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QUILTS
Their Story and How to Make Them
by
MARIE D. WEBSTER
[Illustration]
Illustrated
Garden City New York
Doubleday, Page & Company
1916
[Illustration: INDIANA WREATH
Made in 1858. Colours: red, green, yellow, and pink]
Copyright, 1915, by
Doubleday, Page & Company
All rights reserved, including that of
translation into foreign languages,
including the Scandinavian
CONTENTS
CHAPTER PAGE
Introduction xv
I. Patchwork in Antiquity 3
II. Patchwork and Quilting During the Middle Ages 16
III. Patchwork and Quilting in Old England 34
IV. The Quilt in America 60
V. How Quilts Are Made 89
VI. Quilt Names 115
VII. Quilt Collections and Exhibitions 133
VIII. The Quilt's Place in American Life 149
List of Quilt Names, Arranged Alphabetically 169
List of References 177
LIST OF COLOUR PLATES
Indiana Wreath _Frontispiece_
FACING PAGE
*The Bedtime Quilt 24
The Iris Design 40
Morning Glories 56
Daisy Quilt 72
*Poppy Design 86
*The Sunflower Quilt 102
"Pink Rose" Design 120
*The "Wind-blown Tulip" Design 134
Golden Butterflies and Pansies 140
The "Snowflake" Quilt Design 146
*The Dogwood Quilt 150
The Wild Rose 156
*Morning Glory 160
*"Keepsake Quilt" 164
* Made by Marie Webster.
LIST OF BLACK AND WHITE ILLUSTRATIONS
FACING PAGE
Section of Funeral Tent of an Egyptian Queen, Made
in a Patchwork of Coloured Goatskins 4
Old English Appliqué 5
Fifth Century Appliqué 6
Armenian Patchwork: St. George and the Dragon 7
Persian Quilted Linen Bath Carpet: Seventeenth Century 10
Old English Hanging with Appliqué Figures 11
Modern Egyptian Patchwork: Four Cushion Covers 12
Modern Egyptian Patchwork: Panels for Screens 13
Modern Egyptian Patchwork: Panels for Wall Decoration 16
Double Nine Patch 17
Pieced Baskets 20
Bedroom, Cochran Residence, Deerfield, Mass. 21
Jacob's Ladder 28
Conventional Tulip 29
Old German Appliqué, Metropolitan Museum, New York 32
Double X 33
Puss-in-the-Corner 34
Tea Leaves 35
Feather Star 38
Drunkard's Path 39
Star of the East 42
White Quilt with Tufted Border, Metropolitan Museum,
New York 43
Sunburst and Wheel of Fortune 46
Tree of Paradise 47
Old Bed and Trundle Bed 48
Two White Tufted Bedspreads 49
Tufted Bedspread with Knotted Fringe 52
Unknown Star 53
Combination Rose 54
Double Tulip 55
Princess Feathers 58
Princess Feathers with Border 59
Peonies 60
North Carolina Lily 61
Feather Star with Appliqué 64
Tulip Tree Leaves 65
Mexican Rose 66
Currants and Cockscomb 67
Conventional Appliqué 70
Single Tulip 71
Ohio Rose 74
Rose of Sharon 75
Original Floral Designs 78
Conventional Tulip 79
Conventional Rose 80
Conventional Rose Wreath 81
Poinsettia 84
Whig Rose 85
Harrison Rose 92
Detail of Harrison Rose, Showing Quilting 93
Original Rose Design 96
Pineapple Design 97
Virginia Rose 100
Rose of LeMoine 101
Charter Oak 108
Puffed Quilt of Silk 109
Variegated Hexagon, Silk 112
Roman Stripe, Silk 113
American Log Cabin, Silk and Wool 116
Democrat Rose 117
Original Rose No. 3 124
White Quilt, Stuffed Designs 125
White Quilt 128
Old Ladies Quilting 129
Quilts on a Line 136
*Grapes 137
* Made by Marie Webster.
ILLUSTRATIONS IN TEXT
QUILTING DESIGNS
PAGE
Single Diagonal Lines 93
Double Diagonal Lines 93
Triple Diagonal Lines 93
Diamonds 99
Hanging Diamonds 99
Broken Plaid 99
Rope 104
Shell 104
Fan 104
Feathers in Bands 105
Feathers in Waved Lines 105
Feathers in Circles 105
Three Original Quilting Designs from Old Quilts 108
Design from an Old English Quilt 112
Medallion Design 112
Pineapple 112
INTRODUCTION
Although 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--at the most--can be only partially unravelled.
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'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.
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.
There are more quilts being made at the present time--in the great
cities as well as in the rural communities--than ever before, and
their construction as a household occupation--and recreation--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's strength lies in keeping the family hearth
flame bright.
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. Patchwork--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--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.
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--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 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.
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.
_Marion, Indiana_
_March 18, 1915._
QUILTS
THEIR STORY AND
HOW TO MAKE THEM
CHAPTER I
PATCHWORK IN ANTIQUITY
The 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.
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 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 B. C. by Lady of Si-Ling, the wife of a famous emperor,
Huang-ti.
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.
[Illustration: SECTION OF FUNERAL TENT OF AN EGYPTIAN
QUEEN
Made in a patchwork of coloured goatskins]
[Illustration: OLD ENGLISH APPLIQUÉ
Figure of a knight on horseback. Thirteenth century]
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 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.
Sir J. Gardner Wilkinson, in his history of "Ancient Egypt," tells of
their knowledge of dyeing and of the nature of the fabrics found in
the tombs: "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."
"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, 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."
"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."
[Illustration: FIFTH CENTURY APPLIQUÉ]
[Illustration: ARMENIAN PATCHWORK
Illustrating the story of St. George and the dragon, and
other Christian subjects]
"In Egypt," he says, "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 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."
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.
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: "Of fine linen with broidered
work Egypt was thy sail, that it might be to thee for an ensign." In
"De Bello Judaico," by Flavius Josephus, another reference is made to
ancient needlework: "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."
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 "Histoire de l'Art dans l'Antiquité," publish a
painting containing a hanging of purely ornamental design formed of
circles, triangles, and palm leaves reversed. Wilkinson describes an
Egyptian hanging--an original, not a reproduction--found in an English
collection: "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." This
is a very ancient example of true applied work combined with
embroidery. In the Psalms it is said that Pharaoh's daughter shall be
brought to the king in a raiment of needlework and that "her clothing
is of wrought gold."
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 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.
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, "applied work," 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 "richly ornamented in
front with lions' heads and other devices, probably of coloured
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."
[Illustration: PERSIAN QUILTED LINEN BATH CARPET
Seventeenth century]
[Illustration: OLD ENGLISH HANGING WITH APPLIQUÉ
FIGURES]
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 B. C. 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 scarabæus, 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 order in the
repetition and arrangement of these details, which gives a rather
stiff and formal look to the whole design.
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.
[Illustration: MODERN EGYPTIAN PATCHWORK
Four cushion covers]
[Illustration: MODERN EGYPTIAN PATCHWORK
Panels for screens]
The modern Egyptians have the innate taste and ability of all
Orientals for harmonizing colour. Their universal use of black to
outline and define 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--the lotus--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's ancient splendour.
While among the ancient Greeks and Romans all the arts of the needle
were held in the greatest 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 appliqué, 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 "Story of Arachne," as related by Ovid; the other from
the "Odyssey" of Homer.
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's passionate love of
weaving, transformed her into a spider and bade her weave on forever.
The other interesting incident of ancient times is that of Penelope'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' 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's labour. By this
stratagem Penelope restrained the crowd of ardent suitors up to the
very day of Ulysses' return.