-bottom: 3em;">
+(<i>a</i>) Diamonds<span class="spacer">&nbsp;</span>
+(<i>b</i>) Hanging Diamonds<span class="spacer">&nbsp;</span>
+(<i>c</i>) Broken Plaid</p>
+
+<p>The top being completed, the back or lining, of
+the same dimensions as the top, is next made of
+some light-weight material, usually white cotton.
+The quilt, to quote the usual expression, is then
+&ldquo;ready for the frames.&rdquo; In earlier days the quilting
+frame could be found in every home, its simple
+construction making this possible. In its usual
+<span class='pagenum'><a name="Page_100" id="Page_100">[Pg&nbsp;100]</a></span>
+form it consists of four narrow pieces of wood, two
+somewhat longer than a quilt, and two shorter,
+perhaps half as long, with holes bored in the ends
+of each piece. These pieces are made into an
+oblong frame by fastenings of bolts or pegs, and
+are commonly supported on the backs of chairs.
+More pretentious frames are made with round
+pieces for the sides, and with ends made to stand
+upon the floor, about the height of a table, these
+ends having round holes into which the side pieces
+fit. Such a frame is then self-supporting and
+frequently has a cogwheel attachment to keep
+the sides in place and to facilitate the rolling and
+unrolling of the quilt. The majority of frames are
+very plain, but occasionally a diligent quilter is
+encountered who has one made to suit her particular
+requirements, or has received an unusually
+well-built one as a gift. One old frame worthy of
+mention was made of cherry with elaborate scroll
+designed ends, cherry side bars, and a set of cogwheels
+also made of cherry; all finished and polished
+like a choice piece of furniture.</p>
+
+<div class="figcenter" style="width: 400px;">
+<a name="VIRGINIA_ROSE" id="VIRGINIA_ROSE"></a>
+<img src="images/quilts62th.jpg" width="400" height="390" alt="" />
+<span class="link"><a href="images/quilts62.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">VIRGINIA ROSE</p>
+
+<p class="incaption">This original rose design was made by Caroline Stalnaker of Lewis
+County, West Virginia. She was one of the thirteen children of Charles
+Stalnaker, who was a &ldquo;rock-ribbed&rdquo; Baptist, and an ardent Northern
+sympathizer. During the Civil War this quilt was buried along with the
+family silver and other valuables to protect it from depredations by Confederate
+soldiers. One of Caroline Stalnaker&rsquo;s neighbors and friends was
+Stonewall Jackson.</p>
+
+<p class="incaption">In this quilt, as in many old ones, the border has been omitted on the
+side intended to go at the head of the bed. This quilt is still unfinished,
+having never been quilted</p>
+
+<div class="figcenter" style="width: 319px;">
+<a name="ROSE_OF_LEMOINE" id="ROSE_OF_LEMOINE"></a>
+<img src="images/quilts63th.jpg" width="319" height="400" alt="" />
+<span class="link"><a href="images/quilts63.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">ROSE OF LEMOINE</p>
+
+<p class="incaption" style="padding-bottom: 3em;">An old and distinctly American design</p>
+
+<p>Each side bar or roll of the quilting frame is
+tightly wound with cotton strips or has a piece of
+muslin firmly fastened to its entire length, to
+<span class='pagenum'><a name="Page_101" id="Page_101">[Pg&nbsp;101]</a></span>
+which is sewed the edges of the lining, one side to
+each bar. Then the extra length is rolled up on
+one side of the frame, and after being tightly
+stretched, the wooden pieces are securely fastened.
+On this stretched lining or back of the quilt, the
+cotton or wool used for filling or interlining is
+spread very carefully and smoothly; then with even
+greater care the top is put in place, its edge pinned
+or basted to the edge of the lining, and drawn
+tightly over the cotton. The ends of the quilt
+must also be stretched. This is done by pinning
+pieces of muslin to the quilt and wrapping them
+around the ends of the frame. Great care is required
+to keep all edges true and to stretch all
+parts of the quilt uniformly.</p>
+
+<p>Upon this smooth top the quilting is drawn, for
+even the most expert quilters require outlines to
+quilt by. If the quilt top is light in colour the
+design is drawn with faint pencil lines; if the colours
+are too dark to show pencil markings, then with
+a chalked line. It is a fascinating thing to children
+to watch the marking of a quilt with the chalk
+lines. The firm cord used for this is drawn repeatedly
+across a piece of chalk or through powdered
+starch until well coated, then held near the
+<span class='pagenum'><a name="Page_102" id="Page_102">[Pg&nbsp;102]</a></span>
+quilt, and very tightly stretched, while a second
+person draws it up and lets it fly back with a snap,
+thus making a straight white line. How closely
+the lines are drawn depends wholly upon the ambition
+and diligence of the quilter. The lines may
+be barely a quarter of an inch apart, or may be
+placed only close enough together to perform their
+function of keeping the interlining in place.</p>
+
+<p>Patterns of quiltings are not as plentiful as
+designs for the patchwork tops of quilts; only about
+eight or ten standard patterns being in general use.
+The simplest pattern consists of &ldquo;single diagonal&rdquo;
+lines, spaced to suit the work in hand. The lines
+are run diagonally across the quilt instead of parallel
+with the weave, in order that they may show
+to better advantage, and also because the cloth
+is less apt to tear or pull apart than if the quilting
+lines are run in the same direction as the threads of
+the fabric. The elaboration of the &ldquo;single&rdquo; diagonal
+into sets of two or more parallel lines, thus forming
+the &ldquo;double&rdquo; and &ldquo;triple&rdquo; diagonals, is the first step
+toward ornamentation in quilting. A further advance
+is made when the quilting lines are crossed, by
+means of which patterns like the &ldquo;square,&rdquo; &ldquo;diamond,&rdquo;
+and &ldquo;hanging diamond&rdquo; are produced.</p>
+
+<div class="figcenter" style="width: 317px;">
+<a name="SUNFLOWER_QUILT" id="SUNFLOWER_QUILT"></a>
+<img src="images/quilts64th.jpg" width="317" height="400" alt="" />
+<span class="link"><a href="images/quilts64.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">THE SUNFLOWER QUILT</p>
+
+<p class="incaption" style="padding-bottom: 3em;">Shows a realistic, bold design of vivid colouring. The border is harmonious,
+suggesting a firm foundation for the stems. The quilting in the
+centre is a design of spider webs, leaves, and flowers</p>
+
+<p><span class='pagenum'><a name="Page_103" id="Page_103">[Pg&nbsp;103]</a></span>
+Wavy lines and various arrangements of hoops,
+circles, and segments of circles are among the more
+complex quilting patterns, which are not particularly
+difficult. Plates and saucers of various
+diameters are always available to serve as markers
+in laying out such designs. The &ldquo;pineapple,&rdquo;
+&ldquo;broken plaid,&rdquo; and &ldquo;shell&rdquo; patterns are very
+popular, especially with those who are more experienced
+in the art. One very effective design
+used by many quilters is known as the &ldquo;Ostrich
+Feather.&rdquo; These so-called feathers are arranged
+in straight bands, waved lines, or circles, and&mdash;when
+the work is well done&mdash;are very beautiful.
+The &ldquo;fan&rdquo; and &ldquo;twisted rope&rdquo; patterns are familiar
+to the older quilters but are not much used
+at the present time.</p>
+
+<p><span class='pagenum'><a name="Page_104" id="Page_104">[Pg&nbsp;104]</a></span></p>
+
+<div class="figcenter" style="width: 293px;">
+<img src="images/quilts65th.png" width="293" height="400" alt="" />
+<span class="link"><a href="images/quilts65.png">See larger image</a></span>
+</div>
+
+<p class="caption">QUILTING DESIGNS</p>
+
+<p class="incaption" style="padding-bottom: 3em;">
+(<i>a</i>) Rope<span class="spacer">&nbsp;</span>
+(<i>b</i>) Shell<span class="spacer">&nbsp;</span>
+(<i>c</i>) Fan</p>
+
+<p><span class='pagenum'><a name="Page_105" id="Page_105">[Pg&nbsp;105]</a></span></p>
+
+<div class="figcenter" style="width: 275px;">
+<img src="images/quilts66th.png" width="275" height="400" alt="" />
+<span class="link"><a href="images/quilts66.png">See larger image</a></span>
+</div>
+
+<p class="caption">QUILTING DESIGNS</p>
+
+<p class="incaption" style="padding-bottom: 3em;">
+(<i>a</i>) Feathers in Bands<span class="spacer">&nbsp;</span>
+(<i>b</i>) Feathers in Waved Lines<span class="spacer">&nbsp;</span>
+(<i>c</i>) Feathers in Circles</p>
+
+<p>Frequently the quilting design follows the pieced
+or patched pattern and is then very effective,
+especially when a floral pattern is used. Some
+quilters show much originality and ingenuity in
+incorporating into their work the outlines of the
+flowers and leaves of the quilt design. Sometimes
+the pieced top is of such common material as to
+seem an unworthy basis for the beautiful work of
+an experienced quilter, who stitches with such
+<span class='pagenum'><a name="Page_106" id="Page_106">[Pg&nbsp;106]</a></span>
+patient hand, wasting, some may think, her art
+upon too poor a subject. However, for the consolation
+of those who consider quilting a wicked
+waste of time, it may be added that nowadays expert
+quilters are very few indeed, and enthusiasts
+who have spent weeks piecing a beautiful quilt
+have been known to wait a year before being able
+to get it quilted by an expert in this art.</p>
+
+<p>On the thin cotton quilts that have the elaborate
+quilting designs and are the pride of the owner,
+the quilting is done with fine cotton thread, about
+number seventy. The running stitch used in
+quilting should be as small and even as it is possible
+for the quilter to make. This is a very difficult
+feat to accomplish, since the quilt composed of two
+thicknesses of cloth with an interlining of cotton
+is stretched so tightly in the frame that it is quite
+difficult to push the needle through. Also the
+quilter, while bending over the frame with one
+hand above and one hand below, is in a somewhat
+unnatural strained position. It requires much
+patience to acquire the knack of sitting in the
+rather uncomfortable quilter&rsquo;s position without
+quickly tiring.</p>
+
+<p>Skill and speed in quilting can be acquired only
+<span class='pagenum'><a name="Page_107" id="Page_107">[Pg&nbsp;107]</a></span>
+through much practice. Perfect quilting cannot
+be turned out by a novice in the art, no matter
+how skilful she may be at other kinds of needlework.
+The patience and skill of the quilter are
+especially taxed when, in following the vagaries
+of some design, she is forced to quilt lines that
+extend away from her instead of toward her. As
+the result of many years spent over the quilting
+frame, some quilters acquire an unusual dexterity
+in handling the needle, and occasionally one is
+encountered who can quilt as well with one hand as
+with the other.</p>
+
+<p><span class='pagenum'><a name="Page_108" id="Page_108">[Pg&nbsp;108]</a></span></p>
+
+<div class="figcenter" style="width: 281px;">
+<img src="images/quilts67th.png" width="281" height="400" alt="" />
+<span class="link"><a href="images/quilts67.png">See larger image</a></span>
+</div>
+
+<p class="caption">ORIGINAL DESIGNS FROM OLD QUILTS</p>
+
+<div class="figcenter" style="width: 400px;">
+<a name="CHARTER_OAK" id="CHARTER_OAK"></a>
+<img src="images/quilts68th.jpg" width="400" height="385" alt="" />
+<span class="link"><a href="images/quilts68.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">CHARTER OAK</p>
+
+<p class="incaption">With the American eagle in the border</p>
+
+<div class="figcenter" style="width: 301px;">
+<a name="PUFFED_QUILT" id="PUFFED_QUILT"></a>
+<img src="images/quilts69th.jpg" width="301" height="400" alt="" />
+<span class="link"><a href="images/quilts69.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">PUFFED QUILT OF SILK</p>
+
+<p class="incaption" style="padding-bottom: 3em;">This is a very popular pieced quilt, composed of carefully saved bits of
+silks and velvets</p>
+
+<p>Quilting is usually paid for by the amount of
+thread used, no consideration being given to the
+amount of time expended on the work. A spool
+of cotton thread, such as is found in every dry-goods
+store, averaging two hundred yards to the
+spool, is the universal measure. The price charged
+is more a matter of locality than excellence of
+workmanship. A certain price will prevail in one
+section among all quilters there, while in another,
+not far removed, two or three times that price
+will be asked for the same work. When many of
+the old quilts, now treasured as remembrances of
+our diligent and ambitious ancestors, were made,
+<span class='pagenum'><a name="Page_109" id="Page_109">[Pg&nbsp;109]</a></span>
+one dollar per spool was the usual price paid for
+quilting. However, as the number of quilters
+has decreased, the price of quilting has increased,
+until as much as five dollars per spool is now asked
+in some parts of the country. Even at the advanced
+prices, it is exceedingly difficult to find sufficient
+quilters to complete the many pieced and
+appliqu&eacute; quilts being made.</p>
+
+<p>After the space of some twelve inches, which is
+as far as the quilter can reach conveniently, has
+been quilted, the completed portion is rolled up on
+the side of the frame nearest the quilter. From
+the other side another section is then unrolled and
+marked for quilting, and quilted as far as the
+worker can reach. Thus quilting and rolling are
+continued until the whole quilt is gone over, after
+which it is taken from the frame and the edges
+neatly bound with a narrow piece of bias material,
+either white or of some harmonizing colour. Since
+all of the stitches are taken entirely through the
+quilt, the design worked into the top is repeated
+on the lining, so that the back makes a white
+spread of effective pattern in low relief. Very
+often the back or reverse side is as beautiful as
+the top, and many lovely quilts have ended their
+<span class='pagenum'><a name="Page_110" id="Page_110">[Pg&nbsp;110]</a></span>
+years of service as white counterpanes during that
+period when the vogue for white beds reigned.
+Now, however, owners are glad to display them
+in all their gorgeousness, and they no longer masquerade
+as white bedspreads.</p>
+
+<p>Occasionally the date of making and the initials
+of the maker are quilted in a corner, but it is seldom
+that even this much is visible to tell of the
+quilt&rsquo;s origin. How interesting it would be if some
+bits of the story of the maker could have been sewed
+into a few of the old quilts; for such works of art,
+that are so long in making, deserve to have some
+facts relating to them live at least as long as they.</p>
+
+<p>When a bedcover of exceptional warmth is desired,
+several sheets of cotton or wool prepared for
+that purpose are laid one over the other between
+the top and back. As this is too thick to allow a
+needle to be pushed through easily, and even
+stitches cannot be taken, then quilting gives way
+to tying or knotting. Threads of silk, cotton,
+linen, or wool are drawn through with coarse needles
+and the ends tied in tight, firm knots. These knots
+are arranged at close, regular intervals to prevent
+the interlining from slipping out of place. To
+this kind of covering is applied the very
+<span class='pagenum'><a name="Page_111" id="Page_111">[Pg&nbsp;111]</a></span>
+appropriate name of &ldquo;comfort.&rdquo; Holland, Germany,
+Switzerland, and all of Scandinavia use quilted
+down and feather comforts. In fact, the down
+comfort has become international in its use. It is
+found in almost every home in the colder regions
+of Europe and America, and on chilly nights is a
+comfort indeed. They are usually made in one
+colour and, aside from the quilting, which is in
+bold, artistic designs, are without other decoration.
+The quilting on down comforts is done by machines
+made expressly for that work.</p>
+
+<p>Quilting is not confined to the making of quilts.
+The petticoats worn by the women of Holland are
+substantial affairs made of either woollen cloth or
+satin, as the purse permits, heavily interlined and
+elaborately quilted. The Dutch belle requires
+from four to nine of these skirts to give her the
+figure typical of her country. Both the Chinese
+and Japanese make frequent use of quilting in
+their thickly padded coats and kimonos, and it
+may be that from them the early Dutch voyagers
+and traders brought back the custom to Holland.</p>
+
+<p><span class='pagenum'><a name="Page_112" id="Page_112">[Pg&nbsp;112]</a></span></p>
+
+<div class="figcenter" style="width: 267px;">
+<img src="images/quilts70th.png" width="267" height="400" alt="" />
+<span class="link"><a href="images/quilts70.png">See larger image</a></span>
+</div>
+
+<p class="incaption">
+(<i>a</i>) Design from an Old English Quilt<span class="spacer">&nbsp;</span>
+(<i>b</i>) Medallion Design<span class="spacer">&nbsp;</span>
+(<i>c</i>) Pineapple Design</p>
+
+<div class="figcenter" style="width: 347px;">
+<a name="VARIEGATED_HEXAGON" id="VARIEGATED_HEXAGON"></a>
+<img src="images/quilts71th.jpg" width="347" height="400" alt="" />
+<span class="link"><a href="images/quilts71.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">VARIEGATED HEXAGON, SILK</p>
+
+<p class="incaption">Colours: cherry, light blue, pink, black, and a yellow
+centre</p>
+
+<div class="figcenter" style="width: 344px;">
+<a name="ROMAN_STRIPE" id="ROMAN_STRIPE"></a>
+<img src="images/quilts72th.jpg" width="344" height="400" alt="" />
+<span class="link"><a href="images/quilts72.jpg">See larger image</a></span>
+</div>
+
+<p class="caption" style="padding-bottom: 3em;">ROMAN STRIPE, SILK</p>
+
+<p>A knowledge of the simplest form of sewing is
+all that is necessary to piece quilts. The running
+stitch used for narrow seams is the first stitch a
+<span class='pagenum'><a name="Page_113" id="Page_113">[Pg&nbsp;113]</a></span>
+beginner learns. There are other stitches needed
+to make a patchwork quilt, which frequently develops
+into quite an elaborate bit of needlework.
+The applied designs should always be neatly hemmed
+to the foundation; some, however, are embroidered
+and the edges of the designs finished with a buttonhole
+stitch, and other fancy stitches may be introduced.</p>
+
+<p>In quilt making, as in every other branch of
+needlework, much experience is required to do
+good work. It takes much time and practice to
+acquire accuracy in cutting and arranging all the
+different pieces. A discriminating eye for harmonizing
+colours is also a great advantage. But
+above all requirements the quilt maker must be
+an expert needleworker, capable of making the
+multitude of tiny stitches with neatness and precision
+if she would produce the perfect quilt.</p>
+
+<p>Appreciation of nature is an attribute of many
+quilt makers, as shown by their efforts to copy various
+forms of leaf and flower. There are many
+conventionalized floral patterns on appliqu&eacute; quilts
+that give evidence of much ability and originality
+in their construction. For the pioneer woman
+there was no convenient school of design, and when
+<span class='pagenum'><a name="Page_114" id="Page_114">[Pg&nbsp;114]</a></span>
+she tired of the oft-repeated quilt patterns of her
+neighbourhood she turned to her garden for suggestions.
+The striking silhouettes of familiar blossoms
+seen on many quilts are the direct result of
+her nature study.</p>
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class='pagenum'><a name="Page_115" id="Page_115">[Pg&nbsp;115]</a></span></p>
+
+<h2>CHAPTER VI</h2>
+
+<h3><span class="smcap">Quilt Names</span></h3>
+
+
+<p><span class="dropcap">A</span>MONG the most fascinating features of quilt
+lore are the great number and wonderful
+variety of names given to quilt designs.
+A distinct individuality is worked into every
+quilt by its maker, which in most instances makes
+it worthy of a name. The many days spent in
+creating even a simple quilt give the maker ample
+time in which to ponder over a name for the design,
+so that the one selected generally reflects some peculiarity
+in her personality. History, politics, religion,
+nature, poetry, and romance, all are stitched
+into the gayly coloured blocks and exert their
+influence on quilt appellations. Careful consideration
+of a large number of quilts reveals but few
+that have been named in a haphazard way; in
+nearly every instance there was a reason or at
+least a suggestion for the name.</p>
+
+<p>In most cases the relation between name and
+design is so evident that the correct name at once
+<span class='pagenum'><a name="Page_116" id="Page_116">[Pg&nbsp;116]</a></span>
+suggests itself, even to the novice in quilt making.
+The common &ldquo;star&rdquo; pattern, in which one star is
+made the centre of each block, is invariably known
+as the &ldquo;Five-pointed Star.&rdquo; A variation in the size
+of the stars or the number of colours entering into
+their composition has not resulted in any new name.</p>
+
+<p>It is quite usual, however, when there is a slight
+deviation from a familiar pattern, resulting from
+either the introduction of some variation or by the
+omission of a portion of the old design, to make a
+corresponding change in the name. Good illustrations
+of this custom are the minor alterations
+which have been made in the tree trunk of the
+&ldquo;tree&rdquo; pattern. These may be so slight as to be
+entirely unobserved by the casual admirer, yet
+they are responsible for at least three new names:
+&ldquo;Pine Tree,&rdquo; &ldquo;Temperance Tree,&rdquo; and &ldquo;Tree of
+Paradise.&rdquo; A minor change in the ordinary &ldquo;Nine
+Patch,&rdquo; with a new name as a result, is another
+striking example of how very slight an alteration
+may be in order to inspire a new title. In this
+case, the central block is cut somewhat larger than
+in the old &ldquo;Nine Patch,&rdquo; and the four corner blocks
+are, by comparison with the centre block, quite
+small. This slight change is in reality a magical
+<span class='pagenum'><a name="Page_117" id="Page_117">[Pg&nbsp;117]</a></span>
+transformation, for the staid &ldquo;Nine Patch&rdquo; has
+now become a lively &ldquo;Puss-in-the-Corner.&rdquo; The
+changes in some patterns have come about through
+efforts to make a limited amount of highly prized
+colour brighten a whole quilt. This circumstance, as
+much as any other, has been the cause of new names.</p>
+
+<div class="figcenter" style="width: 350px;">
+<a name="LOG_CABIN" id="LOG_CABIN"></a>
+<img src="images/quilts73th.jpg" width="350" height="400" alt="" />
+<span class="link"><a href="images/quilts73.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">AMERICAN LOG CABIN, SILK AND WOOL</p>
+
+<p class="incaption">In Colonial days this was known as a &ldquo;pressed&rdquo; quilt</p>
+
+<div class="figcenter" style="width: 388px;">
+<a name="DEMOCRAT_ROSE" id="DEMOCRAT_ROSE"></a>
+<img src="images/quilts74th.jpg" width="388" height="400" alt="" />
+<span class="link"><a href="images/quilts74.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">DEMOCRAT ROSE</p>
+
+<p class="incaption" style="padding-bottom: 3em;">Made in Pennsylvania about 1845</p>
+
+<p>Important events occurring during the construction
+periods of old quilts are quite frequently
+recalled to us by their names. The stirring frontier
+activities and the great men of history made impressions
+on the mind of the housewife which
+found expression in the names of her quilts.
