Quilts: Their Story and How to Make Them by Marie D. Webster, Rosalind W. Perry
Authors: Marie D. Webster, Rosalind W. Perry
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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.
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 appliqué quilts that give evidence of much ability and originality in their construction. For the pioneer woman there was no convenient school of design, and whenshe 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.
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CHAPTER VI
Quilt Names
A 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.
In most cases the relation between name and design is so evident that the correct name at oncesuggests itself, even to the novice in quilt making. The common “star” pattern, in which one star is made the centre of each block, is invariably known as the “Five-pointed Star.” A variation in the size of the stars or the number of colours entering into their composition has not resulted in any new name.
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 “tree” 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: “Pine Tree,” “Temperance Tree,” and “Tree of Paradise.” A minor change in the ordinary “Nine Patch,” 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 “Nine Patch,” and the four corner blocks are, by comparison with the centre block, quite small. This slight change is in reality a magicaltransformation, for the staid “Nine Patch” has now become a lively “Puss-in-the-Corner.” 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.
See larger image
AMERICAN LOG CABIN, SILK AND WOOL
In Colonial days this was known as a “pressed” quilt
See larger image
DEMOCRAT ROSE
Made in Pennsylvania about 1845
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. “Washington’s Plumes,” “Mexican Rose,” and “Rose of Dixie” are old quilt names reflecting domestic interest in important events. The hardships and vicissitudes endured by the sturdy
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 appliqué quilts that give evidence of much ability and originality in their construction. For the pioneer woman there was no convenient school of design, and whenshe 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.
----
CHAPTER VI
Quilt Names
A 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.
In most cases the relation between name and design is so evident that the correct name at oncesuggests itself, even to the novice in quilt making. The common “star” pattern, in which one star is made the centre of each block, is invariably known as the “Five-pointed Star.” A variation in the size of the stars or the number of colours entering into their composition has not resulted in any new name.
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 “tree” 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: “Pine Tree,” “Temperance Tree,” and “Tree of Paradise.” A minor change in the ordinary “Nine Patch,” 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 “Nine Patch,” and the four corner blocks are, by comparison with the centre block, quite small. This slight change is in reality a magicaltransformation, for the staid “Nine Patch” has now become a lively “Puss-in-the-Corner.” 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.
See larger image
AMERICAN LOG CABIN, SILK AND WOOL
In Colonial days this was known as a “pressed” quilt
See larger image
DEMOCRAT ROSE
Made in Pennsylvania about 1845
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. “Washington’s Plumes,” “Mexican Rose,” and “Rose of Dixie” are old quilt names reflecting domestic interest in important events. The hardships and vicissitudes endured by the sturdy
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