+&ldquo;Washington&rsquo;s Plumes,&rdquo; &ldquo;Mexican Rose,&rdquo; and
+&ldquo;Rose of Dixie&rdquo; are old quilt names reflecting
+domestic interest in important events. The hardships
+and vicissitudes endured by the sturdy pioneers
+were constantly in the minds of the early
+American quilters and inspired many names.
+&ldquo;Pilgrim&rsquo;s Pride,&rdquo; &ldquo;Bear&rsquo;s Paws,&rdquo; &ldquo;Rocky Road
+to Kansas,&rdquo; &ldquo;Texas Tears,&rdquo; and &ldquo;Rocky Road to
+California&rdquo; have great interest as they reveal to
+us the thoughts of our great-grandmothers over
+their quilting frames.</p>
+
+<p>The names having political significance, which
+were attached to quilts, show that the women as
+<span class='pagenum'><a name="Page_118" id="Page_118">[Pg&nbsp;118]</a></span>
+well as the men had a keen interest in the affairs
+of our country in its earlier days. &ldquo;Old Tippecanoe,&rdquo;
+&ldquo;Lincoln&rsquo;s Platform,&rdquo; &ldquo;Harrison Rose,&rdquo;
+&ldquo;Democrat Rose,&rdquo; &ldquo;Whig Rose,&rdquo; and &ldquo;Radical
+Rose&rdquo; are all suggestive of the great discussion
+over slavery. Of the last name, an old lady, famous
+for her quilt making, said: &ldquo;Here&rsquo;s my &lsquo;Radical
+Rose.&rsquo; I reckon you&rsquo;ve heard I was the first human
+that ever put black in a Radical Rose. Thar hit
+is, right plumb in the middle. Well, whenever
+you see black in a Radical Rose you can know hit
+war made atter the second year of the war (Civil
+War). Hit was this way, ever&rsquo; man war a-talkin&rsquo;
+about the Radicals and all the women tuk to makin&rsquo;
+Radical Roses. One day I got to studying that
+thar ought to be some black in that thar pattern,
+sence half the trouble was to free the niggers, and hit
+didn&rsquo;t look fair to leave them out. And from that
+day to this thar&rsquo;s been black in ever&rsquo; Radical Rose.&rdquo;</p>
+
+<p>Other names having patriotic, political, or historical
+significance are:</p>
+
+<p class="list">
+Union<br />
+Yankee Puzzle<br />
+Continental<br />
+Union Calico Quilt<br />
+Star-Spangled Banner<br />
+Confederate Rose<br />
+Boston Puzzle<br />
+</p>
+
+<p><span class='pagenum'><a name="Page_119" id="Page_119">[Pg&nbsp;119]</a></span>
+There is also the &ldquo;Centennial&rdquo; in commemoration
+of the Centennial Exposition held at Philadelphia
+in 1876, and &ldquo;The World&rsquo;s Fair,&rdquo; &ldquo;World&rsquo;s Fair
+Puzzle,&rdquo; and &ldquo;World&rsquo;s Fair Blocks&rdquo; to perpetuate
+the grandeurs of the great exposition held at Chicago
+in 1893.</p>
+
+<p>Religion is closely associated with the life of the
+industrious, sober-minded dwellers of our villages
+and farms, and it is the most natural thing in the
+world for the Biblical teachings to crop out in the
+names of their quilts, as the following names indicate:</p>
+
+<p class="list">
+Garden of Eden<br />
+Golden Gates<br />
+Jacob&rsquo;s Ladder<br />
+Joseph&rsquo;s Coat<br />
+Solomon&rsquo;s Temple<br />
+Solomon&rsquo;s Crown<br />
+Star of Bethlehem<br />
+Tree of Paradise<br />
+Forbidden Fruit Tree<br />
+</p>
+
+<p>The glories of the sky enjoy ample prominence
+among quilt names. Beginning with the &ldquo;Rising
+Sun,&rdquo; of which there are several different designs,
+there follow &ldquo;Sunshine&rdquo; and &ldquo;Sunburst,&rdquo; then
+&ldquo;Rainbow,&rdquo; and finally a whole constellation of
+&ldquo;Stars&rdquo;:</p>
+
+<p class="list">
+Blazing Star<br />
+Brunswick Star<br />
+Combination Star<br />
+Chicago Star<br />
+Columbia Star<br />
+Crosses and Stars<br />
+<span class='pagenum'><a name="Page_120" id="Page_120">[Pg&nbsp;120]</a></span>
+Cluster of Stars<br />
+California Star<br />
+Diamond Star<br />
+Eight-pointed Star<br />
+Evening Star<br />
+Feather Star<br />
+Five-pointed Star<br />
+Flying Star<br />
+Four X Star<br />
+Four Stars Patch<br />
+Joining Star<br />
+Ladies&rsquo; Beautiful Star<br />
+Morning Star<br />
+New Star<br />
+Novel Star<br />
+Odd Star<br />
+Premium Star<br />
+Ribbon Star<br />
+Rolling Star<br />
+Sashed Star<br />
+Seven Stars<br />
+Star Lane<br />
+Star of Bethlehem<br />
+Star and Chains<br />
+Star of Many Points<br />
+Star and Squares<br />
+Star and Cubes<br />
+Star Puzzle<br />
+Shooting Star<br />
+Star of the West<br />
+Star and Cross<br />
+Star of Texas<br />
+Stars upon Stars<br />
+Squares and Stars<br />
+St. Louis Star<br />
+Star, A<br />
+Twinkling Star<br />
+Union Star<br />
+Wheel and Star<br />
+Western Star<br />
+</p>
+
+<p>In connection with the &ldquo;Star&rdquo; quilt names it is
+worthy of notice that geometric names outnumber
+those of any other class. &ldquo;Squares,&rdquo; &ldquo;triangles,&rdquo;
+and &ldquo;circles&rdquo; are well represented, but the &ldquo;Stars&rdquo;
+easily lead with nearly fifty names.</p>
+
+<p>Names of various other geometric patterns
+appear below:</p>
+
+<p class="list">
+Art Square<br />
+Barrister&rsquo;s Blocks<br />
+Beggar&rsquo;s Blocks<br />
+Box Blocks<br />
+<span class='pagenum'><a name="Page_121" id="Page_121">[Pg&nbsp;121]</a></span>
+Circle within Circle<br />
+Cross within Cross<br />
+Cross and Crown<br />
+Cube Work<br />
+Cube Lattice<br />
+Diamonds<br />
+Diamond Cube<br />
+Diamond Design<br />
+Double Squares<br />
+Domino and Square<br />
+Eight-point Design<br />
+Five Stripes<br />
+Fool&rsquo;s Square<br />
+Four Points<br />
+Greek Cross<br />
+Greek Square<br />
+Hexagonal<br />
+Interlaced Blocks<br />
+Maltese Cross<br />
+Memory Blocks<br />
+Memory Circle<br />
+New Four Patch<br />
+New Nine Patch<br />
+Octagon<br />
+Pinwheel Square<br />
+Red Cross<br />
+Ribbon Squares<br />
+Roman Cross<br />
+Sawtooth Patchwork<br />
+Square and Swallow<br />
+Square and a Half<br />
+Squares and Stripes<br />
+Square and Triangle<br />
+Stripe Squares<br />
+The Cross<br />
+The Diamond<br />
+Triangle Puzzle<br />
+Triangular Triangle<br />
+Variegated Diamonds<br />
+Variegated Hexagons<br />
+</p>
+
+<div class="figcenter" style="width: 400px;">
+<a name="PINK_ROSE" id="PINK_ROSE"></a>
+<img src="images/quilts75th.jpg" width="400" height="395" alt="" />
+<span class="link"><a href="images/quilts75.jpg">See larger image</a></span>
+</div>
+
+<p class="caption" style="padding-bottom: 3em;">&ldquo;PINK ROSE&rdquo; DESIGN</p>
+
+<p>Names of a nautical turn are to be expected for
+quilts which originate in seaside cottages and
+seaport villages. &ldquo;Bounding Betty,&rdquo; &ldquo;Ocean
+Waves,&rdquo; and &ldquo;Storm at Sea&rdquo; have a flavour as
+salty as the spray which dampens them when they
+are spread out to sun by the sandy shore.</p>
+
+<p>That poetry and romance have left their mark
+on the quilt is shown by the names that have been
+drawn from these sources. &ldquo;Lady of the Lake,&rdquo;
+<span class='pagenum'><a name="Page_122" id="Page_122">[Pg&nbsp;122]</a></span>
+&ldquo;Charm,&rdquo; &ldquo;Air Castle,&rdquo; &ldquo;Wheel of Fortune,&rdquo;
+and &ldquo;Wonder of the World&rdquo; are typical examples.
+Sentimental names are also in evidence, as &ldquo;Love
+Rose,&rdquo; &ldquo;Lovers&rsquo; Links,&rdquo; &ldquo;True Lovers&rsquo; Knot,&rdquo;
+&ldquo;Friendship Quilt,&rdquo; and &ldquo;Wedding Knot.&rdquo;</p>
+
+<p>Nature furnishes more suggestions for beautiful
+quilt designs than any other source. So frequently
+are her models resorted to by quilt makers the
+world over that many different designs have been
+inspired by the same leaf or flower. The rose
+especially is used again and again, and will always
+be the favourite flower of the quilter. There are
+at least twenty &ldquo;rose&rdquo; names to prove how this
+flower has endeared itself to the devotees of piece-block
+and quilting frame:</p>
+
+<p class="list">
+Rose<br />
+California Rose<br />
+Complex Rose<br />
+Confederate Rose<br />
+Democrat Rose<br />
+Dutch Rose<br />
+Harrison Rose<br />
+Harvest Rose<br />
+Love Rose<br />
+Mexican Rose<br />
+Prairie Rose<br />
+Rose of Sharon<br />
+Rose of Dixie<br />
+Rose of the Carolinas<br />
+Rosebud and Leaves<br />
+Rose Album<br />
+Rose of LeMoine<br />
+Radical Rose<br />
+Whig Rose<br />
+Wild Rose<br />
+Wreath of Roses<br />
+</p>
+
+<p><span class='pagenum'><a name="Page_123" id="Page_123">[Pg&nbsp;123]</a></span>
+Other flowery names are also popular:</p>
+
+<p class="list">
+Basket of Lilies<br />
+Bouquet<br />
+Cleveland Lilies<br />
+Cactus Blossom<br />
+Chrysanthemums<br />
+Double Peony<br />
+Daisies<br />
+Daffodils and Butterflies<br />
+Field Daisies<br />
+Flower Basket<br />
+Iris<br />
+Jonquils<br />
+Lily Quilt Pattern<br />
+Lily of the Valley<br />
+Morning Glory<br />
+Morning Gray Wreath<br />
+Persian Palm Lady<br />
+Poppy<br />
+Pansies and Butterflies<br />
+Single Sunflowers<br />
+Sunflowers<br />
+Tulip in Vase<br />
+Tassel Plant<br />
+Tulip Blocks<br />
+Three-flowered Sunflower<br />
+The Mayflower<br />
+Tulip Lady Finger<br />
+White Day Lily<br />
+</p>
+
+<p>When seeking flowers that lend themselves
+readily to quilt designs it is best to choose those
+whose leaves and blossoms present clear, distinct,
+and easily traced outlines. The names of many
+of the quaint varieties that flourish in old-fashioned
+gardens, as lilacs, phlox, larkspur, and marigolds,
+are absent from the list. This is because their
+lacy foliage and complex arrangement of petals
+cannot be reproduced satisfactorily in quilt materials.</p>
+
+<p>Even the lowly vegetables secure some mention
+among quilt names with &ldquo;Corn and Beans.&rdquo; The
+<span class='pagenum'><a name="Page_124" id="Page_124">[Pg&nbsp;124]</a></span>
+fruits and trees are well represented, as noted by
+the following list:</p>
+
+<p class="list">
+Apple Hexagon<br />
+Cherry Basket<br />
+California Oak Leaf<br />
+Cypress Leaf<br />
+Christmas Tree<br />
+Fruit Basket<br />
+Grape Basket<br />
+Hickory Leaf<br />
+Imperial Tea<br />
+Indian Plum<br />
+Live Oak Tree<br />
+Little Beech Tree<br />
+Maple Leaf<br />
+May Berry Leaf<br />
+Olive Branch<br />
+Orange Peel<br />
+Oak Leaf and Tulip<br />
+Oak Leaf and Acorns<br />
+Pineapple<br />
+Pine Tree<br />
+Sweet Gum Leaf<br />
+Strawberry<br />
+Tea Leaf<br />
+Tufted Cherry<br />
+Temperance Tree<br />
+Tulip Tree Leaves<br />
+</p>
+
+<p>The names of birds and insects are almost as
+popular as those of flowers, as this list will bear
+witness:</p>
+
+<p class="list">
+Bluebird<br />
+Brown-tailed Moth<br />
+Butterflies<br />
+Bird&rsquo;s Nest<br />
+Crow&rsquo;s Foot<br />
+Chimney Swallows<br />
+Cockscomb<br />
+Dove in the Window<br />
+Duck and Ducklings<br />
+Four Little Birds<br />
+Goose Tracks<br />
+Goose in the Pond<br />
+Honeycomb<br />
+Honeycomb Patch<br />
+Hen and Chickens<br />
+King&rsquo;s Crows<br />
+Peacocks and Flowers<br />
+Spider&rsquo;s Den<br />
+Shoo Fly<br />
+Spider&rsquo;s Web<br />
+Swarm of Bees<br />
+The Two Doves<br />
+Wild Goose Chase<br />
+</p>
+
+<div class="figcenter" style="width: 370px;">
+<a name="ORIGINAL_ROSE_3" id="ORIGINAL_ROSE_3"></a>
+<img src="images/quilts76th.jpg" width="370" height="400" alt="" />
+<span class="link"><a href="images/quilts76.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">ORIGINAL ROSE NO. 3</p>
+
+<p class="incaption">Made in Indiana about 75 years ago. Colors: red and green</p>
+
+<div class="figcenter" style="width: 369px;">
+<a name="STUFFED_QUILTING" id="STUFFED_QUILTING"></a>
+<img src="images/quilts77th.jpg" width="369" height="400" alt="" />
+<span class="link"><a href="images/quilts77.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">WHITE QUILT, WITH STUFFED QUILTING
+DESIGNS</p>
+
+<p class="incaption" style="padding-bottom: 3em;">This quilt was made in New England, and was finished in 1801, but how
+long a period was occupied in the making is unknown. It was designed
+by a young architect for an ambitious young quilter</p>
+
+<p><span class='pagenum'><a name="Page_125" id="Page_125">[Pg&nbsp;125]</a></span>
+The animals also must be credited with their
+share of names:</p>
+
+<p class="list">
+Bear&rsquo;s Foot<br />
+Bear&rsquo;s Paws<br />
+Bat&rsquo;s Wings<br />
+Bunnies<br />
+Cats and Mice<br />
+Flying Bat<br />
+Four Frogs Quilt<br />
+Leap Frog<br />
+Puss-in-the-Corner<br />
+The Snail&rsquo;s Trail<br />
+Toad in the Puddle<br />
+The Lobster (1812)<br />
+</p>
+
+<p>Occasionally the quilt maker was honoured by
+having her name given to her handiwork, as &ldquo;Mrs.
+Morgan&rsquo;s Choice,&rdquo; &ldquo;Mollie&rsquo;s Choice,&rdquo; &ldquo;Sarah&rsquo;s
+Favourite,&rdquo; and &ldquo;Fanny&rsquo;s Fan.&rdquo; Aunts and
+grandmothers figure as prominently in the naming
+of quilts as they do in the making of them. &ldquo;Aunt
+Sukey&rsquo;s Patch,&rdquo; &ldquo;Aunt Eliza&rsquo;s Star Point,&rdquo; &ldquo;Grandmother&rsquo;s
+Own,&rdquo; &ldquo;Grandmother&rsquo;s Dream,&rdquo; and
+&ldquo;Grandmother&rsquo;s Choice&rdquo; are typical examples.</p>
+
+<p>Quilt names in which reference is made to persons
+and personalities are quite numerous, as is
+proved by the list given below:</p>
+
+<p class="list">
+Coxey&rsquo;s Camp<br />
+Crazy Ann<br />
+Dutchman&rsquo;s Puzzle<br />
+Everybody&rsquo;s Favourite<br />
+Eight Hands Around<br />
+Grandmother&rsquo;s Choice<br />
+Garfield&rsquo;s Monument<br />
+Gentleman&rsquo;s Fancy<br />
+Handy Andy<br />
+Hands All Around<br />
+Hobson&rsquo;s Kiss<br />
+Indian Plumes<br />
+Indian Hatchet<br />
+Jack&rsquo;s House<br />
+Joseph&rsquo;s Necktie<br />
+King&rsquo;s Crown<br />
+<span class='pagenum'><a name="Page_126" id="Page_126">[Pg&nbsp;126]</a></span>
+Lady Fingers<br />
+Ladies&rsquo; Wreath<br />
+Ladies&rsquo; Delight<br />
+Mary&rsquo;s Garden<br />
+Mrs. Cleveland&rsquo;s Choice<br />
+Old Maid&rsquo;s Puzzle<br />
+Odd Fellows&rsquo; Chain<br />
+Princess Feather<br />
+President&rsquo;s Quilt<br />
+Sister&rsquo;s Choice<br />
+The Tumbler<br />
+The Hand<br />
+The Priscilla<br />
+Twin Sisters<br />
+Vice-President&rsquo;s Quilt<br />
+Widower&rsquo;s Choice<br />
+Washington&rsquo;s Puzzle<br />
+Washington&rsquo;s Sidewalk<br />
+Washington&rsquo;s Plumes<br />
+</p>
+
+<p>Names derived both from local neighbourhoods
+and foreign lands occupy a prominent place in the
+quilt list:</p>
+
+<p class="list">
+Arabic Lattice<br />
+American Log Patch<br />
+Arkansas Traveller<br />
+Alabama Beauty<br />
+Blackford&rsquo;s Beauty<br />
+Boston Puzzle<br />
+Columbian Puzzle<br />
+Cross Roads to Texas<br />
+Double Irish Chain<br />
+French Basket<br />
+Grecian Design<br />
+Indiana Wreath<br />
+Irish Puzzle<br />
+Kansas Troubles<br />
+Linton<br />
+London Roads<br />
+Mexican Rose<br />
+Oklahoma Boomer<br />
+Philadelphia Beauty<br />
+Philadelphia Pavement<br />
+Rocky Glen<br />
+Royal Japanese Vase<br />
+Rocky Road to Kansas<br />
+Rocky Road to California<br />
+Road to California<br />
+Roman Stripe<br />
+Rockingham&rsquo;s Beauty<br />
+Rose of Dixie<br />
+Rose of the Carolinas<br />
+Star of Texas<br />
+Texas Flower<br />
+The Philippines<br />
+Texas Tears<br />
+Venetian Design<br />
+Village Church<br />
+Virginia Gentleman<br />
+</p>
+
+<p><span class='pagenum'><a name="Page_127" id="Page_127">[Pg&nbsp;127]</a></span>
+Sometimes the names of a flower and a locality are
+combined, as in &ldquo;Persian Palm Lily&rdquo; and &ldquo;Carolina
+Lily.&rdquo; This latter design is quite a popular
+one in the Middle West, where it is known also as
+&ldquo;Star Flower.&rdquo;</p>
+
+<p>Figures and letters come in for some attention,
+for a few of the designs thus named are quite
+artistic. The best known are &ldquo;Boxed I&rsquo;s,&rdquo; &ldquo;Capital
+I,&rdquo; &ldquo;Double Z,&rdquo; &ldquo;Four E&rsquo;s,&rdquo; &ldquo;Fleur-de-Lis,&rdquo;
+&ldquo;Letter H,&rdquo; &ldquo;Letter X,&rdquo; and &ldquo;T Quartette.&rdquo;</p>
+
+<p>Inanimate objects, particularly those about the
+house, inspired many names for patterns, some of
+which are quite appropriate. A number of such
+names are given here:</p>
+
+<p class="list">
+Album<br />
+Base Ball<br />
+Basket Quilt<br />
+Block Album<br />
+Brickwork Quilt<br />
+Carpenter&rsquo;s Rule<br />
+Carpenter&rsquo;s Square<br />
+Churn Dash<br />
+Cog Wheel<br />
+Compass<br />
+Crossed Canoes<br />
+Diagonal Log Chain<br />
+Domino<br />
+Double Wrench<br />
+Flutter Wheel<br />
+Fan<br />
+Fan Patch<br />
+Fan and Rainbow<br />
+Ferris Wheel<br />
+Flower Pot<br />
+Hour Glass<br />
+Ice Cream Bowl<br />
+Log Patch<br />
+Log Cabin<br />
+Necktie<br />
+Needle Book<br />
+New Album<br />
+Pincushion and Burr<br />
+<span class='pagenum'><a name="Page_128" id="Page_128">[Pg&nbsp;128]</a></span>
+Paving Blocks<br />
+Pickle Dish<br />
+Rolling Pinwheel<br />
+Rolling Stone<br />
+Sashed Album<br />
+Shelf Chain<br />
+Snowflake<br />
+Snowball<br />
+Stone Wall<br />
+Sugar Loaf<br />
+Spools<br />
+Shield<br />
+Scissor&rsquo;s Chain<br />
+Square Log Cabin<br />
+The Railroad<br />
+The Disk<br />
+The Globe<br />
+The Wheel<br />
+Tile Patchwork<br />
+Watered Ribbon<br />
+Wind Mill<br />
+</p>
+
+<p>Occasionally the wag of the family had his opportunity,
+for it took some one with a strain of dry
+humour to suggest &ldquo;Old Bachelor&rsquo;s Puzzle,&rdquo;
+&ldquo;Drunkard&rsquo;s Path,&rdquo; and &ldquo;All Tangled Up,&rdquo; or
+to have ironically called one quilt a &ldquo;Blind Man&rsquo;s
+Fancy.&rdquo;</p>
+
+<p>Imagination was not lacking when it came to
+applying apt names to some of the simplest designs.
+To have called rows of small triangles running
+diagonally across a quilt the &ldquo;Wild Goose Chase,&rdquo;
+the maker must have known something of the
+habits of wild geese, for as these migrate from
+North to South and back again following the summer&rsquo;s
+warmth, they fly one behind the other in
+long V-shaped lines. The resemblance of these
+lines, swiftly moving across the sky, to her neat
+<span class='pagenum'><a name="Page_129" id="Page_129">[Pg&nbsp;129]</a></span>
+rows of triangles supplied the quilt maker with her
+inspiration.</p>
+
+<div class="figcenter" style="width: 385px;">
+<a name="WHITE_QUILT" id="WHITE_QUILT"></a>
+<img src="images/quilts78th.jpg" width="385" height="400" alt="" />
+<span class="link"><a href="images/quilts78.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">WHITE QUILT</p>
+
+<p class="incaption">A very beautiful and original design, made in New England over 125 years
+ago. Only part of the design has been stuffed</p>
+
+<div class="figcenter" style="width: 400px;">
+<a name="LADIES_QUILTING" id="LADIES_QUILTING"></a>
+<img src="images/quilts79th.jpg" width="400" height="246" alt="" />
+<span class="link"><a href="images/quilts79.jpg">See larger image</a></span>
+</div>
+
+<p class="caption" style="padding-bottom: 3em;">OLD LADIES QUILTING</p>
+
+<p>Names that are grotesque, or fanciful, or so
+descriptive that their mention is sure to provoke
+a grin, occur with pleasing frequency. Who can
+help but smile at &ldquo;Hairpin Catcher,&rdquo; &ldquo;Hearts
+and Gizzards,&rdquo; or &ldquo;Tangled Garters?&rdquo; Other
+grotesque names worthy of mention are:</p>
+
+<p class="list">
+An Odd Pattern<br />
+Autograph Quilt<br />
+Boy&rsquo;s Nonsense<br />
+Brick Pile<br />
+Broken Dish<br />
+Cake Stand<br />
+Crazy Quilt<br />
+Devil&rsquo;s Puzzle<br />
+Fantastic Patch<br />
+Fool&rsquo;s Puzzle<br />
+No Name Quilt<br />
+Pullman Puzzle<br />
+Puzzle File<br />
+Robbing Peter to Pay Paul<br />
+State House Steps<br />
+Steps to the Altar<br />
+Swing in the Centre<br />
+The X quisite<br />
+Tick-Tack-Toe<br />
+Vestibule<br />
+</p>
+
+<p>The everyday quilts, not particularly beautiful,
+perhaps, but nevertheless so essential to the family
+comfort, are also considered worthy of names.
+Homely and prosaic as their owners, the following
+names have a peculiar rugged quality entirely
+lacking in the fanciful ones given to their more
+artistic sisters:</p>
+
+<p><span class='pagenum'><a name="Page_130" id="Page_130">[Pg&nbsp;130]</a></span></p>
+
+<p class="list">
+An Old Patchwork<br />
+Bedtime<br />
+Coarse Woven Patch<br />
+Country Farm<br />
+Crib Quilt<br />
+Crosses and Losses<br />
+Economy<br />
+Home Treasure<br />
+Odds and Ends<br />
+Odd Patchwork<br />
+Old Scrap Patchwork<br />
+Right and Left<br />
+Simple Design<br />
+Swinging Corners<br />
+The Old Homestead<br />
+Twist and Turn<br />
+Twist Patchwork<br />
+Winding Walk<br />
+Workbox<br />
+</p>
+
+<p>In the old days grown-up folks were not the
+only ones who had to do with naming the quilts;
+children shared in the honour, and many of the
+quaint and fantastic names were the result of
+humouring their fancies. There was no &ldquo;B&rsquo;rer
+Rabbit&rdquo; in quilt lore, but he was not missed when
+the two or three youngsters who cuddled in the
+old-fashioned trundle bed could have so many
+other fascinating names for their quilts. &ldquo;Four
+Little Birds,&rdquo; &ldquo;Ducks and Ducklings,&rdquo; &ldquo;Children&rsquo;s
+Delight,&rdquo; &ldquo;The Little Red House,&rdquo; &ldquo;Goose in the
+Pond,&rdquo; &ldquo;The House That Jack Built,&rdquo; &ldquo;Toad in the
+Puddle,&rdquo; and &ldquo;Johnny Around the Corner&rdquo; are some
+of the old names still in use to-day. Any one of these
+patterns made up into a quilt was a treasure to imaginative
+children, and it was doubly so when they
+could pick out among the tiny blocks bits of colour
+<span class='pagenum'><a name="Page_131" id="Page_131">[Pg&nbsp;131]</a></span>
+that were once in their own gay dresses and pinafores.</p>
+
+<p>Clinging lavender wisteria, sweet jasmine, and
+even scarlet amaryllis pale beside the glowing
+colours displayed during sunny spring days on the
+gallery rails of many country homes through Delaware
+and Virginia. These picturesque scenes, in
+which the familiar domestic art supplies the essential
+touch of colour, are aptly described by
+Robert and Elizabeth Shackleton, those indefatigable
+searchers for the beautiful among the relics of
+our forefathers.</p>
+
+<p>&ldquo;In many a little village, and in many an isolated
+mountain home, the old-time art of making patchwork
+coverlets is remembered and practised. Some
+may be found that are generations old; others are
+new, but made in precisely the old-time way, and
+after the same patterns. Many are in gorgeous
+colours, in glowing yellows, greens, and purples;
+and being a matter of housewifely pride, they are
+often thrown over the &lsquo;gallery rail&rsquo; so their glory
+may be seen.</p>
+
+<p>&ldquo;One guest bed had nineteen quilts! Not to
+sleep under such a padded mountain, but it was
+the most natural method of display. Each quilt
+<span class='pagenum'><a name="Page_132" id="Page_132">[Pg&nbsp;132]</a></span>
+had its name. There was the &ldquo;Western Star,&rdquo;
+the &ldquo;Rose of the Carolinas,&rdquo; the &ldquo;Log Cabin,&rdquo;
+the &ldquo;Virginia Gentleman,&rdquo; the &ldquo;Fruit Basket,&rdquo;
+the &ldquo;Lily of the Valley&rdquo;&mdash;as many special names
+as there are designs.&rdquo;</p>
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class='pagenum'><a name="Page_133" id="Page_133">[Pg&nbsp;133]</a></span></p>
+
+<h2>CHAPTER VII</h2>
+
+<h3><span class="smcap">Quilt Collections and Exhibitions</span></h3>
+
+
+<p><span class="dropcap">I</span>N SPITE of their wide distribution and vast
+quantity, the number of quilts readily accessible
+to those who are interested in them
+is exceedingly small. This is particularly true
+of those quilts which possess artistic merit and
+historic interest, and a considerable amount of
+inquiry is sometimes necessary in order to bring
+forth even a single quilt of more than ordinary
+beauty. It is unfortunate for this most useful and
+pleasant art that its masterpieces are so shy and
+loath to display their charms, for it is mainly from
+the rivalry induced by constant display that all
+arts secure their best stimulus. However, some
+very remarkable achievements in quilting have
+been brought to light from time to time, to the
+great benefit of this best of household arts.</p>
+
+<p>There is in existence to-day no complete collection
+of quilts readily available to the public at
+<span class='pagenum'><a name="Page_134" id="Page_134">[Pg&nbsp;134]</a></span>
+large. No museum in this country or abroad has
+a collection worthy of the name, the nearest approach
+to it being in the great South Kensington
+Museum in London. While many institutions possess
+one or more specimens, these have been preserved
+more often on account of some historic association
+than because of exceptional beauty or artistic
+merit. It is only in the rare instance of a family
+collection, resulting from the slow accumulation
+by more than one generation of quilt enthusiasts,
+that a quilt collection at all worth while can be
+found. In such a case the owner is generally so
+reticent concerning his treasures that the community
+as a whole is never given the opportunity to
+profit by them.</p>
+
+<p>In families where accumulations have reached
+the dignity in numbers that will justify being
+called collections, the quilts belonging to different
+branches of the family have been passed along from
+one generation to another, until they have become
+the property of one person. Among collections of
+this sort are found many rare and beautiful quilts,
+as only the best and choicest of all that were made
+have been preserved. There are also occasional
+large collections of quilts that are the work of
+<span class='pagenum'><a name="Page_135" id="Page_135">[Pg&nbsp;135]</a></span>
+one industrious maker who has spent the greater
+portion of her life piecing and quilting. The Kentucky
+mountain woman who had &ldquo;eighty-three,
+all different, and all her own makin&rsquo;,&rdquo; is a typical
+example of this class.</p>
+
+<div class="figcenter" style="width: 401px;">
+<a name="WINDBLOWN_TULIP" id="WINDBLOWN_TULIP"></a>
+<img src="images/quilts80th.jpg" width="401" height="400" alt="" />
+<span class="link"><a href="images/quilts80.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">THE &ldquo;WIND-BLOWN TULIP&rdquo; DESIGN</p>
+
+<p class="incaption" style="padding-bottom: 3em;">Seems to bring a breath of springtime both in form and colour. Even the
+border flowers seem to be waving and nodding in the breeze</p>
+
+<p>The vastness of their numbers and the great
+extent of their everyday use serve to check the
+collecting of quilts. As a whole, quilts are extremely
+heterogeneous and democratic; they are
+made so generally over the whole country that no
+distinct types have been developed, and they are
+possessed so universally that there is little social
+prestige to be gained by owning an uncommonly
+large number. Consequently even the most ardent
+quilt lovers are usually satisfied when they possess
+enough for their own domestic needs, with perhaps
+a few extra for display in the guest chambers.</p>
+
+<p>Much of the social pleasure of the pioneer women
+was due to their widespread interest in quilts.
+Aside from the quilting bees, which were notable
+affairs, collecting quilt patterns was to many women
+a source of both interest and enjoyment.
+Even the most ambitious woman could not hope
+to make a quilt like every design which she admired,
+so, to appease the desire for the numerous ones she
+<span class='pagenum'><a name="Page_136" id="Page_136">[Pg&nbsp;136]</a></span>
+was unable to make, their patterns were collected.
+These collections of quilt patterns&mdash;often quite
+extensive, frequently included single blocks of
+both pieced and patched designs. There was always
+a neighbourly and friendly interest taken in
+such collections, as popular designs were exchanged
+and copied many times. Choice remnants of prints
+and calicoes were also shared with the neighbours.
+Occasionally from trunks or boxes, long hidden in
+dusty attics, some of these old blocks come to light,
+yellowed with age and frayed at the edges, to remind
+us of the simple pleasures of our grandmothers.</p>
+
+<p>At the present time there is a marked revival
+of interest in quilts and their making. The evidences
+of this revival are the increasing demand for
+competent quilters, the desire for new quilt patterns,
+and the growing popularity of quilt exhibitions.
+Concerning exhibits of quilts, there
+is apparent&mdash;at least in the northern part of the
+United States&mdash;a noticeable increase in popular
+appreciation of those held at county and state fairs.
+This is a particularly fortunate circumstance for
+the development of the art, because the county
+fair, &ldquo;our one steadfast institution in a world of
+<span class='pagenum'><a name="Page_137" id="Page_137">[Pg&nbsp;137]</a></span>
+change,&rdquo; is so intimately connected with the lives
+and is so dear to the hearts of our people.</p>
+
+<div class="figcenter" style="width: 400px;">
+<a name="QUILTS_ON_LINE" id="QUILTS_ON_LINE"></a>
+<img src="images/quilts81th.jpg" width="400" height="318" alt="" />
+<span class="link"><a href="images/quilts81.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">QUILTS ON A LINE</p>
+
+<div class="figcenter" style="width: 389px;">
+<a name="GRAPES_AND_VINES" id="GRAPES_AND_VINES"></a>
+<img src="images/quilts82th.jpg" width="389" height="400" alt="" />
+<span class="link"><a href="images/quilts82.jpg">See larger image</a></span>
+</div>
+
+<p class="caption" style="padding-bottom: 3em;">GRAPES AND VINES</p>
+
+<p>In addition to the pleasures and social diversions
+which that annual rural festival&mdash;the county fair&mdash;affords,
+it is an educational force that is not sufficiently
+appreciated by those who live beyond the
+reach of its spell. At best, country life contains
+long stretches of monotony, and any interest with
+which it can be relieved is a most welcome addition
+to the lives of the women in rural communities.
+At the fair women are touched to new thoughts
+on common themes. They come to meet each
+other and talk over the latest kinks in jelly making,
+the progress of their children, and similar details
+of their family affairs. They come to get standards
+of living and to gather ideas of home decoration
+and entertainment for the long evenings when intercourse,
+even with the neighbours, becomes infrequent.</p>
+
+<p>There is not the least doubt concerning the beneficial
+influence of the local annual fair on the life of
+the adjacent neighbourhood. At such a fair the
+presence of a varied and well-arranged display of
+needlework, which has been produced by the womenfolk,
+is of the greatest assistance in making
+<span class='pagenum'><a name="Page_138" id="Page_138">[Pg&nbsp;138]</a></span>
+the community one in which it is worth while to
+live. Not only does it serve as a stimulus to those
+who look forward to the fair and put into their art
+the very best of their ability in order that they may
+surpass their competitor next door, but it also
+serves as an inspiration to those who are denied
+the faculty of creating original designs, yet nevertheless
+take keen pleasure in the production of
+beautiful needlework. It is to this latter class
+that an exhibition of quilts is of real value, because
+it provides them with new patterns that can be
+applied to the quilts which must be made. With
+fresh ideas for their inspiration, work which would
+otherwise be tedious becomes a real pleasure.</p>
+
+<p>For the women of the farm the exhibit of domestic
+arts and products occupies the pre&euml;minent
+place at the county fair. In this exhibit the display
+of patchwork is sure to arouse the liveliest
+enthusiasm. A visitor at a fair in a western state
+very neatly describes this appreciation shown to
+quilts: &ldquo;We used to hear a great deal about the
+sad and lonely fate of the western farmer&rsquo;s wife, but
+there was little evidence of loneliness in the appearance
+of these women who surrounded the quilts
+and fancywork in the Domestic Arts Building.&rdquo;</p>
+
+<p><span class='pagenum'><a name="Page_139" id="Page_139">[Pg&nbsp;139]</a></span>
+In connection with the display of needlework at
+rural fairs, it is interesting to note how ancient is
+this custom. In the &ldquo;Social History of Ancient
+Ireland&rdquo; is the following description of an Irish
+fair held during the fourth century&mdash;long before
+the advent of St. Patrick and Christianity: &ldquo;The
+people of Leinster every three years during the
+first week of August held the &lsquo;Fair of Carman.&rsquo;
+Great ceremony and formality attended this event,
+the King of Leinster and his court officiating.
+Music formed a prominent part of the amusement.
+One day was set apart for recitation of poems and
+romantic tales, another for horse and chariot racing.
+In another part of the Fair people indulged in uproarious
+fun, crowded around showmen, jugglers,
+clowns with painted faces or hideously grotesqued
+masks. Prizes publicly presented by King or
+dignitary were given to winners of various contests.
+Needlework was represented by &lsquo;the slope
+of the embroidering women,&rsquo; where women actually
+did their work in the presence of spectators.&rdquo;</p>
+
+<p>A very important factor in the recent revival of
+interest in quilts has been the springing up of impromptu
+exhibits as &ldquo;benefits&rdquo; for worthy causes,
+the raising of funds for which is a matter of popular
+<span class='pagenum'><a name="Page_140" id="Page_140">[Pg&nbsp;140]</a></span>
+interest. Does a church need a new roof, a hospital
+some more furnishings, or a college a new
+building? And have all the usual methods of
+raising money become hackneyed and uninspiring
+to those interested in furthering the project? To
+those confronted with such a money-raising problem
+the quilt exhibition offers a most welcome
+solution. For not only does such an exhibition
+offer a new form of entertainment, but it also has
+sources of interesting material from which to draw
+that are far richer than commonly supposed.</p>
+
+<p>Not so very long ago &ldquo;The Country Contributor&rdquo;
+undertook the task of giving a quilt show, and
+her description of it is distinctly worth while:</p>
+
+<p>&ldquo;My ideas were a bit vague. I had a mental
+picture of some beautiful quilts I knew of hung
+against a wall somewhere for people to come and
+look at and wonder over. So we announced the
+quilt show and then went on our way rejoicing.
+A good-natured school board allowed us to have
+the auditorium at the high school building for the
+display and the quilt agitation began.</p>
+
+<div class="figcenter" style="width: 334px;">
+<a name="GOLDEN_BUTTERFLIES" id="GOLDEN_BUTTERFLIES"></a>
+<img src="images/quilts83th.jpg" width="334" height="400" alt="" />
+<span class="link"><a href="images/quilts83.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">AS GOLDEN BUTTERFLIES AND PANSIES</p>
+
+<p class="incaption" style="padding-bottom: 3em;">Are so often playmates of little ones in the garden, and beloved by them,
+they were chosen for the motifs of this child&rsquo;s quilt</p>
+
+<p>&ldquo;A day or two before the show, which was to be
+on a Saturday, it began to dawn upon me that I
+might be buried under an avalanche of quilts.
+<span class='pagenum'><a name="Page_141" id="Page_141">[Pg&nbsp;141]</a></span>
+The old ones were terribly large. They were
+made to cover a fat feather bed or two and to hang
+down to hide the trundle bed underneath, and,
+though the interlining of cotton was very thin and
+even, still the weight of a quilt made by one&rsquo;s
+grandmother is considerable.</p>
+
+<p>&ldquo;We betook ourselves to the school building at
+an early hour on Saturday morning and the fun
+began. We were to receive entries until one
+o&rsquo;clock, when the exhibition was to begin.</p>
+
+<p>&ldquo;In looking back now at this little event, I
+wonder we could have been so benighted as to
+imagine we could do it in a day! After about an
+hour, during which the quilts came in by the dozen,
+I sent in a general alarm to friends and kindred
+for help. We engaged a carpenter, strung up
+wires and ropes, and by some magic of desperation
+we got those quilts on display, 118 of them, by
+one o&rsquo;clock.</p>
+
+<p>&ldquo;One lovely feature of this quilt show was the
+reverence with which men brought to us the quilts
+their mothers made. Plain farmers, busy workers,
+retired business men, came to us, their faces
+softened to tenderness, handed us, with mingled
+pride and devotion, their big bundle containing a
+<span class='pagenum'><a name="Page_142" id="Page_142">[Pg&nbsp;142]</a></span>
+contribution to the display, saying in softened
+accents, &lsquo;My mother made it.&rsquo; And each and
+every quilt brought thus was worthy of a price on
+its real merit&mdash;not for its hallowed association
+alone.</p>
+
+<p>&ldquo;Time and space would fail if I should try to tell
+about the quilts that came in at our call for an exhibition.
+There were so many prize quilts (fully
+two thirds of the quilts entered deserved prizes)
+that it is difficult to say what finally decided the
+blue ribbon. However, the quilt which finally carried
+it away was fairly typical of those of the early
+part of the nineteenth century. A rose pattern
+was applied in coloured calicoes on each alternate
+block. The geometrical calculation, the miraculous
+neatness of this work, can scarcely be exaggerated.
+But this is not the wonder of the thing.
+The real wonder is the quilting. This consisted
+in copying the design, petal for petal, leaf for leaf,
+in needlework upon every alternate block of white
+muslin. How these workers accomplished the
+raised designs on plain white muslin is the mystery.
+How raised flowers, leaves, plumes, baskets,
+bunches of fruit, even animal and bird shapes,
+could be shown in bas-relief on these quilt blocks
+<span class='pagenum'><a name="Page_143" id="Page_143">[Pg&nbsp;143]</a></span>
+without hopelessly &lsquo;puckering&rsquo; the material, none
+of us can imagine.&rdquo;</p>
+
+<p>No other inspiration that can equal our fairs has
+been offered to the quilters of our day. Public
+recognition of good work and the premiums which
+accompany this recognition augment the desire
+to excel in the art of quilt making. The keen
+competition engendered results in the most exact
+and painstaking work possible being put upon
+quilts that are entered for the &ldquo;blue ribbon.&rdquo; The
+materials, designs, and colours chosen for these
+quilts are given the most careful consideration,
+and the stitchery is as nearly perfect as it is possible
+to make it.</p>
+
+<p>Some of the finest old quilts that have been preserved
+are repeatedly exhibited at county and state
+fairs, and have more than held their own with those
+made in recent years. One shown at an exhibition
+of quilts and coverlets, held in a city in southern
+Indiana in 1914, had been awarded the first premium
+at thirty-seven different fairs. This renowned
+and venerable quilt had been made more
+than seventy-five years before. Its design is the
+familiar one known as the &ldquo;Rose of Sharon&rdquo;;
+both the needlework on the design and the quilting
+<span class='pagenum'><a name="Page_144" id="Page_144">[Pg&nbsp;144]</a></span>
+are exquisite, the stitches being all but invisible.</p>
+
+<p>A striking instance of the influence of fairs upon
+quilt making is shown in the number of beautiful
+quilts that have been made expressly for display in
+exhibitions at state fairs in the Middle West. One
+such collection, worthy of special notice, consists of
+seven quilts: three of elaborate designs in patchwork
+and four made up of infinitesimal pieces.
+Every stitch, both on the handsome tops and in
+the perfect quilting, was wrought with careful patience
+by an old-time quilt maker. The aggregate
+amount of stitching upon these seven quilts seems
+enough to constitute the work of a lifetime. The
+material in these quilts, except one which is of silk,
+is fine white muslin and the reliable coloured calicoes
+of fifty years ago.</p>
+
+<p>This extraordinary and beautiful collection is
+now being carefully preserved by an appreciative
+daughter, who tells how it was possible for her
+mother to accomplish this great task of needlework.
+The maker was the wife of a busy and prosperous
+farmer of northern Indiana. As on all
+farms in that region during the pioneer days, the
+home was the centre of manufacture of those
+<span class='pagenum'><a name="Page_145" id="Page_145">[Pg&nbsp;145]</a></span>
+various articles necessary to the welfare and comfort
+of the family. This indulgent farmer, realizing
+that his wife&rsquo;s quilt making was work of a higher
+plane than routine housekeeping, employed two
+stout daughters of a less fortunate neighbour to
+relieve her of the heavier household duties. Such
+work that required her direct supervision, as jelly
+making and fruit canning, was done in the evenings.
+This allowed the ambitious little woman
+ample time to pursue her art during the bright
+clear hours of daylight.</p>
+
+<p>Belonging to the collections of individuals are
+many old quilts which possess more than ordinary
+interest, not so much on account of their beauty
+or unusual patterns, but because of their connection
+with some notable personage or historic event.
+The number of quilts which are never used, but
+which are most carefully treasured by their owners
+on account of some sentimental or historic association,
+is far greater than generally supposed.
+While most of the old quilts so jealously hidden
+in closet and linen chest have no extraordinary
+beauty, yet from time to time there comes into
+notice one which possesses&mdash;in addition to its
+interesting connection with the past&mdash;an exquisite
+<span class='pagenum'><a name="Page_146" id="Page_146">[Pg&nbsp;146]</a></span>
+and mellow beauty which only tasteful design enhanced
+by age can give.</p>
+
+<p>Quite often beautiful quilts are found in old
+trunks and bureaus, which have gathered dust for
+untold years in attics and storerooms. Opportunities
+to ransack old garrets are greatly appreciated
+by collectors, as the uncertainty of what
+may be found gives zest to their search. It was of
+such old treasure trove that the hangings were
+found to make what Harriet Beecher Stowe in her
+novel, &ldquo;The Minister&rsquo;s Wooing,&rdquo; calls &ldquo;the garret
+boudoir.&rdquo; This was a cozy little enclosure made
+by hanging up old quilts, blankets, and coverlets
+so as to close off one corner of the garret. Her
+description of an old quilt used in this connection
+is especially interesting. It &ldquo;was a bed quilt
+pieced in tiny blocks, none of them bigger than a
+sixpence, containing, as Mrs. Katy said, pieces of
+the gowns of all her grandmothers, aunts, cousins,
+and female relatives for years back; and mated
+to it was one of the blankets which had served
+Mrs. Scudder&rsquo;s uncle in his bivouac at Valley
+Forge.&rdquo;</p>
+
+<div class="figcenter" style="width: 400px;">
+<a name="SNOWFLAKE_QUILT" id="SNOWFLAKE_QUILT"></a>
+<img src="images/quilts84th.jpg" width="400" height="387" alt="" />
+<span class="link"><a href="images/quilts84.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">THE &ldquo;SNOWFLAKE&rdquo; QUILT DESIGN</p>
+
+<p class="incaption" style="padding-bottom: 3em;">Brings to one&rsquo;s imagination the sharp-pointed, glistening snowflakes against
+a background of blue sky. The quilting in fine stitches simulates the applied
+pattern, and the border suggests drifts of snow as one sees them after a
+winter&rsquo;s storm</p>
+
+<p>To view the real impromptu exhibitions of
+quilts&mdash;for which, by the way, no admission fee is
+<span class='pagenum'><a name="Page_147" id="Page_147">[Pg&nbsp;147]</a></span>
+charged&mdash;one should drive along any country
+road on a bright sunny day in early spring. It is
+at this time that the household bedding is given its
+annual airing, and consequently long lines hung
+with quilts are frequent and interesting sights.
+During this periodical airing there becomes apparent
+a seemingly close alliance between patchwork
+and nature, as upon the soft green background of
+new leaves the beauty of the quilts is thrown into
+greater prominence. All the colours of the rainbow
+can be seen in the many varieties of design,
+for there is not a line that does not bear a startling
+&ldquo;Lone Star of Texas,&rdquo; &ldquo;Rising Sun,&rdquo; or some
+equally attractive pattern. Gentle breezes stir
+the quilts so that their designs and colours gain in
+beauty as they slowly wave to and fro. When
+the apple, cherry, and peach trees put on their
+new spring dresses of delicate blossoms and stand
+in graceful groups in the background, then the
+picture becomes even more charming.</p>
+
+<p>This periodical airing spreads from neighbour
+to neighbour, and as one sunny day follows another
+all the clothes lines become weighted with burdens
+of brightest hues. Of course, there is no rivalry
+between owners, or no unworthy desire to show off,
+<span class='pagenum'><a name="Page_148" id="Page_148">[Pg&nbsp;148]</a></span>
+yet, have you ever seen a line full of quilts hung
+wrong side out? It has been suggested that at an
+exhibition is the logical place to see quilts bloom.
+Yet, while it is a rare chance to see quilts of all
+kinds and in all states of preservation, yet it is
+much like massing our wild Sweet Williams, Spring
+Beauties, and Violets in a crowded greenhouse.
+They bravely do their best, but you can fairly see
+them gasping for the fresh, free air of their woodland
+homes. A quilt hung on a clothes line in the
+dooryard and idly flapping in the wind receives
+twice the appreciation given one which is sedately
+folded across a wire with many others in a crowded,
+jealous row.</p>
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class='pagenum'><a name="Page_149" id="Page_149">[Pg&nbsp;149]</a></span></p>
+
+<h2>CHAPTER VIII</h2>
+
+<h3><span class="smcap">The Quilt&rsquo;s Place in American Homes</span></h3>
+
+
+<p><span class="dropcap">T</span>HE dominant characteristics of quilt making
+are companionship and concentrated
+interest. Both of these qualities, or&mdash;better
+yet&mdash;virtues, must be in evidence in order
+to bring a quilt to successful completion. The
+sociable, gossipy &ldquo;quilting bee,&rdquo; where the quilt
+is put together and quilted, has planted in every
+community in which it is an institution the seeds
+of numberless lifelong friendships. These friendships
+are being made over the quilting frames to-day
+just as they were in the pioneer times when a
+&ldquo;quilting&rdquo; was almost the only social diversion.
+Content with life, fixity of purpose, development of
+individuality, all are brought forth in every woman
+who plans and pieces a quilt. The reward of her
+work lies, not only in the pleasure of doing, but also
+in the joy of possession&mdash;which can be passed on
+even to future generations, for a well-made quilt
+is a lasting treasure.</p>
+
+<p><span class='pagenum'><a name="Page_150" id="Page_150">[Pg&nbsp;150]</a></span>
+All this is quite apart from the strictly useful
+functions which quilts perform so creditably in every
+home, for quilts are useful as well as artistic. In
+summer nights they are the ideal emergency covering
+for the cool hour before dawn, or after a rapid
+drop in temperature, caused by a passing thunderstorm.
+But in the long chill nights of winter, when
+the snow sifts in through the partly raised window
+and all mankind snuggles deeper into the bed
+clothes, then all quilts may be truly said to do their
+duty. And right well they do it, too, as all those
+who love to linger within their cozy shelter on
+frosty December mornings will testify.</p>
+
+<div class="figcenter" style="width: 314px;">
+<a name="DOGWOOD_QUILT" id="DOGWOOD_QUILT"></a>
+<img src="images/quilts85th.jpg" width="314" height="400" alt="" />
+<span class="link"><a href="images/quilts85.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">THE DOGWOOD QUILT</p>
+
+<p class="incaption" style="padding-bottom: 3em;">Offers another choice in flower designs. The full-grown blossoms on the
+green background remind us of the beauty of trees
+and flowers in early spring</p>
+
+<p>As a promoter of good-will and neighbourly interest
+during the times when our new country was
+being settled, and woman&rsquo;s social intercourse was
+very limited, the &ldquo;quilting bee&rdquo; holds a worthy
+place close beside the meeting-house. The feeling
+of co&ouml;peration so noticeable in all men and growing
+communities, and which is really essential for their
+success, is aptly described in the old &ldquo;Annals of
+Tennessee,&rdquo; published by Dr. J.&nbsp;G.&nbsp;M. Ramsey in
+1853 (&ldquo;Dedicated to the surviving pioneers of
+Tennessee&rdquo;):</p>
+
+<p>&ldquo;To say of one he has no neighbours was sufficient,
+<span class='pagenum'><a name="Page_151" id="Page_151">[Pg&nbsp;151]</a></span>
+in those times of mutual wants and mutual
+benefactions, to make the churl infamous and execrable.
+A failure to ask a neighbour to a raising,
+clearing, a chopping frolic, or his family to a quilting,
+was considered a high indignity; such an one,
+too, as required to be explained or atoned for at
+the next muster or county court. Each settler
+was not only willing but desirous to contribute his
+share to the general comfort and public improvement,
+and felt aggrieved and insulted if the opportunity
+to do so were withheld. &lsquo;It is a poor dog
+that is not worth whistling for,&rsquo; replied the
+indignant neighbour who was allowed to remain at
+home, at his own work, while a house raising was
+going on in the neighbourhood. &lsquo;What injury
+have I done that I am slighted so?&rsquo;&rdquo;</p>
+
+<p>Quilts occupied a pre&euml;minent place in the rural
+social scheme, and the quilting bees were one of
+the few social diversions afforded outside of the
+church. Much drudgery was lightened by the
+joyful anticipation of a neighbourhood quilting
+bee. The preparations for such an important event
+were often quite elaborate. As a form of entertainment
+quilting bees have stood the test of time,
+and from colonial days down to the present
+<span class='pagenum'><a name="Page_152" id="Page_152">[Pg&nbsp;152]</a></span>
+have furnished much pleasure in country communities.</p>
+
+<p>In a quaint little book published in 1872 by
+Mrs. P.&nbsp;G. Gibbons, under the title, &ldquo;Pennsylvania
+Dutch,&rdquo; is a detailed description of a country
+quilting that Mrs. Gibbons attended. The
+exact date of this social affair is not given, but
+judging from other closely related incidents mentioned
+by the writer, it must have taken place about
+1840, in Lancaster County, Pennsylvania. The
+account reads as follows:</p>
+
+<p>&ldquo;Aunt Sally had her quilt up in her landlord&rsquo;s
+east room, for her own was too small. However, at
+about eleven she called us over to dinner, for people
+who have breakfasted at five or six have an
+appetite at eleven.</p>
+
+<p>&ldquo;We found on the table beefsteaks, boiled pork,
+sweet potatoes, &lsquo;Kohl-slaw,&rsquo; pickled cucumbers and
+red beets, apple butter and preserved peaches,
+pumpkin and apple pie, sponge cake and coffee.
+After dinner came our next neighbours, &lsquo;the maids,&rsquo;
+Susy and Katy Groff, who live in single blessedness
+and great neatness. They wore pretty, clear-starched
+Mennonist caps, very plain. Katy is a
+sweet-looking woman and, although she is more than
+<span class='pagenum'><a name="Page_153" id="Page_153">[Pg&nbsp;153]</a></span>
+sixty years old, her forehead is almost unwrinkled,
+and her fine hair is still brown. It was late when
+the farmer&rsquo;s wife came&mdash;three o&rsquo;clock; for she had
+been to Lancaster. She wore hoops and was of the
+&lsquo;world&rsquo;s people.&rsquo; These women all spoke &lsquo;Dutch,&rsquo;
+for the maids, whose ancestors came here probably
+one hundred and fifty years ago, do not speak English
+with fluency yet.</p>
+
+<p>&ldquo;The first subject of conversation was the fall
+house-cleaning; and I heard mention of &lsquo;die carpett
+hinaus an der fence&rsquo; and &lsquo;die fenshter und
+die porch,&rsquo; and the exclamation, &lsquo;My goodness,
+es was schlimm.&rsquo; I quilted faster than Katy
+Groff, who showed me her hands, and said, &lsquo;You
+have not been corn husking, as I have.&rsquo;</p>
+
+<p>&ldquo;So we quilted and rolled, talked and laughed,
+got one quilt done, and put in another. The work
+was not fine; we laid it out by chalking around
+a small plate. Aunt Sally&rsquo;s desire was rather to
+get her quilting finished upon this great occasion
+than for us to put in a quantity of fine needlework.
+About five o&rsquo;clock we were called to supper. I
+need not tell you all the particulars of this plentiful
+meal; but the stewed chicken was tender and
+we had coffee again.</p>
+
+<p><span class='pagenum'><a name="Page_154" id="Page_154">[Pg&nbsp;154]</a></span>
+&ldquo;Polly M&rsquo;s husband now came over the creek
+in the boat, to take her home, and he warned her
+against the evening dampness. The rest of us
+quilted a while by candles, and got the second
+quilt done at about seven. At this quilting there
+was little gossip, and less scandal. I displayed my
+new alpaca and my dyed merino and the Philadelphia
+bonnet which exposes the back of my
+head to the wintry blast. Polly, for her part,
+preferred a black silk sunbonnet; and so we parted,
+with mutual invitations to visit.&rdquo;</p>
+
+<p>The proverbial neatness of the ancestors of the
+Dutch colonists in America was characteristic of
+their homes in the new land. This is well illustrated
+in the following description of a Pennsylvania
+Dutch farmer&rsquo;s home, similar to the one in
+which the quilting above mentioned took place:
+&ldquo;We keep one fire in winter. This is in the kitchen
+which, with nice housekeepers, is the abode of
+neatness, with its rag carpet and brightly polished
+stove. Adjoining the kitchen is a state apartment,
+also rag-carpeted, and called &lsquo;the room.&rsquo; Will
+you go upstairs in a neat Dutch farmhouse? There
+are rag carpets again. Gay quilts are on the best
+beds, where green and red calico, perhaps in the
+<span class='pagenum'><a name="Page_155" id="Page_155">[Pg&nbsp;155]</a></span>
+form of a basket, are displayed on a white ground;
+or the beds bear brilliant coverlets of red, white, and
+blue, as if to &lsquo;make the rash gazer wipe his eyes.&rsquo;&rdquo;</p>
+
+<p>There are many things to induce women to piece
+quilts. The desire for a handsome bed furnishing,
+or the wish to make a gift of one to a dear friend,
+have inspired some women to make quilts. With
+others, quilt making is a recreation, a diversion,
+a means of occupying restless fingers. However,
+the real inducement is love of the work; because
+the desire to make a quilt exceeds all other desires.
+In such a case it is worked on persistently, laid
+aside reluctantly, and taken up each time with
+renewed interest and pleasure. It is this intense
+interest in the work which produces the most
+beautiful quilts. On quilts that are made because
+of the genuine interest in the work, the most painstaking
+efforts are put forth; the passing of time is
+not considered; and the belief of the majority of
+such quilt makers, though unconfessed, doubtless,
+is the equivalent of the old Arab proverb that
+&ldquo;Slowness comes from God, but hurry from the
+devil.&rdquo;</p>
+
+<p>All women who are lonely do not live in isolated
+farmhouses, prairie shacks, or remote villages. In
+<span class='pagenum'><a name="Page_156" id="Page_156">[Pg&nbsp;156]</a></span>
+reality, there are more idle, listless hands in the
+hearts of crowded bustling cities than in the quiet
+country. City women, surrounded by many enticing
+distractions, are turning more and more to
+patchwork as a fascinating yet nerve-soothing
+occupation. Not only is there a sort of companionship
+between the maker and the quilt, but there
+is also the great benefit derived from having found
+a new interest in life, something worth while that
+can be built up by one&rsquo;s own efforts.</p>
+
+<p>An anecdote is told of a woman living in a quiet
+little New England village who complained of her
+loneliness there, where the quilting bees were the
+only saving features of an otherwise colourless existence.
+She told the interested listener that in
+this out-of-the-way hamlet she did not mind the
+monotony much because there were plenty of
+&ldquo;quiltings,&rdquo; adding that she had helped that winter
+at more than twenty-five quilting bees; besides
+this, she had made a quilt for herself and also
+helped on some of those of her immediate neighbours.</p>
+
+<div class="figcenter" style="width: 308px;">
+<a name="WILD_ROSE" id="WILD_ROSE"></a>
+<img src="images/quilts86th.jpg" width="308" height="400" alt="" />
+<span class="link"><a href="images/quilts86.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">THE WILD ROSE</p>
+
+<p class="incaption" style="padding-bottom: 3em;">That loves to grow in fragrant, tangled masses by the roadside was made to
+march in prim rows on this child&rsquo;s quilt</p>
+
+<p>American women rarely think of quilts as being
+made or used outside of their own country. In
+reality quilts are made in almost every land on the
+<span class='pagenum'><a name="Page_157" id="Page_157">[Pg&nbsp;157]</a></span>
+face of the earth. Years ago, when the first New
+England missionaries were sent to the Hawaiian
+Islands, the native women were taught to piece
+quilts, which they continue to do down to this day.
+These Hawaiian women treasure their handiwork
+greatly, and some very old and beautiful quilts
+are to be found among these islands. In creating
+their patchwork they have wandered from the
+Puritanical designs of their teachers, and have
+intermingled with the conventional figures the
+gorgeous flowers that bloom beside their leaf-thatched,
+vine-covered huts. To these women,
+also, patchwork fills a place. It affords a means of
+expression for individuality and originality in the
+same way that it does for the lonely New England
+women and for the isolated mountaineers of Kentucky.</p>
+
+<p>Harriet Beecher Stowe, immortalized by &ldquo;Uncle
+Tom&rsquo;s Cabin,&rdquo; produced other stories, not now so
+familiar to us as to our countrymen of the Civil
+War period, which showed an intimate knowledge
+of the home life of the American people as well
+as the vital questions of her day. In her novel
+entitled the &ldquo;Minister&rsquo;s Wooing,&rdquo; which ran first
+as a serial in the <i>Atlantic Monthly</i> in 1859, she
+<span class='pagenum'><a name="Page_158" id="Page_158">[Pg&nbsp;158]</a></span>
+describes a quilting supposed to have been given
+about the year 1800. Here we can view at close
+range a real old-fashioned quilting, and gain some
+insight into its various incidents of sociability and
+gossip, typical of an early New England seafaring
+village, as set forth in Mrs. Stowe&rsquo;s inimitable
+style:</p>
+
+<p>&ldquo;By two o&rsquo;clock a goodly company began to assemble.
+Mrs. Deacon Twitchel arrived, soft,
+pillowy, and plaintive as ever, accompanied by
+Cerinthy Ann, a comely damsel, tall and trim,
+with a bright black eye and a most vigorous and
+determined style of movement. Good Mrs. Jones,
+broad, expansive, and solid, having vegetated
+tranquilly on in the cabbage garden of the virtues
+since three years ago, when she graced our tea
+party, was now as well preserved as ever, and
+brought some fresh butter, a tin pail of cream, and a
+loaf of cake made after a new Philadelphia receipt.
+The tall, spare, angular figure of Mrs. Simeon
+Brown alone was wanting; but she patronized Mrs.
+Scudder no more, and tossed her head with a becoming
+pride when her name was mentioned.</p>
+
+<p>&ldquo;The quilt pattern was gloriously drawn in oak
+leaves, done in indigo; and soon all the company,
+<span class='pagenum'><a name="Page_159" id="Page_159">[Pg&nbsp;159]</a></span>
+young and old, were passing busy fingers over it,
+and conversation went on briskly.</p>
+
+<p>&ldquo;Madame de Frontignac, we must not forget to
+say, had entered with hearty abandon into the
+spirit of the day. She had dressed the tall china
+vases on the mantelpiece, and, departing from
+the usual rule of an equal mixture of roses and
+asparagus bushes, had constructed two quaint and
+graceful bouquets where garden flowers were
+mingled with drooping grasses and trailing wild
+vines, forming a graceful combination which excited
+the surprise of all who saw it.</p>
+
+<p>&ldquo;&lsquo;It&rsquo;s the very first time in my life that I ever
+saw grass put into a flower pot,&rsquo; said Miss Prissy,
+&lsquo;but I must say it looks as handsome as a picture.
+Mary, I must say,&rsquo; she added, in an aside, &lsquo;I think
+that Madame de Frontignac is the sweetest dressing
+and appearing creature I ever saw; she don&rsquo;t
+dress up nor put on airs, but she seems to see in a
+minute how things ought to go; and if it&rsquo;s only a
+bit of grass, or leaf, or wild vine, that she puts in her
+hair, why, it seems to come just right. I should
+like to make her a dress, for I know she would
+understand my fit; do speak to her, Mary, in case
+she should want a dress fitted here, to let me try it.&rsquo;</p>
+
+<p><span class='pagenum'><a name="Page_160" id="Page_160">[Pg&nbsp;160]</a></span>
+&ldquo;At the quilting Madame de Frontignac would
+have her seat, and soon won the respect of the party
+by the dexterity with which she used her needle;
+though, when it was whispered that she learned
+to quilt among the nuns, some of the elderly ladies
+exhibited a slight uneasiness, as being rather
+doubtful whether they might not be encouraging
+papistical opinions by allowing her an equal share
+in the work of getting up their minister&rsquo;s bed quilt;
+but the younger part of the company was quite
+captivated by her foreign air and the pretty manner
+in which she lisped her English; and Cerinthy
+Ann even went so far as to horrify her mother by
+saying that she wished she&rsquo;d been educated in a
+convent herself, a declaration which arose less
+from native depravity than from a certain vigorous
+disposition, which often shows itself in young
+people, to shock the current opinions of their
+elders and betters. Of course, the conversation
+took a general turn, somewhat in unison with the
+spirit of the occasion; and whenever it flagged,
+some allusion to a forthcoming wedding, or some
+sly hint at the future young Madame of the parish
+was sufficient to awaken the dormant animation
+of the company.</p>
+
+<div class="figcenter" style="width: 300px;">
+<a name="MORNING_GLORY" id="MORNING_GLORY"></a>
+<img src="images/quilts87th.jpg" width="300" height="400" alt="" />
+<span class="link"><a href="images/quilts87.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">MORNING GLORY</p>
+
+<p class="incaption" style="padding-bottom: 3em;">It must be &ldquo;early to bed and early to rise&rdquo; for the child who would see the
+sweet morning glory in all its loveliness, as it must be
+found before all the dew is gone</p>
+
+<p><span class='pagenum'><a name="Page_161" id="Page_161">[Pg&nbsp;161]</a></span>
+&ldquo;Cerinthy Ann contrived to produce an agreeable
+electric shock by declaring that for her part
+she never could see into it how any girl could
+marry a minister; that she should as soon think of
+setting up housekeeping in a meeting-house.</p>
+
+<p>&ldquo;&lsquo;Oh, Cerinthy Ann!&rsquo; exclaimed her mother,
+&lsquo;how can you go on so?&rsquo;</p>
+
+<p>&ldquo;&lsquo;It&rsquo;s a fact,&rsquo; said the adventurous damsel;
+&lsquo;now other men let you have some peace, but a
+minister&rsquo;s always round under your feet.&rsquo;</p>
+
+<p>&ldquo;&lsquo;So you think the less you see of a husband, the
+better?&rsquo; said one of the ladies.</p>
+
+<p>&ldquo;&lsquo;Just my views!&rsquo; said Cerinthy, giving a decided
+snip to her thread with her scissors. &lsquo;I like
+the Nantucketers, that go off on four years&rsquo; voyages,
+and leave their wives a clear field. If ever
+I get married, I&rsquo;m going up to have one of those
+fellows.&rsquo;</p>
+
+<p>&ldquo;It is to be remarked, in passing, that Miss
+Cerinthy Ann was at this very time receiving surreptitious
+visits from a consumptive-looking, conscientious
+young theological candidate, who came
+occasionally to preach in the vicinity, and put up
+at the house of the deacon, her father. This good
+young man, being violently attacked on the
+<span class='pagenum'><a name="Page_162" id="Page_162">[Pg&nbsp;162]</a></span>
+doctrine of election by Miss Cerinthy, had been drawn
+on to illustrate it in a most practical manner, to
+her comprehension; and it was the consciousness
+of the weak and tottering state of the internal
+garrison that added vigour to the young lady&rsquo;s
+tones. As Mary had been the chosen confidante
+of the progress of this affair, she was quietly amused
+at the demonstration.</p>
+
+<p>&ldquo;&lsquo;You&rsquo;d better take care, Cerinthy Ann,&rsquo; said her
+mother, &lsquo;they say &ldquo;that those who sing before breakfast
+will cry before supper.&rdquo; Girls talk about getting
+married,&rsquo; she said, relapsing into a gentle
+melancholy, &lsquo;without realizing its awful responsibilities.&rsquo;</p>
+
+<p>&ldquo;&lsquo;Oh, as to that,&rsquo; said Cerinthy, &lsquo;I&rsquo;ve been practising
+on my pudding now these six years, and I
+shouldn&rsquo;t be afraid to throw one up chimney with
+any girl.&rsquo;</p>
+
+<p>&ldquo;This speech was founded on a tradition, current
+in those times, that no young lady was fit to be
+married till she could construct a boiled Indian
+pudding of such consistency that it could be thrown
+up a chimney and come down on the ground outside
+without breaking; and the consequence of
+Cerinthy Ann&rsquo;s sally was a general laugh.</p>
+
+<p><span class='pagenum'><a name="Page_163" id="Page_163">[Pg&nbsp;163]</a></span>
+&ldquo;&lsquo;Girls ain&rsquo;t what they used to be in my day,&rsquo;
+sententiously remarked an elderly lady. &lsquo;I remember
+my mother told me when she was thirteen she
+could knit a long cotton stocking in a day.&rsquo;</p>
+
+<p>&ldquo;&lsquo;I haven&rsquo;t much faith in these stories of old
+times, have you, girls?&rsquo; said Cerinthy, appealing to
+the younger members at the frame.</p>
+
+<p>&ldquo;&lsquo;At any rate,&rsquo; said Mrs. Twitchel, &lsquo;our minister&rsquo;s
+wife will be a pattern; I don&rsquo;t know anybody
+that goes beyond her either in spinning or fine
+stitching.&rsquo;</p>
+
+<p>&ldquo;Mary sat as placid and disengaged as the new
+moon, and listened to the chatter of old and young
+with the easy quietness of a young heart that has
+early outlived life and looks on everything in the
+world from some gentle, restful eminence far on
+toward a better home. She smiled at everybody&rsquo;s
+word, had a quick eye for everybody&rsquo;s wants, and
+was ready with thimble, scissors, or thread, whenever
+any one needed them; but once, when there
+was a pause in the conversation, she and Mrs.
+Marvyn were both discovered to have stolen away.
+They were seated on the bed in Mary&rsquo;s little room,
+with their arms around each other, communing in
+low and gentle tones.</p>
+
+<p><span class='pagenum'><a name="Page_164" id="Page_164">[Pg&nbsp;164]</a></span>
+&ldquo;&lsquo;Mary, my dear child,&rsquo; said her friend, &lsquo;this
+event is very pleasant to me, because it places
+you permanently near me. I did not know but
+eventually this sweet face might lead to my losing
+you who are in some respects the dearest friend
+I have.&rsquo;</p>
+
+<p>&ldquo;&lsquo;You might be sure,&rsquo; said Mary, &lsquo;I never would
+have married, except that my mother&rsquo;s happiness
+and the happiness of so good a friend seemed to depend
+on it. When we renounce self in anything we
+have reason to hope for God&rsquo;s blessing; and so I
+feel assured of a peaceful life in the course I have
+taken. You will always be as a mother to me,&rsquo;
+she added, laying her head on her friend&rsquo;s shoulder.</p>
+
+<p>&ldquo;&lsquo;Yes,&rsquo; said Mrs. Marvyn; &lsquo;and I must not let
+myself think a moment how dear it might have been
+to have you more my own. If you feel really,
+truly happy, if you can enter on this life without
+any misgivings&mdash;&mdash;&rsquo;</p>
+
+<p>&ldquo;&lsquo;I can,&rsquo; said Mary firmly.</p>
+
+<p>&ldquo;At this instant, very strangely, the string which
+confined a wreath of seashells around her glass,
+having been long undermined by moths, suddenly
+broke and fell down, scattering the shells upon the
+floor.</p>
+
+<div class="figcenter" style="width: 308px;">
+<a name="KEEPSAKE_QUILT" id="KEEPSAKE_QUILT"></a>
+<img src="images/quilts88th.jpg" width="308" height="400" alt="" />
+<span class="link"><a href="images/quilts88.jpg">See larger image</a></span>
+</div>
+
+<p class="caption">&ldquo;KEEPSAKE QUILT&rdquo;</p>
+
+<p class="incaption" style="padding-bottom: 3em;">The sunbonnet lassies suggest an outing or a call from playmates on the
+morrow. These lassies may be dressed in bits of the gowns of the
+little maid, and the quilt thus become a &ldquo;keepsake quilt&rdquo;</p>
+
+<p><span class='pagenum'><a name="Page_165" id="Page_165">[Pg&nbsp;165]</a></span>
+&ldquo;Both women started, for the string of shells had
+been placed there by James; and though neither
+was superstitious, this was one of those odd coincidences
+that make hearts throb.</p>
+
+<p>&ldquo;&lsquo;Dear boy!&rsquo; said Mary, gathering the shells up
+tenderly; &lsquo;wherever he is, I shall never cease to
+love him. It makes me feel sad to see this come
+down; but it is only an accident; nothing of him
+will ever fall out of my heart.&rsquo;</p>
+
+<p>&ldquo;Mrs. Marvyn clasped Mary closer to her, with
+tears in her eyes.</p>
+
+<p>&ldquo;&lsquo;I&rsquo;ll tell you what, Mary, it must have been
+the moths did that,&rsquo; said Miss Prissy, who had been
+standing, unobserved, at the door for a moment
+back; &lsquo;moths will eat away strings just so. Last
+week Miss Vernon&rsquo;s great family picture fell down
+because the moths eat through the cord; people
+ought to use twine or cotton string always. But
+I came to tell you that supper is all set, and the
+doctor out of his study, and all the people are wondering
+where you are.&rsquo;</p>
+
+<p>&ldquo;Mary and Mrs. Marvyn gave a hasty glance at
+themselves in the glass, to be assured of their good
+keeping, and went into the great kitchen, where a
+long table stood exhibiting all that plentitude of
+<span class='pagenum'><a name="Page_166" id="Page_166">[Pg&nbsp;166]</a></span>
+provision which the immortal description of Washington
+Irving has saved us the trouble of recapitulating
+in detail.</p>
+
+<p>&ldquo;The husbands, brothers, and lovers had come
+in, and the scene was redolent of gayety. When
+Mary made her appearance, there was a moment&rsquo;s
+pause, till she was conducted to the side of the
+doctor; when, raising his hand, he invoked a grace
+upon the loaded board.</p>
+
+<p>&ldquo;Unrestrained gayeties followed. Groups of
+young men and maidens chatted together, and all
+the gallantries of the times were enacted. Serious
+matrons commented on the cake, and told each
+other high and particular secrets in the culinary
+art which they drew from remote family archives.
+One might have learned in that instructive assembly
+how best to keep moths out of blankets, how
+to make fritters of Indian corn undistinguishable
+from oysters, how to bring up babies by hand,
+how to mend a cracked teapot, how to take out
+grease from a brocade, how to reconcile absolute
+decrees with free will, how to make five yards of
+cloth answer the purpose of six, and how to put
+down the Democratic party.</p>
+
+<p>&ldquo;Miss Prissy was in her glory; every bow of her
+<span class='pagenum'><a name="Page_167" id="Page_167">[Pg&nbsp;167]</a></span>
+best cap was alive with excitement, and she presented
+to the eyes of the astonished Newport gentry
+an animated receipt book. Some of the information
+she communicated, indeed, was so valuable
+and important that she could not trust the
+air with it, but whispered the most important portions
+in a confidential tone. Among the crowd,
+Cerinthy Ann&rsquo;s theological admirer was observed
+in deeply reflective attitude; and that high-spirited
+young lady added further to his convictions of the
+total depravity of the species by vexing and discomposing
+him in those thousand ways in which a
+lively, ill-conditioned young woman will put to rout
+a serious, well-disposed young man, comforting herself
+with the reflection that by and by she would
+repent of all her sins in a lump together.</p>
+
+<p>&ldquo;Vain, transitory splendours! Even this evening,
+so glorious, so heart cheering, so fruitful in
+instruction and amusement, could not last forever.
+Gradually the company broke up; the matrons
+mounted soberly on horseback behind their
+spouses, and Cerinthy consoled her clerical friend
+by giving him an opportunity to read her a lecture
+on the way home, if he found the courage to do so.</p>
+
+<p>&ldquo;Mr. and Mrs. Marvyn and Candace wound their
+<span class='pagenum'><a name="Page_168" id="Page_168">[Pg&nbsp;168]</a></span>
+way soberly homeward; the doctor returned to his
+study for nightly devotions; and before long sleep
+settled down on the brown cottage.</p>
+
+<p>&ldquo;&lsquo;I&rsquo;ll tell you what, Cato,&rsquo; said Candace, before
+composing herself to sleep, &lsquo;I can&rsquo;t feel it in my
+bones dat dis yer weddin&rsquo;s gwine to come off yit.&rsquo;&rdquo;</p>
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class='pagenum'><a name="Page_169" id="Page_169">[Pg&nbsp;169]</a></span></p>
+
+<h2>LIST OF QUILT NAMES</h2>
+
+<p class="center"><b><span class="smcap">Arranged Alphabetically</span></b></p>
+
+
+<p class="list">
+Air Castle<br />
+Alabama Beauty<br />
+Album<br />
+All Tangled Up<br />
+Alpine Rose<br />
+American Log Patch<br />
+Apple Hexagon<br />
+Arabic Lattice<br />
+Arkansas Traveller<br />
+Art Square<br />
+Ashland Rose<br />
+Aunt Eliza&rsquo;s Star Point<br />
+Aunt Sukey&rsquo;s Patch<br />
+Autograph Quilt<br />
+</p>
+
+<p class="list">
+Bachelor&rsquo;s Puzzle<br />
+Barrister&rsquo;s Blocks<br />
+Base Ball<br />
+Basket of Lilies<br />
+Basket Quilt<br />
+Bat&rsquo;s Wing<br />
+Bear&rsquo;s Foot<br />
+Bear&rsquo;s Paws<br />
+Bedtime<br />
+Beggar&rsquo;s Blocks<br />
+Big Dipper<br />
+Bird&rsquo;s Nest<br />
+Blackford&rsquo;s Beauty<br />
+Blazing Star<br />
+Blind Man&rsquo;s Fancy<br />
+Block Album<br />
+Bluebird<br />
+Boston Puzzle<br />
+Bounding Betty<br />
+Bouquet<br />
+Box Blocks<br />
+Boxed I&rsquo;s<br />
+Boy&rsquo;s Nonsense<br />
+Brick Pile<br />
+Brickwork Quilt<br />
+Broken Dish<br />
+Brown-tailed Moth<br />
+Brunswick Star<br />
+Bunnies<br />
+Bunnies and Baskets<br />
+Butterflies<br />
+</p>
+
+<p class="list">
+Cactus Blossom<br />
+Cake Stand<br />
+<span class='pagenum'><a name="Page_170" id="Page_170">[Pg&nbsp;170]</a></span>
+California Oak Leaf<br />
+California Rose<br />
+California Star<br />
+Capital I<br />
+Carolina Lily<br />
+Carpenter&rsquo;s Rule<br />
+Carpenter&rsquo;s Square<br />
+Cats and Mice<br />
+Centennial<br />
+Charm<br />
+Charter Oak<br />
+Cherry Basket<br />
+Chicago Star<br />
+Children&rsquo;s Delight<br />
+Chimney Swallows<br />
+Christmas Tree<br />
+Chrysanthemums<br />
+Churn Dash<br />
+Circle Within Circle<br />
+Circuit Rider<br />
+Cleveland Lilies<br />
+Cluster of Stars<br />
+Coarse Woven Patch<br />
+Cockscomb<br />
+Cog Wheel<br />
+Columbian Puzzle<br />
+Columbia Star<br />
+Combination Star<br />
+Compass<br />
+Complex Rose<br />
+Confederate Rose<br />
+Continental<br />
+Corn and Beans<br />
+Cottage Tulip<br />
+Country Farm<br />
+Coxey&rsquo;s Camp<br />
+Crazy Ann<br />
+Crazy Quilt<br />
+Crib Quilt<br />
+Cross, The<br />
+Cross and Crown<br />
+Crosses and Losses<br />
+Crosses and Stars<br />
+Crossed Canoes<br />
+Cross Roads to Texas<br />
+Cross Within Cross<br />
+Crow&rsquo;s Foot<br />
+Cube Lattice<br />
+Cube Work<br />
+Cypress Leaf<br />
+</p>
+
+<p class="list">
+Daffodils and Butterflies<br />
+Daisies<br />
+Democrat Rose<br />
+Devil&rsquo;s Claws<br />
+Devil&rsquo;s Puzzle<br />
+Diagonal Log Chain<br />
+Diamond, The<br />
+Diamond Cube<br />
+Diamond Design<br />
+Diamonds<br />
+Diamond Star<br />
+Disk, The<br />
+Dogwood<br />
+Domino<br />
+Domino and Square<br />
+<span class='pagenum'><a name="Page_171" id="Page_171">[Pg&nbsp;171]</a></span>
+Double Irish Chain<br />
+Double Peony<br />
+Double Squares<br />
+Double Wrench<br />
+Double X, No. 1<br />
+Double X, No. 2<br />
+Double X, No. 3<br />
+Double X, No. 4<br />
+Double Z<br />
+Dove in the Window<br />
+Dutchman&rsquo;s Puzzle<br />
+Dutch Rose<br />
+Drunkard&rsquo;s Patchwork<br />
+Drunkard&rsquo;s Path<br />
+Ducks and Ducklings<br />
+</p>
+
+<p class="list">
+Ecclesiastical<br />
+Economy<br />
+Eight Hands Around<br />
+Eight-point Design<br />
+Eight-pointed Star<br />
+Enigma<br />
+Evening Star<br />
+Everybody&rsquo;s Favourite<br />
+</p>
+
+<p class="list">
+Fan<br />
+Fan and Rainbow<br />
+Fan Patch<br />
+Fanny&rsquo;s Fan<br />
+Fantastic Patch<br />
+Feather Star<br />
+Ferris Wheel<br />
+Field Daisies<br />
+Five-pointed Star<br />
+Five Stripes<br />
+Fleur-de-Lis<br />
+Flower Basket<br />
+Flower Pot<br />
+Flutter Wheel<br />
+Flying Bat<br />
+Flying Star<br />
+Fool&rsquo;s Puzzle<br />
+Fool&rsquo;s Square<br />
+Forbidden Fruit Tree<br />
+Forest Pattern<br />
+Four E&rsquo;s<br />
+Four Frogs Quilt<br />
+Four Little Birds<br />
+Four Points<br />
+Four Stars Patch<br />
+Four X Star<br />
+French Basket<br />
+Friendship Quilt<br />
+Fruit Basket<br />
+</p>
+
+<p class="list">
+Garden of Eden<br />
+Garfield&rsquo;s Monument<br />
+Gentleman&rsquo;s Fancy<br />
+Georgetown Circle<br />
+Girl&rsquo;s Joy<br />
+Globe, The<br />
+Golden Gates<br />
+Goose in the Pond<br />
+Goose Tracks<br />
+Gourd Vine<br />
+Grandmother&rsquo;s Choice<br />
+<span class='pagenum'><a name="Page_172" id="Page_172">[Pg&nbsp;172]</a></span>
+Grandmother&rsquo;s Dream<br />
+Grandmother&rsquo;s Own<br />
+Grape Basket<br />
+Grapes and Vines<br />
+Grecian Design<br />
+Greek Cross<br />
+Greek Square<br />
+</p>
+
+<p class="list">
+Hairpin Catcher<br />
+Hand, The<br />
+Hands All Around<br />
+Handy Andy<br />
+Harrison Rose<br />
+Harvest Rose<br />
+Hearts and Gizzards<br />
+Hen and Chickens<br />
+Hexagonal<br />
+Hickory Leaf<br />
+Hobson&rsquo;s Kiss<br />
+Home Treasure<br />
+Honeycomb<br />
+Honeycomb Patch<br />
+Hour Glass<br />
+House That Jack Built<br />
+</p>
+
+<p class="list">
+Ice Cream Bowl<br />
+Imperial Tea<br />
+Indiana Wreath<br />
+Indian Hatchet<br />
+Indian Plumes<br />
+Interlaced Blocks<br />
+Iris<br />
+Irish Puzzle<br />
+</p>
+
+<p class="list">
+Jack&rsquo;s House<br />
+Jacob&rsquo;s Ladder<br />
+Job&rsquo;s Tears<br />
+Johnny Around the Corner<br />
+Joining Star<br />
+Jonquils<br />
+Joseph&rsquo;s Coat<br />
+Joseph&rsquo;s Necktie<br />
+</p>
+
+<p class="list">
+Kansas Troubles<br />
+King&rsquo;s Crown<br />
+King&rsquo;s Crows<br />
+</p>
+
+<p class="list">
+Ladies&rsquo; Beautiful Star<br />
+Ladies&rsquo; Delight<br />
+Ladies&rsquo; Wreath<br />
+Lady Fingers<br />
+Lady of the Lake<br />
+Leap Frog<br />
+Letter H<br />
+Letter X<br />
+Lily of the Valley<br />
+Lily Quilt Pattern<br />
+Lincoln&rsquo;s Platform<br />
+Linton<br />
+Little Beech Tree<br />
+Little Red House, The<br />
+Live Oak Tree<br />
+Lobster, The<br />
+Log Cabin<br />
+Log Patch<br />
+London Roads<br />
+Love Rose<br />
+<span class='pagenum'><a name="Page_173" id="Page_173">[Pg&nbsp;173]</a></span>
+Lover&rsquo;s Links<br />
+</p>
+
+<p class="list">
+Magic Circle<br />
+Maltese Cross, No. 1<br />
+Maltese Cross, No. 2<br />
+Maple Leaf<br />
+Mary&rsquo;s Garden<br />
+May Berry Leaf<br />
+Mayflower, The<br />
+Memory Blocks<br />
+Memory Circle<br />
+Mexican Rose<br />
+Missouri Beauty<br />
+Mollie&rsquo;s Choice<br />
+Moon and Stars<br />
+Morning Glory<br />
+Morning Glory Wreath<br />
+Morning Star<br />
+Mosaic (More than 25)<br />
+Mother&rsquo;s Fancy<br />
+Mrs. Cleveland&rsquo;s Choice<br />
+Mrs. Morgan&rsquo;s Choice<br />
+</p>
+
+<p class="list">
+Needle Book<br />
+Necktie<br />
+New Album<br />
+New Four Patch<br />
+Nine Patch<br />
+New Star<br />
+No Name Quilt<br />
+None Such<br />
+Novel Star<br />
+</p>
+
+<p class="list">
+Oak Leaf and Acorns<br />
+Oak Leaf and Tulip<br />
+Ocean Waves<br />
+Octagon<br />
+Octagon File<br />
+Odd Fellows&rsquo; Chain<br />
+Odd Patchwork<br />
+Odd Pattern, An<br />
+Odds and Ends<br />
+Odd Star<br />
+Ohio Beauty<br />
+Oklahoma Boomer<br />
+Old Homestead, The<br />
+Old Maid&rsquo;s Puzzle<br />
+Old Patchwork, An<br />
+Old Scrap Patchwork<br />
+Old Bachelor&rsquo;s Puzzle<br />
+Old Tippecanoe<br />
+Olive Branch<br />
+Orange Peel<br />
+</p>
+
+<p class="list">
+Paving Blocks<br />
+Pansies and Butterflies<br />
+Peacocks and Flowers<br />
+Peony Block<br />
+Persian Palm Lily<br />
+Philadelphia Beauty<br />
+Philadelphia Pavement<br />
+Philippines, The<br />
+Pickle Dish<br />
+Pilgrim&rsquo;s Pride<br />
+Pincushion<br />
+Pincushion and Burr<br />
+Pineapple Patterns (3 in number)<br />
+<span class='pagenum'><a name="Page_174" id="Page_174">[Pg&nbsp;174]</a></span>
+Pine Tree<br />
+Pinwheel Square<br />
+Poinsettia<br />
+Poppy<br />
+Prairie Rose<br />
+Premium Star<br />
+President&rsquo;s Quilt<br />
+Princess Feather<br />
+Priscilla, The<br />
+Pullman Puzzle<br />
+Puss-in-the-Corner<br />
+Puzzle File<br />
+Pyrotechnics<br />
+</p>
+
+<p class="list">
+Quartette, The<br />
+</p>
+
+<p class="list">
+Radical Rose<br />
+Railroad, The<br />
+Rainbow<br />
+Red Cross<br />
+Ribbon Squares<br />
+Ribbon Star<br />
+Right and Left<br />
+Rising Sun<br />
+Road to California<br />
+Robbing Peter to Pay Paul<br />
+Rockingham&rsquo;s Beauty<br />
+Rocky Glen<br />
+Rocky Road to California<br />
+Rocky Road to Kansas<br />
+Rolling Pinwheel<br />
+Rolling Star<br />
+Rolling Stone<br />
+Roman Cross<br />
+Roman Stripe<br />
+Rose<br />
+Rose Album<br />
+Rose and Feather<br />
+Rosebud and Leaves<br />
+Rose of Dixie<br />
+Rose of LeMoine<br />
+Rose of St. Louis<br />
+Rose of the Carolinas<br />
+Rose of Sharon<br />
+Rose Sprig<br />
+Royal, The<br />
+Royal Japanese Vase<br />
+</p>
+
+<p class="list">
+Sarah&rsquo;s Favourite<br />
+Sashed Album<br />
+Sashed Star<br />
+Sawtooth Patchwork<br />
+Scissor&rsquo;s Chain<br />
+Seven Stars<br />
+Shelf Chain<br />
+Shield<br />
+Shoo Fly<br />
+Shooting Star<br />
+Simple Design<br />
+Single Sunflowers<br />
+Sister&rsquo;s Choice<br />
+Snail&rsquo;s Trail, The<br />
+Snowball<br />
+Snowflake<br />
+Solomon&rsquo;s Temple<br />
+<span class='pagenum'><a name="Page_175" id="Page_175">[Pg&nbsp;175]</a></span>
+Solomon&rsquo;s Crown<br />
+Spider&rsquo;s Den<br />
+Spider&rsquo;s Web<br />
+Spools<br />
+Square and a Half<br />
+Square and Swallow<br />
+Square and Triangle<br />
+Square Log Cabin<br />
+Squares and Stars<br />
+Squares and Stripes<br />
+Star, A<br />
+Star and Chains<br />
+Star and Cross<br />
+Star and Cubes<br />
+Star and Squares<br />
+Star of Bethlehem<br />
+Star of Many Points<br />
+Star of Texas<br />
+Star of the East<br />
+Star Lane<br />
+Star Puzzle<br />
+Star-Spangled Banner<br />
+Stars upon Stars<br />
+State House Steps<br />
+Steps to the Altar<br />
+St. Louis Star<br />
+Stone Wall<br />
+Storm at Sea<br />
+Strawberry<br />
+Stripe Squares<br />
+Sugar Loaf<br />
+Sunbonnet Lassies<br />
+Sunburst<br />
+Sunflowers<br />
+Sunshine<br />
+Swarm of Bees<br />
+Sweet Gum Leaf<br />
+Swinging Corners<br />
+Swing in the Centre<br />
+</p>
+
+<p class="list">
+Tangled Garter<br />
+Tassel Plant<br />
+Tea Leaf<br />
+Temperance Tree<br />
+Texas Flower<br />
+Texas Tears<br />
+Three-flowered Sunflower<br />
+Tick-Tack-Toe<br />
+Tile Patchwork<br />
+Toad in the Puddle<br />
+Tree of Paradise<br />
+Triangular Triangle<br />
+Triangle Puzzle<br />
+True Lover&rsquo;s Knot<br />
+Tufted Cherry<br />
+Tulip Blocks<br />
+Tulip in Vase<br />
+Tulip Lady Finger<br />
+Tulip Tree Leaves<br />
+Tumbler, The<br />
+Twin Sisters<br />
+Twinkling Star<br />
+Twist and Turn<br />
+Twist Patchwork<br />
+Two Doves, The<br />
+</p>
+
+<p class="list">
+<span class='pagenum'><a name="Page_176" id="Page_176">[Pg&nbsp;176]</a></span>
+Union<br />
+Union Calico Quilt<br />
+Union Star<br />
+Unknown Star<br />
+</p>
+
+<p class="list">
+Valentine Quilt<br />
+Variegated Diamonds<br />
+Variegated Hexagons<br />
+Venetian Design<br />
+Vestibule<br />
+Vice-President&rsquo;s Quilt<br />
+Village Church<br />
+Virginia Gentleman<br />
+</p>
+
+<p class="list">
+Washington&rsquo;s Puzzle<br />
+Washington&rsquo;s Plumes<br />
+Washington&rsquo;s Sidewalk<br />
+Watered Ribbon<br />
+Way of the World<br />
+Wedding Knot<br />
+Western Star<br />
+W. C. T. Union<br />
+Wheel, The<br />
+Wheel and Star<br />
+Wheel of Fortune<br />
+Whig Pattern<br />
+Whig Rose<br />
+White Day Lily<br />
+Widower&rsquo;s Choice<br />
+Wild Goose Chase<br />
+Wild Rose<br />
+Wind-blown Tulips<br />
+Winding Walk<br />
+Wind Mill<br />
+Wonder of the World<br />
+Workbox<br />
+World&rsquo;s Fair, The<br />
+World&rsquo;s Fair Blocks<br />
+World&rsquo;s Fair Puzzle<br />
+Wreath of Roses<br />
+</p>
+
+<p class="list">
+X quisite, The<br />
+</p>
+
+<p class="list">
+Yankee Puzzle<br />
+</p>
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class='pagenum'><a name="Page_177" id="Page_177">[Pg&nbsp;177]</a></span></p>
+
+<h2>LIST OF REFERENCES</h2>
+
+
+<div class="blockquot" style="padding-bottom: 3em;">
+<p><span class="smcap">The Carolina Mountains.</span> <i>Margaret M. Morley.</i></p>
+
+<p><span class="smcap">The Minister&rsquo;s Wooing.</span> <i>Harriet Beecher Stowe.</i></p>
+
+<p><span class="smcap">Aunt Jane in Kentucky.</span> <i>Hall.</i></p>
+
+<p><span class="smcap">Colonial Days and Ways.</span> <i>Helen Evesten Smith.</i></p>
+
+<p><span class="smcap">The Story of the City of New York.</span> <i>Charles Burr Todd,
+1888.</i></p>
+
+<p><span class="smcap">The Social History of Flatbush.</span> <i>Gertrude Lefferts Vanderbilt,
+1882.</i></p>
+
+<p><span class="smcap">Social History of Ancient Ireland.</span> <i>P.&nbsp;W. Joyce.</i></p>
+
+<p><span class="smcap">Chats on Old Lace and Needlework.</span> <i>Mrs. Lowes.</i></p>
+
+<p><span class="smcap">The Crusades.</span> <i>Archer and Kingsford.</i></p>
+
+<p><span class="smcap">The Lure of the Antique.</span> <i>Walter A. Dyer.</i></p>
+
+<p><span class="smcap">Art in Needlework.</span> <i>Lewis F. Day and Mary Buckle.</i></p>
+
+<p><span class="smcap">Home Life in Colonial Days.</span> <i>Alice Morse Earle.</i></p>
+
+<p><span class="smcap">Customs and Fashions in Old New England.</span> <i>Alice
+Morse Earle.</i></p>
+
+<p><span class="smcap">Pennsylvania Dutch.</span> <i>Mrs. P.&nbsp;E. Gibbon.</i></p>
+
+<p><span class="smcap">On Education.</span> <i>John Locke, 1632-1704.</i></p>
+
+<p><span class="smcap">Old Embroideries.</span> <i>Alan S. Cole in Home Needlework
+Magazine, 1900-1901.</i></p>
+
+<p><span class="smcap">The Annals of Tennessee.</span> <i>J.&nbsp;G.&nbsp;M. Ramsey, A.&nbsp;M.,
+M.&nbsp;D., 1853.</i></p>
+
+<p><span class="smcap">Woman&rsquo;s Handiwork in Modern Homes.</span> <i>Constance Cary
+Harrison, 1881.</i></p>
+
+<p><span class="smcap">Peasant Art in Sweden, Ireland, and Lapland.</span> <i>Edited
+by Charles Holmes.</i></p>
+
+<p><span class="smcap">First Steps in Collecting.</span> <i>Grace M. Vallois.</i></p>
+
+<p><span class='pagenum'><a name="Page_178" id="Page_178">[Pg&nbsp;178]</a></span>
+<span class="smcap">Needlework.</span> <i>Elizabeth Glaister.</i></p>
+
+<p><span class="smcap">Embroidery and Tapestry Weaving.</span> <i>Mrs. A.&nbsp;H. Christie.</i></p>
+
+<p><span class="smcap">The Art of Needlework.</span> <i>Edited by Countess Wilton.</i></p>
+
+<p><span class="smcap">English Secular Embroidery.</span> <i>M. Jourdain.</i></p>
+
+<p><span class="smcap">The Ancient Egyptians.</span> <i>Sir. J. Gardner Wilkinson, D.&nbsp;C.&nbsp;L.,
+F.&nbsp;R.&nbsp;S.</i></p>
+
+<p><span class="smcap">De Bello Judaico.</span> <i>Flavius Josephus.</i></p>
+
+<p><span class="smcap">Turkey of the Ottoman.</span> <i>L.&nbsp;M. Garnett.</i></p>
+
+<p><span class="smcap">Histoire de l&rsquo;Art dans l&rsquo;Antiquit&eacute;.</span> <i>Perrot and Chipiex.</i></p>
+
+<p><span class="smcap">Arts and Crafts in the Middle Ages.</span> <i>Julia de Wolf Addison.</i></p>
+
+<p><span class="smcap">Saco Valley Families.</span> <i>Ridlon.</i></p>
+</div>
+
+
+<div class="bbox">
+<p><b>Transcriber's Note</b></p>
+
+<p>Minor punctuation errors have been corrected without note.</p>
+
+<p>This book contains some archaic spelling and dialect; all instances
+have been kept as printed.</p>
+
+<p>Hyphenation has been made consistent as follows:</p>
+
+<p class="list">
+Page <a href="#Page_vii">vii</a>&mdash;Bed-time amended to Bedtime<br />
+Page <a href="#Page_125">125</a>&mdash;Puss in the Corner amended to Puss-in-the-Corner<br />
+Page <a href="#Page_144">144</a>&mdash;oldtime amended to old-time<br />
+</p>
+
+<p>The following amendments have been made:</p>
+
+<p class="list">Page <a href="#Page_5">5</a>&mdash;Gerdin amended to Gardner&mdash;"Sir J. Gardner Wilkinson, in his history ..."<br />
+
+Page <a href="#Page_7">7</a>&mdash;Judaics amended to Judaico&mdash;"In &ldquo;De Bello Judaico,&rdquo;
+by Flavius Josephus, ..."<br />
+
+Page <a href="#Page_8">8</a>&mdash;Historic amended to Histoire&mdash;"... in their &ldquo;Histoire de l&rsquo;Art dans
+l&rsquo;Antiquit&eacute;,&rdquo; publish ..."<br />
+
+Page <a href="#Page_18">18</a>&mdash;Ph&oelig;necians amended to Ph&oelig;nicians&mdash;"... in Biblical
+times by the Hebrews and Ph&oelig;nicians."<br />
+
+Page <a href="#Page_95">95</a>&mdash;Eor amended to For&mdash;"For those who enjoy making pieced quilts ..."<br />
+
+Page <a href="#Page_131">131</a>&mdash;amarylis amended to amaryllis&mdash;"... and even scarlet amaryllis pale
+beside the glowing colours ..."<br />
+
+Page <a href="#Page_143">143</a>&mdash;excell amended to excel&mdash;"... the desire to excel in the art of quilt
+making."<br />
+
+Page <a href="#Page_174">174</a>&mdash;repeated instance of St. Louis Star deleted.<br />
+
+Page <a href="#Page_177">177</a>&mdash;Mountaina amended to Mountains&mdash;"<span class="smcap">The Carolina Mountains.</span>"<br />
+
+Page <a href="#Page_177">177</a>&mdash;M. amended to F., and and amended to in&mdash;"<span class="smcap">Art
+in Needlework.</span> <i>Lewis F. Day and Mary Buckle.</i>"<br />
+
+Page <a href="#Page_177">177</a>&mdash;Alam amended to Alan&mdash;"<i>Alan S. Cole in ...</i>"<br />
+
+Page <a href="#Page_178">178</a>&mdash;S. C. L. amended to D. C. L.&mdash;"<i>Sir J. Gardner Wilkinson, D. C. L.,
+F. R. S.</i>"<br />
+
+Page <a href="#Page_178">178</a>&mdash;Judaics amended to
+Judaico&mdash;"<span class="smcap">De Bello Judaico.</span>"<br />
+
+Page <a href="#Page_178">178</a>&mdash;Dams amended to dans and l&rsquo;antiquit&eacute; to l&rsquo;Antiquit&eacute;&mdash;"<span class="smcap">Histoire de
+l&rsquo;Art dans l&rsquo;Antiquit&eacute;.</span>"</p>
+
+<p>The following amendments have been made in the list of quilt names at the
+end of the text, for consistency with the main text:</p>
+
+<p class="list">
+Aunt Eliza's Star Quilt amended to Aunt Eliza's Star Point (p. <a href="#Page_169">169</a>)<br />
+Baseball amended to Base Ball (p. <a href="#Page_169">169</a>)<br />
+Blindman's Fancy amended to Blind Man's Fancy (p. <a href="#Page_169">169</a>)<br />
+Cogwheels amended to Cog Wheel (p. <a href="#Page_170">170</a>)<br />
+Double Square amended to Double Squares (p. <a href="#Page_171">171</a>)<br />
+Duck and Ducklings amended to Ducks and Ducklings (p. <a href="#Page_171">171</a>)<br />
+Fleur de Lis amended to Fleur-de-Lis (p. <a href="#Page_171">171</a>)<br />
+French Baskets amended to French Basket (p. <a href="#Page_171">171</a>)<br />
+Hair Pin Catcher amended to Hairpin Catcher (p. <a href="#Page_172">172</a>)<br />
+Indian Plums amended to Indian Plumes (p. <a href="#Page_172">172</a>)<br />
+Needlebook amended to Needle Book (p. <a href="#Page_173">173</a>)<br />
+Road to Oklahoma amended to Road to California (p. <a href="#Page_174">174</a>)<br />
+Washington Puzzle amended to Washington's Puzzle (p. <a href="#Page_176">176</a>)<br />
+Windmill amended to Wind Mill (p. <a href="#Page_176">176</a>)<br />
+Xquisite, The amended to X quisite, The (p. <a href="#Page_176">176</a>)<br />
+</p>
+
+<p>Please note that not all of the quilt patterns mentioned in the main text
+are included in the list.</p>
+</div>
+
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<hr class="full" />
+<p>***END OF THE PROJECT GUTENBERG EBOOK QUILTS***</p>
+<p>******* This file should be named 24682-h.txt or 24682-h.zip *******</p>
+<p>This and all associated files of various formats will be found in:<br />
+<a href="http://www.gutenberg.org/dirs/2/4/6/8/24682">http://www.gutenberg.org/2/4/6/8/24682</a></p>
+<p>Updated editions will replace the previous one--the old editions
+will be renamed.</p>
+
+<p>Creating the works from public domain print editions means that no
+one owns a United States copyright in these works, so the Foundation
+(and you!) can copy and distribute it in the United States without
+permission and without paying copyright royalties.  Special rules,
+set forth in the General Terms of Use part of this license, apply to
+copying and distributing Project Gutenberg-tm electronic works to
+protect the PROJECT GUTENBERG-tm concept and trademark.  Project
+Gutenberg is a registered trademark, and may not be used if you
+charge for the eBooks, unless you receive specific permission.  If you
+do not charge anything for copies of this eBook, complying with the
+rules is very easy.  You may use this eBook for nearly any purpose
+such as creation of derivative works, reports, performances and
+research.  They may be modified and printed and given away--you may do
+practically ANYTHING with public domain eBooks.  Redistribution is
+subject to the trademark license, especially commercial
+redistribution.</p>
+
+
+
+<pre>
+*** START: FULL LICENSE ***
+
+THE FULL PROJECT GUTENBERG LICENSE
+PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
+
+To protect the Project Gutenberg-tm mission of promoting the free
+distribution of electronic works, by using or distributing this work
+(or any other work associated in any way with the phrase "Project
+Gutenberg"), you agree to comply with all the terms of the Full Project
+Gutenberg-tm License (available with this file or online at
+<a href="http://www.gutenberg.org/license">http://www.gutenberg.org/license)</a>.
+
+
+Section 1.  General Terms of Use and Redistributing Project Gutenberg-tm
+electronic works
+
+1.A.  By reading or using any part of this Project Gutenberg-tm
+electronic work, you indicate that you have read, understand, agree to
+and accept all the terms of this license and intellectual property
+(trademark/copyright) agreement.  If you do not agree to abide by all
+the terms of this agreement, you must cease using and return or destroy
+all copies of Project Gutenberg-tm electronic works in your possession.
+If you paid a fee for obtaining a copy of or access to a Project
+Gutenberg-tm electronic work and you do not agree to be bound by the
+terms of this agreement, you may obtain a refund from the person or
+entity to whom you paid the fee as set forth in paragraph 1.E.8.
+
+1.B.  "Project Gutenberg" is a registered trademark.  It may only be
+used on or associated in any way with an electronic work by people who
+agree to be bound by the terms of this agreement.  There are a few
+things that you can do with most Project Gutenberg-tm electronic works
+even without complying with the full terms of this agreement.  See
+paragraph 1.C below.  There are a lot of things you can do with Project
+Gutenberg-tm electronic works if you follow the terms of this agreement
+and help preserve free future access to Project Gutenberg-tm electronic
+works.  See paragraph 1.E below.
+
+1.C.  The Project Gutenberg Literary Archive Foundation ("the Foundation"
+or PGLAF), owns a compilation copyright in the collection of Project
+Gutenberg-tm electronic works.  Nearly all the individual works in the
+collection are in the public domain in the United States.  If an
+individual work is in the public domain in the United States and you are
+located in the United States, we do not claim a right to prevent you from
+copying, distributing, performing, displaying or creating derivative
+works based on the work as long as all references to Project Gutenberg
+are removed.  Of course, we hope that you will support the Project
+Gutenberg-tm mission of promoting free access to electronic works by
+freely sharing Project Gutenberg-tm works in compliance with the terms of
+this agreement for keeping the Project Gutenberg-tm name associated with
+the work.  You can easily comply with the terms of this agreement by
+keeping this work in the same format with its attached full Project
+Gutenberg-tm License when you share it without charge with others.
+
+1.D.  The copyright laws of the place where you are located also govern
+what you can do with this work.  Copyright laws in most countries are in
+a constant state of change.  If you are outside the United States, check
+the laws of your country in addition to the terms of this agreement
+before downloading, copying, displaying, performing, distributing or
+creating derivative works based on this work or any other Project
+Gutenberg-tm work.  The Foundation makes no representations concerning
+the copyright status of any work in any country outside the United
+States.
+
+1.E.  Unless you have removed all references to Project Gutenberg:
+
+1.E.1.  The following sentence, with active links to, or other immediate
+access to, the full Project Gutenberg-tm License must appear prominently
+whenever any copy of a Project Gutenberg-tm work (any work on which the
+phrase "Project Gutenberg" appears, or with which the phrase "Project
+Gutenberg" is associated) is accessed, displayed, performed, viewed,
+copied or distributed:
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+1.E.2.  If an individual Project Gutenberg-tm electronic work is derived
+from the public domain (does not contain a notice indicating that it is
+posted with permission of the copyright holder), the work can be copied
+and distributed to anyone in the United States without paying any fees
+or charges.  If you are redistributing or providing access to a work
+with the phrase "Project Gutenberg" associated with or appearing on the
+work, you must comply either with the requirements of paragraphs 1.E.1
+through 1.E.7 or obtain permission for the use of the work and the
+Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
+1.E.9.
+
+1.E.3.  If an individual Project Gutenberg-tm electronic work is posted
+with the permission of the copyright holder, your use and distribution
+must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
+terms imposed by the copyright holder.  Additional terms will be linked
+to the Project Gutenberg-tm License for all works posted with the
+permission of the copyright holder found at the beginning of this work.
+
+1.E.4.  Do not unlink or detach or remove the full Project Gutenberg-tm
+License terms from this work, or any files containing a part of this
+work or any other work associated with Project Gutenberg-tm.
+
+1.E.5.  Do not copy, display, perform, distribute or redistribute this
+electronic work, or any part of this electronic work, without
+prominently displaying the sentence set forth in paragraph 1.E.1 with
+active links or immediate access to the full terms of the Project
+Gutenberg-tm License.
+
+1.E.6.  You may convert to and distribute this work in any binary,
+compressed, marked up, nonproprietary or proprietary form, including any
+word processing or hypertext form.  However, if you provide access to or
+distribute copies of a Project Gutenberg-tm work in a format other than
+"Plain Vanilla ASCII" or other format used in the official version
+posted on the official Project Gutenberg-tm web site (www.gutenberg.org),
+you must, at no additional cost, fee or expense to the user, provide a
+copy, a means of exporting a copy, or a means of obtaining a copy upon
+request, of the work in its original "Plain Vanilla ASCII" or other
+form.  Any alternate format must include the full Project Gutenberg-tm
+License as specified in paragraph 1.E.1.
+
+1.E.7.  Do not charge a fee for access to, viewing, displaying,
+performing, copying or distributing any Project Gutenberg-tm works
+unless you comply with paragraph 1.E.8 or 1.E.9.
+
+1.E.8.  You may charge a reasonable fee for copies of or providing
+access to or distributing Project Gutenberg-tm electronic works provided
+that
+
+- You pay a royalty fee of 20% of the gross profits you derive from
+     the use of Project Gutenberg-tm works calculated using the method
+     you already use to calculate your applicable taxes.  The fee is
+     owed to the owner of the Project Gutenberg-tm trademark, but he
+     has agreed to donate royalties under this paragraph to the
+     Project Gutenberg Literary Archive Foundation.  Royalty payments
+     must be paid within 60 days following each date on which you
+     prepare (or are legally required to prepare) your periodic tax
+     returns.  Royalty payments should be clearly marked as such and
+     sent to the Project Gutenberg Literary Archive Foundation at the
+     address specified in Section 4, "Information about donations to
+     the Project Gutenberg Literary Archive Foundation."
+
+- You provide a full refund of any money paid by a user who notifies
+     you in writing (or by e-mail) within 30 days of receipt that s/he
+     does not agree to the terms of the full Project Gutenberg-tm
+     License.  You must require such a user to return or
+     destroy all copies of the works possessed in a physical medium
+     and discontinue all use of and all access to other copies of
+     Project Gutenberg-tm works.
+
+- You provide, in accordance with paragraph 1.F.3, a full refund of any
+     money paid for a work or a replacement copy, if a defect in the
+     electronic work is discovered and reported to you within 90 days
+     of receipt of the work.
+
+- You comply with all other terms of this agreement for free
+     distribution of Project Gutenberg-tm works.
+
+1.E.9.  If you wish to charge a fee or distribute a Project Gutenberg-tm
+electronic work or group of works on different terms than are set
+forth in this agreement, you must obtain permission in writing from
+both the Project Gutenberg Literary Archive Foundation and Michael
+Hart, the owner of the Project Gutenberg-tm trademark.  Contact the
+Foundation as set forth in Section 3 below.
+
+1.F.
+
+1.F.1.  Project Gutenberg volunteers and employees expend considerable
+effort to identify, do copyright research on, transcribe and proofread
+public domain works in creating the Project Gutenberg-tm
+collection.  Despite these efforts, Project Gutenberg-tm electronic
+works, and the medium on which they may be stored, may contain
+"Defects," such as, but not limited to, incomplete, inaccurate or
+corrupt data, transcription errors, a copyright or other intellectual
+property infringement, a defective or damaged disk or other medium, a
+computer virus, or computer codes that damage or cannot be read by
+your equipment.
+
+1.F.2.  LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
+of Replacement or Refund" described in paragraph 1.F.3, the Project
+Gutenberg Literary Archive Foundation, the owner of the Project
+Gutenberg-tm trademark, and any other party distributing a Project
+Gutenberg-tm electronic work under this agreement, disclaim all
+liability to you for damages, costs and expenses, including legal
+fees.  YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
+LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
+PROVIDED IN PARAGRAPH F3.  YOU AGREE THAT THE FOUNDATION, THE
+TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
+LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
+INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
+DAMAGE.
+
+1.F.3.  LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
+defect in this electronic work within 90 days of receiving it, you can
+receive a refund of the money (if any) you paid for it by sending a
+written explanation to the person you received the work from.  If you
+received the work on a physical medium, you must return the medium with
+your written explanation.  The person or entity that provided you with
+the defective work may elect to provide a replacement copy in lieu of a
+refund.  If you received the work electronically, the person or entity
+providing it to you may choose to give you a second opportunity to
+receive the work electronically in lieu of a refund.  If the second copy
+is also defective, you may demand a refund in writing without further
+opportunities to fix the problem.
+
+1.F.4.  Except for the limited right of replacement or refund set forth
+in paragraph 1.F.3, this work is provided to you 'AS-IS,' WITH NO OTHER
+WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
+WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
+
+1.F.5.  Some states do not allow disclaimers of certain implied
+warranties or the exclusion or limitation of certain types of damages.
+If any disclaimer or limitation set forth in this agreement violates the
+law of the state applicable to this agreement, the agreement shall be
+interpreted to make the maximum disclaimer or limitation permitted by
+the applicable state law.  The invalidity or unenforceability of any
+provision of this agreement shall not void the remaining provisions.
+
+1.F.6.  INDEMNITY - You agree to indemnify and hold the Foundation, the
+trademark owner, any agent or employee of the Foundation, anyone
+providing copies of Project Gutenberg-tm electronic works in accordance
+with this agreement, and any volunteers associated with the production,
+promotion and distribution of Project Gutenberg-tm electronic works,
+harmless from all liability, costs and expenses, including legal fees,
+that arise directly or indirectly from any of the following which you do
+or cause to occur: (a) distribution of this or any Project Gutenberg-tm
+work, (b) alteration, modification, or additions or deletions to any
+Project Gutenberg-tm work, and (c) any Defect you cause.
+
+
+Section  2.  Information about the Mission of Project Gutenberg-tm
+
+Project Gutenberg-tm is synonymous with the free distribution of
+electronic works in formats readable by the widest variety of computers
+including obsolete, old, middle-aged and new computers.  It exists
+because of the efforts of hundreds of volunteers and donations from
+people in all walks of life.
+
+Volunteers and financial support to provide volunteers with the
+assistance they need, is critical to reaching Project Gutenberg-tm's
+goals and ensuring that the Project Gutenberg-tm collection will
+remain freely available for generations to come.  In 2001, the Project
+Gutenberg Literary Archive Foundation was created to provide a secure
+and permanent future for Project Gutenberg-tm and future generations.
+To learn more about the Project Gutenberg Literary Archive Foundation
+and how your efforts and donations can help, see Sections 3 and 4
+and the Foundation web page at http://www.gutenberg.org/fundraising/pglaf.
+
+
+Section 3.  Information about the Project Gutenberg Literary Archive
+Foundation
+
+The Project Gutenberg Literary Archive Foundation is a non profit
+501(c)(3) educational corporation organized under the laws of the
+state of Mississippi and granted tax exempt status by the Internal
+Revenue Service.  The Foundation's EIN or federal tax identification
+number is 64-6221541.  Contributions to the Project Gutenberg
+Literary Archive Foundation are tax deductible to the full extent
+permitted by U.S. federal laws and your state's laws.
+
+The Foundation's principal office is located at 4557 Melan Dr. S.
+Fairbanks, AK, 99712., but its volunteers and employees are scattered
+throughout numerous locations.  Its business office is located at
+809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email
+business@pglaf.org.  Email contact links and up to date contact
+information can be found at the Foundation's web site and official
+page at http://www.gutenberg.org/about/contact
+
+For additional contact information:
+     Dr. Gregory B. Newby
+     Chief Executive and Director
+     gbnewby@pglaf.org
+
+Section 4.  Information about Donations to the Project Gutenberg
+Literary Archive Foundation
+
+Project Gutenberg-tm depends upon and cannot survive without wide
+spread public support and donations to carry out its mission of
+increasing the number of public domain and licensed works that can be
+freely distributed in machine readable form accessible by the widest
+array of equipment including outdated equipment.  Many small donations
+($1 to $5,000) are particularly important to maintaining tax exempt
+status with the IRS.
+
+The Foundation is committed to complying with the laws regulating
+charities and charitable donations in all 50 states of the United
+States.  Compliance requirements are not uniform and it takes a
+considerable effort, much paperwork and many fees to meet and keep up
+with these requirements.  We do not solicit donations in locations
+where we have not received written confirmation of compliance.  To
+SEND DONATIONS or determine the status of compliance for any
+particular state visit http://www.gutenberg.org/fundraising/pglaf
+
+While we cannot and do not solicit contributions from states where we
+have not met the solicitation requirements, we know of no prohibition
+against accepting unsolicited donations from donors in such states who
+approach us with offers to donate.
+
+International donations are gratefully accepted, but we cannot make
+any statements concerning tax treatment of donations received from
+outside the United States.  U.S. laws alone swamp our small staff.
+
+Please check the Project Gutenberg Web pages for current donation
+methods and addresses.  Donations are accepted in a number of other
+ways including checks, online payments and credit card donations.
+To donate, please visit: http://www.gutenberg.org/fundraising/donate
+
+
+Section 5.  General Information About Project Gutenberg-tm electronic
+works.
+
+Professor Michael S. Hart is the originator of the Project Gutenberg-tm
+concept of a library of electronic works that could be freely shared
+with anyone.  For thirty years, he produced and distributed Project
+Gutenberg-tm eBooks with only a loose network of volunteer support.
+
+Project Gutenberg-tm eBooks are often created from several printed
+editions, all of which are confirmed as Public Domain in the U.S.
+unless a copyright notice is included.  Thus, we do not necessarily
+keep eBooks in compliance with any particular paper edition.
+
+Each eBook is in a subdirectory of the same number as the eBook's
+eBook number, often in several formats including plain vanilla ASCII,
+compressed (zipped), HTML and others.
+
+Corrected EDITIONS of our eBooks replace the old file and take over
+the old filename and etext number.  The replaced older file is renamed.
+VERSIONS based on separate sources are treated as new eBooks receiving
+new filenames and etext numbers.
+
+Most people start at our Web site which has the main PG search facility:
+
+<a href="http://www.gutenberg.org">http://www.gutenberg.org</a>
+
+This Web site includes information about Project Gutenberg-tm,
+including how to make donations to the Project Gutenberg Literary
+Archive Foundation, how to help produce our new eBooks, and how to
+subscribe to our email newsletter to hear about new eBooks.
+
+EBooks posted prior to November 2003, with eBook numbers BELOW #10000,
+are filed in directories based on their release date.  If you want to
+download any of these eBooks directly, rather than using the regular
+search system you may utilize the following addresses and just
+download by the etext year.
+
+<a href="http://www.gutenberg.org/dirs/etext06/">http://www.gutenberg.org/dirs/etext06/</a>
+
+    (Or /etext 05, 04, 03, 02, 01, 00, 99,
+     98, 97, 96, 95, 94, 93, 92, 92, 91 or 90)
+
+EBooks posted since November 2003, with etext numbers OVER #10000, are
+filed in a different way.  The year of a release date is no longer part
+of the directory path.  The path is based on the etext number (which is
+identical to the filename).  The path to the file is made up of single
+digits corresponding to all but the last digit in the filename.  For
+example an eBook of filename 10234 would be found at:
+
+http://www.gutenberg.org/dirs/1/0/2/3/10234
+
+or filename 24689 would be found at:
+http://www.gutenberg.org/dirs/2/4/6/8/24689
+
+An alternative method of locating eBooks:
+<a href="http://www.gutenberg.org/dirs/GUTINDEX.ALL">http://www.gutenberg.org/dirs/GUTINDEX.ALL</a>
+
+*** END: FULL LICENSE ***
+</pre>
+</body>
+</html>
diff --git a/24682-h/images/quilts01.png b/24682-h/images/quilts01.png
new file mode 100644
index 0000000..af5103d
--- /dev/null
+++ b/24682-h/images/quilts01.png
diff --git a/24682-h/images/quilts02.jpg b/24682-h/images/quilts02.jpg
new file mode 100644
index 0000000..40f59bc
--- /dev/null
+++ b/24682-h/images/quilts02.jpg
diff --git a/24682-h/images/quilts02th.jpg b/24682-h/images/quilts02th.jpg
new file mode 100644
index 0000000..9761490
--- /dev/null
+++ b/24682-h/images/quilts02th.jpg
diff --git a/24682-h/images/quilts03.jpg b/24682-h/images/quilts03.jpg
new file mode 100644
index 0000000..f17d9c2
--- /dev/null
+++ b/24682-h/images/quilts03.jpg
diff --git a/24682-h/images/quilts03th.jpg b/24682-h/images/quilts03th.jpg
new file mode 100644
index 0000000..bfb9c7b
--- /dev/null
+++ b/24682-h/images/quilts03th.jpg
diff --git a/24682-h/images/quilts04.jpg b/24682-h/images/quilts04.jpg
new file mode 100644
index 0000000..9cd270e
--- /dev/null
+++ b/24682-h/images/quilts04.jpg
diff --git a/24682-h/images/quilts04th.jpg b/24682-h/images/quilts04th.jpg
new file mode 100644
index 0000000..a66fc77
--- /dev/null
+++ b/24682-h/images/quilts04th.jpg
diff --git a/24682-h/images/quilts05.jpg b/24682-h/images/quilts05.jpg
new file mode 100644
index 0000000..98d75f6
--- /dev/null
+++ b/24682-h/images/quilts05.jpg
diff --git a/24682-h/images/quilts05th.jpg b/24682-h/images/quilts05th.jpg
new file mode 100644
index 0000000..9a58a6d
--- /dev/null
+++ b/24682-h/images/quilts05th.jpg
diff --git a/24682-h/images/quilts06.jpg b/24682-h/images/quilts06.jpg
new file mode 100644
index 0000000..6f69a10
--- /dev/null
+++ b/24682-h/images/quilts06.jpg
diff --git a/24682-h/images/quilts06th.jpg b/24682-h/images/quilts06th.jpg
new file mode 100644
index 0000000..99a633a
--- /dev/null
+++ b/24682-h/images/quilts06th.jpg
diff --git a/24682-h/images/quilts07.jpg b/24682-h/images/quilts07.jpg
new file mode 100644
index 0000000..8f101f1
--- /dev/null
+++ b/24682-h/images/quilts07.jpg
diff --git a/24682-h/images/quilts07th.jpg b/24682-h/images/quilts07th.jpg
new file mode 100644
index 0000000..b088bf7
--- /dev/null
+++ b/24682-h/images/quilts07th.jpg
diff --git a/24682-h/images/quilts08.jpg b/24682-h/images/quilts08.jpg
new file mode 100644
index 0000000..41dd36f
--- /dev/null
+++ b/24682-h/images/quilts08.jpg
diff --git a/24682-h/images/quilts08th.jpg b/24682-h/images/quilts08th.jpg
new file mode 100644
index 0000000..99d3646
--- /dev/null
+++ b/24682-h/images/quilts08th.jpg
diff --git a/24682-h/images/quilts09.jpg b/24682-h/images/quilts09.jpg
new file mode 100644
index 0000000..044e896
--- /dev/null
+++ b/24682-h/images/quilts09.jpg
diff --git a/24682-h/images/quilts09th.jpg b/24682-h/images/quilts09th.jpg
new file mode 100644
index 0000000..60cbb6d
--- /dev/null
+++ b/24682-h/images/quilts09th.jpg
diff --git a/24682-h/images/quilts10.jpg b/24682-h/images/quilts10.jpg
new file mode 100644
index 0000000..1f87340
--- /dev/null
+++ b/24682-h/images/quilts10.jpg
diff --git a/24682-h/images/quilts10th.jpg b/24682-h/images/quilts10th.jpg
new file mode 100644
index 0000000..ae57cac
--- /dev/null
+++ b/24682-h/images/quilts10th.jpg
diff --git a/24682-h/images/quilts11.jpg b/24682-h/images/quilts11.jpg
new file mode 100644
index 0000000..88e9608
--- /dev/null
+++ b/24682-h/images/quilts11.jpg
diff --git a/24682-h/images/quilts11th.jpg b/24682-h/images/quilts11th.jpg
new file mode 100644
index 0000000..4f71557
--- /dev/null
+++ b/24682-h/images/quilts11th.jpg
diff --git a/24682-h/images/quilts12.jpg b/24682-h/images/quilts12.jpg
new file mode 100644
index 0000000..a2185b2
--- /dev/null
+++ b/24682-h/images/quilts12.jpg
diff --git a/24682-h/images/quilts12th.jpg b/24682-h/images/quilts12th.jpg
new file mode 100644
index 0000000..51950f0
--- /dev/null
+++ b/24682-h/images/quilts12th.jpg
diff --git a/24682-h/images/quilts13.jpg b/24682-h/images/quilts13.jpg
new file mode 100644
index 0000000..c52a45c
--- /dev/null
+++ b/24682-h/images/quilts13.jpg
diff --git a/24682-h/images/quilts13th.jpg b/24682-h/images/quilts13th.jpg
new file mode 100644
index 0000000..8393937
--- /dev/null
+++ b/24682-h/images/quilts13th.jpg
diff --git a/24682-h/images/quilts14.jpg b/24682-h/images/quilts14.jpg
new file mode 100644
index 0000000..f2954a1
--- /dev/null
+++ b/24682-h/images/quilts14.jpg
diff --git a/24682-h/images/quilts14th.jpg b/24682-h/images/quilts14th.jpg
new file mode 100644
index 0000000..7c7f02a
--- /dev/null
+++ b/24682-h/images/quilts14th.jpg
diff --git a/24682-h/images/quilts15.jpg b/24682-h/images/quilts15.jpg
new file mode 100644
index 0000000..1561872
--- /dev/null
+++ b/24682-h/images/quilts15.jpg
diff --git a/24682-h/images/quilts15th.jpg b/24682-h/images/quilts15th.jpg
new file mode 100644
index 0000000..43f9cfb
--- /dev/null
+++ b/24682-h/images/quilts15th.jpg
diff --git a/24682-h/images/quilts16.jpg b/24682-h/images/quilts16.jpg
new file mode 100644
index 0000000..af249b4
--- /dev/null
+++ b/24682-h/images/quilts16.jpg
diff --git a/24682-h/images/quilts16th.jpg b/24682-h/images/quilts16th.jpg
new file mode 100644
index 0000000..f74182f
--- /dev/null
+++ b/24682-h/images/quilts16th.jpg
diff --git a/24682-h/images/quilts17.jpg b/24682-h/images/quilts17.jpg
new file mode 100644
index 0000000..8d11e22
--- /dev/null
+++ b/24682-h/images/quilts17.jpg
diff --git a/24682-h/images/quilts17th.jpg b/24682-h/images/quilts17th.jpg
new file mode 100644
index 0000000..6ae21f6
--- /dev/null
+++ b/24682-h/images/quilts17th.jpg
diff --git a/24682-h/images/quilts18.jpg b/24682-h/images/quilts18.jpg
new file mode 100644
index 0000000..48d484f
--- /dev/null
+++ b/24682-h/images/quilts18.jpg
diff --git a/24682-h/images/quilts18th.jpg b/24682-h/images/quilts18th.jpg
new file mode 100644
index 0000000..c8ba8e6
--- /dev/null
+++ b/24682-h/images/quilts18th.jpg
diff --git a/24682-h/images/quilts19.jpg b/24682-h/images/quilts19.jpg
new file mode 100644
index 0000000..9a652e3
--- /dev/null
+++ b/24682-h/images/quilts19.jpg
diff --git a/24682-h/images/quilts19th.jpg b/24682-h/images/quilts19th.jpg
new file mode 100644
index 0000000..f252e44
--- /dev/null
+++ b/24682-h/images/quilts19th.jpg
diff --git a/24682-h/images/quilts20.jpg b/24682-h/images/quilts20.jpg
new file mode 100644
index 0000000..f41ddd9
--- /dev/null
+++ b/24682-h/images/quilts20.jpg
diff --git a/24682-h/images/quilts20th.jpg b/24682-h/images/quilts20th.jpg
new file mode 100644
index 0000000..127e8e4
--- /dev/null
+++ b/24682-h/images/quilts20th.jpg
diff --git a/24682-h/images/quilts21.jpg b/24682-h/images/quilts21.jpg
new file mode 100644
index 0000000..d6434fa
--- /dev/null
+++ b/24682-h/images/quilts21.jpg
diff --git a/24682-h/images/quilts21th.jpg b/24682-h/images/quilts21th.jpg
new file mode 100644
index 0000000..0161c2d
--- /dev/null
+++ b/24682-h/images/quilts21th.jpg
diff --git a/24682-h/images/quilts22.jpg b/24682-h/images/quilts22.jpg
new file mode 100644
index 0000000..0259def
--- /dev/null
+++ b/24682-h/images/quilts22.jpg
diff --git a/24682-h/images/quilts22th.jpg b/24682-h/images/quilts22th.jpg
new file mode 100644
index 0000000..9f2ef30
--- /dev/null
+++ b/24682-h/images/quilts22th.jpg
diff --git a/24682-h/images/quilts23.jpg b/24682-h/images/quilts23.jpg
new file mode 100644
index 0000000..ca45834
--- /dev/null
+++ b/24682-h/images/quilts23.jpg
diff --git a/24682-h/images/quilts23th.jpg b/24682-h/images/quilts23th.jpg
new file mode 100644
index 0000000..8a809a5
--- /dev/null
+++ b/24682-h/images/quilts23th.jpg
diff --git a/24682-h/images/quilts24.jpg b/24682-h/images/quilts24.jpg
new file mode 100644
index 0000000..214ff95
--- /dev/null
+++ b/24682-h/images/quilts24.jpg
diff --git a/24682-h/images/quilts24th.jpg b/24682-h/images/quilts24th.jpg
new file mode 100644
index 0000000..e865b1b
--- /dev/null
+++ b/24682-h/images/quilts24th.jpg
diff --git a/24682-h/images/quilts25.jpg b/24682-h/images/quilts25.jpg
new file mode 100644
index 0000000..89257d6
--- /dev/null
+++ b/24682-h/images/quilts25.jpg
diff --git a/24682-h/images/quilts25th.jpg b/24682-h/images/quilts25th.jpg
new file mode 100644
index 0000000..e16adbb
--- /dev/null
+++ b/24682-h/images/quilts25th.jpg
diff --git a/24682-h/images/quilts26.jpg b/24682-h/images/quilts26.jpg
new file mode 100644
index 0000000..8bd275e
--- /dev/null
+++ b/24682-h/images/quilts26.jpg
diff --git a/24682-h/images/quilts26th.jpg b/24682-h/images/quilts26th.jpg
new file mode 100644
index 0000000..0c1f813
--- /dev/null
+++ b/24682-h/images/quilts26th.jpg
diff --git a/24682-h/images/quilts27.jpg b/24682-h/images/quilts27.jpg
new file mode 100644
index 0000000..0e3f3fc
--- /dev/null
+++ b/24682-h/images/quilts27.jpg
diff --git a/24682-h/images/quilts27th.jpg b/24682-h/images/quilts27th.jpg
new file mode 100644
index 0000000..d1b9fd2
--- /dev/null
+++ b/24682-h/images/quilts27th.jpg
diff --git a/24682-h/images/quilts28.jpg b/24682-h/images/quilts28.jpg
new file mode 100644
index 0000000..8d6f735
--- /dev/null
+++ b/24682-h/images/quilts28.jpg
diff --git a/24682-h/images/quilts28th.jpg b/24682-h/images/quilts28th.jpg
new file mode 100644
index 0000000..2aa6a64
--- /dev/null
+++ b/24682-h/images/quilts28th.jpg
diff --git a/24682-h/images/quilts29.jpg b/24682-h/images/quilts29.jpg
new file mode 100644
index 0000000..8ee343f
--- /dev/null
+++ b/24682-h/images/quilts29.jpg
diff --git a/24682-h/images/quilts29th.jpg b/24682-h/images/quilts29th.jpg
new file mode 100644
index 0000000..30c5acf
--- /dev/null
+++ b/24682-h/images/quilts29th.jpg
diff --git a/24682-h/images/quilts30.jpg b/24682-h/images/quilts30.jpg
new file mode 100644
index 0000000..9172343
--- /dev/null
+++ b/24682-h/images/quilts30.jpg
diff --git a/24682-h/images/quilts30th.jpg b/24682-h/images/quilts30th.jpg
new file mode 100644
index 0000000..f30ebde
--- /dev/null
+++ b/24682-h/images/quilts30th.jpg
diff --git a/24682-h/images/quilts31.jpg b/24682-h/images/quilts31.jpg
new file mode 100644
index 0000000..3af6d1d
--- /dev/null
+++ b/24682-h/images/quilts31.jpg
diff --git a/24682-h/images/quilts31th.jpg b/24682-h/images/quilts31th.jpg
new file mode 100644
index 0000000..72d09ee
--- /dev/null
+++ b/24682-h/images/quilts31th.jpg
diff --git a/24682-h/images/quilts32.jpg b/24682-h/images/quilts32.jpg
new file mode 100644
index 0000000..751abf5
--- /dev/null
+++ b/24682-h/images/quilts32.jpg
diff --git a/24682-h/images/quilts32th.jpg b/24682-h/images/quilts32th.jpg
new file mode 100644
index 0000000..2588f7f
--- /dev/null
+++ b/24682-h/images/quilts32th.jpg
diff --git a/24682-h/images/quilts33.jpg b/24682-h/images/quilts33.jpg
new file mode 100644
index 0000000..56a5426
--- /dev/null
+++ b/24682-h/images/quilts33.jpg
diff --git a/24682-h/images/quilts33th.jpg b/24682-h/images/quilts33th.jpg
new file mode 100644
index 0000000..2705053
--- /dev/null
+++ b/24682-h/images/quilts33th.jpg
diff --git a/24682-h/images/quilts34.jpg b/24682-h/images/quilts34.jpg
new file mode 100644
index 0000000..b9cacec
--- /dev/null
+++ b/24682-h/images/quilts34.jpg
diff --git a/24682-h/images/quilts34th.jpg b/24682-h/images/quilts34th.jpg
new file mode 100644
index 0000000..79a7570
--- /dev/null
+++ b/24682-h/images/quilts34th.jpg
diff --git a/24682-h/images/quilts35.jpg b/24682-h/images/quilts35.jpg
new file mode 100644
index 0000000..f0daa58
--- /dev/null
+++ b/24682-h/images/quilts35.jpg
diff --git a/24682-h/images/quilts35th.jpg b/24682-h/images/quilts35th.jpg
new file mode 100644
index 0000000..2e18394
--- /dev/null
+++ b/24682-h/images/quilts35th.jpg
diff --git a/24682-h/images/quilts36.jpg b/24682-h/images/quilts36.jpg
new file mode 100644
index 0000000..b02121f
--- /dev/null
+++ b/24682-h/images/quilts36.jpg
diff --git a/24682-h/images/quilts36th.jpg b/24682-h/images/quilts36th.jpg
new file mode 100644
index 0000000..d52d640
--- /dev/null
+++ b/24682-h/images/quilts36th.jpg
diff --git a/24682-h/images/quilts37.jpg b/24682-h/images/quilts37.jpg
new file mode 100644
index 0000000..7403cb9
--- /dev/null
+++ b/24682-h/images/quilts37.jpg
diff --git a/24682-h/images/quilts37th.jpg b/24682-h/images/quilts37th.jpg
new file mode 100644
index 0000000..a80c03d
--- /dev/null
+++ b/24682-h/images/quilts37th.jpg
diff --git a/24682-h/images/quilts38.jpg b/24682-h/images/quilts38.jpg
new file mode 100644
index 0000000..c5d8541
--- /dev/null
+++ b/24682-h/images/quilts38.jpg
diff --git a/24682-h/images/quilts38th.jpg b/24682-h/images/quilts38th.jpg
new file mode 100644
index 0000000..4544a27
--- /dev/null
+++ b/24682-h/images/quilts38th.jpg
diff --git a/24682-h/images/quilts39.jpg b/24682-h/images/quilts39.jpg
new file mode 100644
index 0000000..e5bbbee
--- /dev/null
+++ b/24682-h/images/quilts39.jpg
diff --git a/24682-h/images/quilts39th.jpg b/24682-h/images/quilts39th.jpg
new file mode 100644
index 0000000..8977a43
--- /dev/null
+++ b/24682-h/images/quilts39th.jpg
diff --git a/24682-h/images/quilts40.jpg b/24682-h/images/quilts40.jpg
new file mode 100644
index 0000000..e3e56c1
--- /dev/null
+++ b/24682-h/images/quilts40.jpg
diff --git a/24682-h/images/quilts40th.jpg b/24682-h/images/quilts40th.jpg
new file mode 100644
index 0000000..3e55495
--- /dev/null
+++ b/24682-h/images/quilts40th.jpg
diff --git a/24682-h/images/quilts41.jpg b/24682-h/images/quilts41.jpg
new file mode 100644
index 0000000..c112c39
--- /dev/null
+++ b/24682-h/images/quilts41.jpg
diff --git a/24682-h/images/quilts41th.jpg b/24682-h/images/quilts41th.jpg
new file mode 100644
index 0000000..be9464f
--- /dev/null
+++ b/24682-h/images/quilts41th.jpg
diff --git a/24682-h/images/quilts42.jpg b/24682-h/images/quilts42.jpg
new file mode 100644
index 0000000..87667b0
--- /dev/null
+++ b/24682-h/images/quilts42.jpg
diff --git a/24682-h/images/quilts42th.jpg b/24682-h/images/quilts42th.jpg
new file mode 100644
index 0000000..b6b995c
--- /dev/null
+++ b/24682-h/images/quilts42th.jpg
diff --git a/24682-h/images/quilts43.jpg b/24682-h/images/quilts43.jpg
new file mode 100644
index 0000000..64ba4d0
--- /dev/null
+++ b/24682-h/images/quilts43.jpg
diff --git a/24682-h/images/quilts43th.jpg b/24682-h/images/quilts43th.jpg
new file mode 100644
index 0000000..ccebca4
--- /dev/null
+++ b/24682-h/images/quilts43th.jpg
diff --git a/24682-h/images/quilts44.jpg b/24682-h/images/quilts44.jpg
new file mode 100644
index 0000000..8c62be4
--- /dev/null
+++ b/24682-h/images/quilts44.jpg
diff --git a/24682-h/images/quilts44th.jpg b/24682-h/images/quilts44th.jpg
new file mode 100644
index 0000000..142d696
--- /dev/null
+++ b/24682-h/images/quilts44th.jpg
diff --git a/24682-h/images/quilts45.jpg b/24682-h/images/quilts45.jpg
new file mode 100644
index 0000000..62a95dc
--- /dev/null
+++ b/24682-h/images/quilts45.jpg
diff --git a/24682-h/images/quilts45th.jpg b/24682-h/images/quilts45th.jpg
new file mode 100644
index 0000000..fe45417
--- /dev/null
+++ b/24682-h/images/quilts45th.jpg
diff --git a/24682-h/images/quilts46.jpg b/24682-h/images/quilts46.jpg
new file mode 100644
index 0000000..504f11d
--- /dev/null
+++ b/24682-h/images/quilts46.jpg
diff --git a/24682-h/images/quilts46th.jpg b/24682-h/images/quilts46th.jpg
new file mode 100644
index 0000000..0cc9c50
--- /dev/null
+++ b/24682-h/images/quilts46th.jpg
diff --git a/24682-h/images/quilts47.jpg b/24682-h/images/quilts47.jpg
new file mode 100644
index 0000000..f355190
--- /dev/null
+++ b/24682-h/images/quilts47.jpg
diff --git a/24682-h/images/quilts47th.jpg b/24682-h/images/quilts47th.jpg
new file mode 100644
index 0000000..93f3d67
--- /dev/null
+++ b/24682-h/images/quilts47th.jpg
diff --git a/24682-h/images/quilts48.jpg b/24682-h/images/quilts48.jpg
new file mode 100644
index 0000000..e5ab2a6
--- /dev/null
+++ b/24682-h/images/quilts48.jpg
diff --git a/24682-h/images/quilts48th.jpg b/24682-h/images/quilts48th.jpg
new file mode 100644
index 0000000..2a2cbc3
--- /dev/null
+++ b/24682-h/images/quilts48th.jpg
diff --git a/24682-h/images/quilts49.jpg b/24682-h/images/quilts49.jpg
new file mode 100644
index 0000000..ae0c432
--- /dev/null
+++ b/24682-h/images/quilts49.jpg
diff --git a/24682-h/images/quilts49th.jpg b/24682-h/images/quilts49th.jpg
new file mode 100644
index 0000000..76f43a4
--- /dev/null
+++ b/24682-h/images/quilts49th.jpg
diff --git a/24682-h/images/quilts50.jpg b/24682-h/images/quilts50.jpg
new file mode 100644
index 0000000..658b6f5
--- /dev/null
+++ b/24682-h/images/quilts50.jpg
diff --git a/24682-h/images/quilts50th.jpg b/24682-h/images/quilts50th.jpg
new file mode 100644
index 0000000..682296c
--- /dev/null
+++ b/24682-h/images/quilts50th.jpg
diff --git a/24682-h/images/quilts51.jpg b/24682-h/images/quilts51.jpg
new file mode 100644
index 0000000..a3b4f9b
--- /dev/null
+++ b/24682-h/images/quilts51.jpg
diff --git a/24682-h/images/quilts51th.jpg b/24682-h/images/quilts51th.jpg
new file mode 100644
index 0000000..e600e63
--- /dev/null
+++ b/24682-h/images/quilts51th.jpg
diff --git a/24682-h/images/quilts52.jpg b/24682-h/images/quilts52.jpg
new file mode 100644
index 0000000..664e179
--- /dev/null
+++ b/24682-h/images/quilts52.jpg
diff --git a/24682-h/images/quilts52th.jpg b/24682-h/images/quilts52th.jpg
new file mode 100644
index 0000000..7261971
--- /dev/null
+++ b/24682-h/images/quilts52th.jpg
diff --git a/24682-h/images/quilts53.jpg b/24682-h/images/quilts53.jpg
new file mode 100644
index 0000000..65a0351
--- /dev/null
+++ b/24682-h/images/quilts53.jpg
diff --git a/24682-h/images/quilts53th.jpg b/24682-h/images/quilts53th.jpg
new file mode 100644
index 0000000..8f2ca4e
--- /dev/null
+++ b/24682-h/images/quilts53th.jpg
diff --git a/24682-h/images/quilts54.jpg b/24682-h/images/quilts54.jpg
new file mode 100644
index 0000000..d176ad5
--- /dev/null
+++ b/24682-h/images/quilts54.jpg
diff --git a/24682-h/images/quilts54th.jpg b/24682-h/images/quilts54th.jpg
new file mode 100644
index 0000000..145eaef
--- /dev/null
+++ b/24682-h/images/quilts54th.jpg
diff --git a/24682-h/images/quilts55.jpg b/24682-h/images/quilts55.jpg
new file mode 100644
index 0000000..2afda98
--- /dev/null
+++ b/24682-h/images/quilts55.jpg
diff --git a/24682-h/images/quilts55th.jpg b/24682-h/images/quilts55th.jpg
new file mode 100644
index 0000000..e583f7d
--- /dev/null
+++ b/24682-h/images/quilts55th.jpg
diff --git a/24682-h/images/quilts56.jpg b/24682-h/images/quilts56.jpg
new file mode 100644
index 0000000..a1971e4
--- /dev/null
+++ b/24682-h/images/quilts56.jpg
diff --git a/24682-h/images/quilts56th.jpg b/24682-h/images/quilts56th.jpg
new file mode 100644
index 0000000..4c45bdc
--- /dev/null
+++ b/24682-h/images/quilts56th.jpg
diff --git a/24682-h/images/quilts57.jpg b/24682-h/images/quilts57.jpg
new file mode 100644
index 0000000..7b8e2d5
--- /dev/null
+++ b/24682-h/images/quilts57.jpg
diff --git a/24682-h/images/quilts57th.jpg b/24682-h/images/quilts57th.jpg
new file mode 100644
index 0000000..512fed0
--- /dev/null
+++ b/24682-h/images/quilts57th.jpg
diff --git a/24682-h/images/quilts58.png b/24682-h/images/quilts58.png
new file mode 100644
index 0000000..df7e823
--- /dev/null
+++ b/24682-h/images/quilts58.png
diff --git a/24682-h/images/quilts58th.png b/24682-h/images/quilts58th.png
new file mode 100644
index 0000000..398e69c
--- /dev/null
+++ b/24682-h/images/quilts58th.png
diff --git a/24682-h/images/quilts59.jpg b/24682-h/images/quilts59.jpg
new file mode 100644
index 0000000..0a46b9a
--- /dev/null
+++ b/24682-h/images/quilts59.jpg
diff --git a/24682-h/images/quilts59th.jpg b/24682-h/images/quilts59th.jpg
new file mode 100644
index 0000000..2eac793
--- /dev/null
+++ b/24682-h/images/quilts59th.jpg
diff --git a/24682-h/images/quilts60.jpg b/24682-h/images/quilts60.jpg
new file mode 100644
index 0000000..745f995
--- /dev/null
+++ b/24682-h/images/quilts60.jpg
diff --git a/24682-h/images/quilts60th.jpg b/24682-h/images/quilts60th.jpg
new file mode 100644
index 0000000..6b17d5f
--- /dev/null
+++ b/24682-h/images/quilts60th.jpg
diff --git a/24682-h/images/quilts61.png b/24682-h/images/quilts61.png
new file mode 100644
index 0000000..504945c
--- /dev/null
+++ b/24682-h/images/quilts61.png
diff --git a/24682-h/images/quilts61th.png b/24682-h/images/quilts61th.png
new file mode 100644
index 0000000..36fdd6e
--- /dev/null
+++ b/24682-h/images/quilts61th.png
diff --git a/24682-h/images/quilts62.jpg b/24682-h/images/quilts62.jpg
new file mode 100644
index 0000000..c44d76c
--- /dev/null
+++ b/24682-h/images/quilts62.jpg
diff --git a/24682-h/images/quilts62th.jpg b/24682-h/images/quilts62th.jpg
new file mode 100644
index 0000000..02ea842
--- /dev/null
+++ b/24682-h/images/quilts62th.jpg
diff --git a/24682-h/images/quilts63.jpg b/24682-h/images/quilts63.jpg
new file mode 100644
index 0000000..e4275ba
--- /dev/null
+++ b/24682-h/images/quilts63.jpg
diff --git a/24682-h/images/quilts63th.jpg b/24682-h/images/quilts63th.jpg
new file mode 100644
index 0000000..c4d40ec
--- /dev/null
+++ b/24682-h/images/quilts63th.jpg
diff --git a/24682-h/images/quilts64.jpg b/24682-h/images/quilts64.jpg
new file mode 100644
index 0000000..f37c69a
--- /dev/null
+++ b/24682-h/images/quilts64.jpg
diff --git a/24682-h/images/quilts64th.jpg b/24682-h/images/quilts64th.jpg
new file mode 100644
index 0000000..238d6e1
--- /dev/null
+++ b/24682-h/images/quilts64th.jpg
diff --git a/24682-h/images/quilts65.png b/24682-h/images/quilts65.png
new file mode 100644
index 0000000..0cc584f
--- /dev/null
+++ b/24682-h/images/quilts65.png
diff --git a/24682-h/images/quilts65th.png b/24682-h/images/quilts65th.png
new file mode 100644
index 0000000..7ac5d02
--- /dev/null
+++ b/24682-h/images/quilts65th.png
diff --git a/24682-h/images/quilts66.png b/24682-h/images/quilts66.png
new file mode 100644
index 0000000..4f81550
--- /dev/null
+++ b/24682-h/images/quilts66.png
diff --git a/24682-h/images/quilts66th.png b/24682-h/images/quilts66th.png
new file mode 100644
index 0000000..f7868fd
--- /dev/null
+++ b/24682-h/images/quilts66th.png
diff --git a/24682-h/images/quilts67.png b/24682-h/images/quilts67.png
new file mode 100644
index 0000000..eb5e260
--- /dev/null
+++ b/24682-h/images/quilts67.png
diff --git a/24682-h/images/quilts67th.png b/24682-h/images/quilts67th.png
new file mode 100644
index 0000000..4d45e0f
--- /dev/null
+++ b/24682-h/images/quilts67th.png
diff --git a/24682-h/images/quilts68.jpg b/24682-h/images/quilts68.jpg
new file mode 100644
index 0000000..70746e8
--- /dev/null
+++ b/24682-h/images/quilts68.jpg
diff --git a/24682-h/images/quilts68th.jpg b/24682-h/images/quilts68th.jpg
new file mode 100644
index 0000000..2521d38
--- /dev/null
+++ b/24682-h/images/quilts68th.jpg
diff --git a/24682-h/images/quilts69.jpg b/24682-h/images/quilts69.jpg
new file mode 100644
index 0000000..f0e5afc
--- /dev/null
+++ b/24682-h/images/quilts69.jpg
diff --git a/24682-h/images/quilts69th.jpg b/24682-h/images/quilts69th.jpg
new file mode 100644
index 0000000..40af29e
--- /dev/null
+++ b/24682-h/images/quilts69th.jpg
diff --git a/24682-h/images/quilts70.png b/24682-h/images/quilts70.png
new file mode 100644
index 0000000..fce8877
--- /dev/null
+++ b/24682-h/images/quilts70.png
diff --git a/24682-h/images/quilts70th.png b/24682-h/images/quilts70th.png
new file mode 100644
index 0000000..63cd079
--- /dev/null
+++ b/24682-h/images/quilts70th.png
diff --git a/24682-h/images/quilts71.jpg b/24682-h/images/quilts71.jpg
new file mode 100644
index 0000000..7305023
--- /dev/null
+++ b/24682-h/images/quilts71.jpg
diff --git a/24682-h/images/quilts71th.jpg b/24682-h/images/quilts71th.jpg
new file mode 100644
index 0000000..860abe4
--- /dev/null
+++ b/24682-h/images/quilts71th.jpg
diff --git a/24682-h/images/quilts72.jpg b/24682-h/images/quilts72.jpg
new file mode 100644
index 0000000..6b0b03a
--- /dev/null
+++ b/24682-h/images/quilts72.jpg
diff --git a/24682-h/images/quilts72th.jpg b/24682-h/images/quilts72th.jpg
new file mode 100644
index 0000000..9db1fd2
--- /dev/null
+++ b/24682-h/images/quilts72th.jpg
diff --git a/24682-h/images/quilts73.jpg b/24682-h/images/quilts73.jpg
new file mode 100644
index 0000000..5585d20
--- /dev/null
+++ b/24682-h/images/quilts73.jpg
diff --git a/24682-h/images/quilts73th.jpg b/24682-h/images/quilts73th.jpg
new file mode 100644
index 0000000..0fdf103
--- /dev/null
+++ b/24682-h/images/quilts73th.jpg
diff --git a/24682-h/images/quilts74.jpg b/24682-h/images/quilts74.jpg
new file mode 100644
index 0000000..e2a85b1
--- /dev/null
+++ b/24682-h/images/quilts74.jpg
diff --git a/24682-h/images/quilts74th.jpg b/24682-h/images/quilts74th.jpg
new file mode 100644
index 0000000..761a394
--- /dev/null
+++ b/24682-h/images/quilts74th.jpg
diff --git a/24682-h/images/quilts75.jpg b/24682-h/images/quilts75.jpg
new file mode 100644
index 0000000..34b21de
--- /dev/null
+++ b/24682-h/images/quilts75.jpg
diff --git a/24682-h/images/quilts75th.jpg b/24682-h/images/quilts75th.jpg
new file mode 100644
index 0000000..5489d5a
--- /dev/null
+++ b/24682-h/images/quilts75th.jpg
diff --git a/24682-h/images/quilts76.jpg b/24682-h/images/quilts76.jpg
new file mode 100644
index 0000000..39d9268
--- /dev/null
+++ b/24682-h/images/quilts76.jpg
diff --git a/24682-h/images/quilts76th.jpg b/24682-h/images/quilts76th.jpg
new file mode 100644
index 0000000..bb7749e
--- /dev/null
+++ b/24682-h/images/quilts76th.jpg
diff --git a/24682-h/images/quilts77.jpg b/24682-h/images/quilts77.jpg
new file mode 100644
index 0000000..6fea731
--- /dev/null
+++ b/24682-h/images/quilts77.jpg
diff --git a/24682-h/images/quilts77th.jpg b/24682-h/images/quilts77th.jpg
new file mode 100644
index 0000000..0f1c92d
--- /dev/null
+++ b/24682-h/images/quilts77th.jpg
diff --git a/24682-h/images/quilts78.jpg b/24682-h/images/quilts78.jpg
new file mode 100644
index 0000000..68d1e13
--- /dev/null
+++ b/24682-h/images/quilts78.jpg
diff --git a/24682-h/images/quilts78th.jpg b/24682-h/images/quilts78th.jpg
new file mode 100644
index 0000000..7a5840e
--- /dev/null
+++ b/24682-h/images/quilts78th.jpg
diff --git a/24682-h/images/quilts79.jpg b/24682-h/images/quilts79.jpg
new file mode 100644
index 0000000..2d256a9
--- /dev/null
+++ b/24682-h/images/quilts79.jpg
diff --git a/24682-h/images/quilts79th.jpg b/24682-h/images/quilts79th.jpg
new file mode 100644
index 0000000..22f99de
--- /dev/null
+++ b/24682-h/images/quilts79th.jpg
diff --git a/24682-h/images/quilts80.jpg b/24682-h/images/quilts80.jpg
new file mode 100644
index 0000000..e17c15f
--- /dev/null
+++ b/24682-h/images/quilts80.jpg
diff --git a/24682-h/images/quilts80th.jpg b/24682-h/images/quilts80th.jpg
new file mode 100644
index 0000000..d900b21
--- /dev/null
+++ b/24682-h/images/quilts80th.jpg
diff --git a/24682-h/images/quilts81.jpg b/24682-h/images/quilts81.jpg
new file mode 100644
index 0000000..a0d35b7
--- /dev/null
+++ b/24682-h/images/quilts81.jpg
diff --git a/24682-h/images/quilts81th.jpg b/24682-h/images/quilts81th.jpg
new file mode 100644
index 0000000..d07fbb2
--- /dev/null
+++ b/24682-h/images/quilts81th.jpg
diff --git a/24682-h/images/quilts82.jpg b/24682-h/images/quilts82.jpg
new file mode 100644
index 0000000..b06c958
--- /dev/null
+++ b/24682-h/images/quilts82.jpg
diff --git a/24682-h/images/quilts82th.jpg b/24682-h/images/quilts82th.jpg
new file mode 100644
index 0000000..e65762f
--- /dev/null
+++ b/24682-h/images/quilts82th.jpg
diff --git a/24682-h/images/quilts83.jpg b/24682-h/images/quilts83.jpg
new file mode 100644
index 0000000..9a40601
--- /dev/null
+++ b/24682-h/images/quilts83.jpg
diff --git a/24682-h/images/quilts83th.jpg b/24682-h/images/quilts83th.jpg
new file mode 100644
index 0000000..b2c745c
--- /dev/null
+++ b/24682-h/images/quilts83th.jpg
diff --git a/24682-h/images/quilts84.jpg b/24682-h/images/quilts84.jpg
new file mode 100644
index 0000000..55046ef
--- /dev/null
+++ b/24682-h/images/quilts84.jpg
diff --git a/24682-h/images/quilts84th.jpg b/24682-h/images/quilts84th.jpg
new file mode 100644
index 0000000..59cb81e
--- /dev/null
+++ b/24682-h/images/quilts84th.jpg
diff --git a/24682-h/images/quilts85.jpg b/24682-h/images/quilts85.jpg
new file mode 100644
index 0000000..00996f0
--- /dev/null
+++ b/24682-h/images/quilts85.jpg
diff --git a/24682-h/images/quilts85th.jpg b/24682-h/images/quilts85th.jpg
new file mode 100644
index 0000000..fcb8894
--- /dev/null
+++ b/24682-h/images/quilts85th.jpg
diff --git a/24682-h/images/quilts86.jpg b/24682-h/images/quilts86.jpg
new file mode 100644
index 0000000..dd7fd41
--- /dev/null
+++ b/24682-h/images/quilts86.jpg
diff --git a/24682-h/images/quilts86th.jpg b/24682-h/images/quilts86th.jpg
new file mode 100644
index 0000000..50632ef
--- /dev/null
+++ b/24682-h/images/quilts86th.jpg
diff --git a/24682-h/images/quilts87.jpg b/24682-h/images/quilts87.jpg
new file mode 100644
index 0000000..53a3620
--- /dev/null
+++ b/24682-h/images/quilts87.jpg
diff --git a/24682-h/images/quilts87th.jpg b/24682-h/images/quilts87th.jpg
new file mode 100644
index 0000000..d63d132
--- /dev/null
+++ b/24682-h/images/quilts87th.jpg
diff --git a/24682-h/images/quilts88.jpg b/24682-h/images/quilts88.jpg
new file mode 100644
index 0000000..59bbaf0
--- /dev/null
+++ b/24682-h/images/quilts88.jpg
diff --git a/24682-h/images/quilts88th.jpg b/24682-h/images/quilts88th.jpg
new file mode 100644
index 0000000..4a0b02a
--- /dev/null
+++ b/24682-h/images/quilts88th.jpg
author	Roger Frank <rfrank@pglaf.org>	2025-10-15 02:14:02 -0700
committer	Roger Frank <rfrank@pglaf.org>	2025-10-15 02:14:02 -0700
commit	919cbf35deed54f4bc0d03a7de5a7ce493d11f82 (patch)
tree	9a6b9a562ba1863d8d4b508387fa74b92f4b740a /24682-h