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 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'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.





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 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.

The quilts, both pieced and patched, that are made in mountaineers' 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 "oil boiled"—now used to dye calico—are so fast, that the mountain 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.

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: "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 'compass work,' 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 'mammy aims to set up for her ag'inst spring.' The mother tells you half jesting, half in earnest, 'the young un will have several ag'inst she has a home of her own.' 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 'ever' stitch, piecin', settin' up, quiltin', my own work and ne'er another finger tetched hit.'"

Patchwork was an important factor in making plain the knotty problems of existence, as Eliza Calvert Hall clearly shows when she makes "Aunt Jane of Kentucky" say: "How much piecin' a quilt is like livin' a life! Many a time I've set and listened to Parson Page preachin' about predestination and free will, and I've said to myself, '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's makin' it with his big words.' You see, you start out with jest so much caliker; you don'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'll have a piece left over every time you cut a dress, and you take jest what happens to come. And that's like predestination. But when it comes to the cuttin' out, why, you're free to choose your own pattern. You can give the same kind o' pieces to two persons, and one'll make a 'nine patch' and one'll make a 'wild-goose chase,' and there'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'. The Lord sends us the pieces, but we can cut them out and put 'em together pretty much to suit ourselves, and there's a heap more in the cuttin' out and the sewin' than there is in the caliker."

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 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.





"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." Thus Jenkin Lloyd Jones, in his address on "The Father of Lincoln," 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.

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:

"November 10th. To-day was cider-making day, and all were up at sunrise."

"December 1st. We killed a beef to-day, the neighbours helping."





"December 4th. I was much engaged in trying out my tallow. To-day I dipped candles and finished the 'Vicar of Wakefield.'"

"December 8th. To-day I commenced to read the 'Life of Washington,' 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."

In the Middle West, without friendly cooperation, 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 "Historic Indiana": "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."

About 1820 a new channel of commerce was opened to the inhabitants of the Ohio Valley, in 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's scow.

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. 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.

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. 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.

A most beautiful example of the American quilt at its best is found in the "Indiana Wreath." Its pleasing design, harmonious colours, and exquisite workmanship reveal to us the quilter's art in its greatest perfection. This quilt was made by Miss E. 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 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.





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 "oil boiled." 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.

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 "feather" pattern. Aside from these triangular corner designs all the quilting is in small diamonds, which form a very pleasing background for the effective coloured designs. The maker'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 "Indiana Wreath," and all the stitchery of top and quilting is the very perfection of quilt making.

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 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.



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.

It was the rage for white bed coverings that shortened the lives of many old pieced and patched quilts of good colouring. The "Country Contributor" tells of her experiences in dressing up the white beds:

"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; the 'tufted' ones had worn out; and I loathed the cheap 'honeycombed' cotton things we were forced to use unless we were going to be frankly 'poor' and cover our beds with plain patchwork, made up hurriedly and quilted in simple 'fans' in plebeian squares, as poor folk who haven'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 'white spread,' 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 applique stars and flowers and wheels from view. Strange, is it not, that we relinquish so much of life's best joy and pleasure before we know what actually is good?" 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.



CHAPTER V

HOW QUILTS ARE MADE

It 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.

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.

The name quilt implies two or more fabrics held together with many stitches. Webster defines a quilt as "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." The verb, to quilt, he defines as "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."

The "Encyclopaedia Britannica" is a little more explicit and also gives the derivation of the name, quilt, as follows: "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." In its earlier days the "quilt" was often made thick and sewed as a form of mattress. The term was also given to a stitched, wadded lining for body armour. "The word came into English from old French cuilte. This is derived from Latin culcitra, a stuffed mattress or cushion. From the form culcitra came old French cotra, or coutre whence coutre pointe; this was corrupted into counterpoint, which in turn was changed to counterpane. The word 'pane' is also from the Latin pannus, a piece of cloth. Thus 'counterpane,' a coverlet for a bed, and 'quilt' are by origin the same word."

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 "comfort."

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, 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.

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.







There is a radical distinction between the verbs "to piece" and "to patch," as used in connection with the making of quilts. In this instance the former means to join together separate pieces of 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 "Star of the East" 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.

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: "A hole may be thought to be an accident of the day, but a patch is a sure sign of poverty." 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.

However, this term is a misnomer when applied to some pieced quilts. Many of the "scrap quilts," as they are called in some localities, are very pretty when made from gay pieces—carefully blended—of the various shades of a single colour. The stars in the design called "The Unknown Star" 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.

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 "Jacob's Ladder" is a good example of the pieced quilt. Another is the "Feathered Star," whose lightness and delicacy make it a most charming pattern. The pieced quilt with one large star in the centre, called by some "The Star of the East" and by others "The Star of Bethlehem," 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.

The French word "applique" is frequently used to describe the patched or laid-on work. There is no single word in the English language that exactly translates "applique." The term "applied work" 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. "Sewed on" and "laid quilts" are old terms given to applique or patched quilts.

The distinction between "pieced" and "patched" quilts is fittingly described by Miss Bessie Daingerfield, the Kentuckian who has written interestingly of her experiences with mountain quilt makers. She says: "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 'four-patch' 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's skill in executing it. I think much character building must be done while hand and eye cooperate to make, for example, a star quilt with its endless tiny points for fitting and joining, but a patch quilt is a more ambitious affair. For this the pattern is cut from the whole piece and appliqued 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."





"Applique 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 applique 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." The foregoing quotation is from "Art in Needlework" by Louis F. Day and Mary Buckle. It is of interest because it explains how applique or "laid-on" needlework ranks with other kinds.

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 "a thing apart" 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.



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 "ready for the frames." In earlier days the quilting frame could be found in every home, its simple construction making this possible. In its usual 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.

[Illustration: VIRGINIA ROSE

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 "rock-ribbed" 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's neighbors and friends was Stonewall Jackson.

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]



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 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.

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 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.

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 "single diagonal" 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 "single" diagonal into sets of two or more parallel lines, thus forming the "double" and "triple" 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 "square," "diamond," and "hanging diamond" are produced.



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 "pineapple," "broken plaid," and "shell" 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 "Ostrich Feather." These so-called feathers are arranged in straight bands, waved lines, or circles, and—when the work is well done—are very beautiful. The "fan" and "twisted rope" patterns are familiar to the older quilters but are not much used at the present time.





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 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.

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's position without quickly tiring.

Skill and speed in quilting can be acquired only 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.







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, 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 applique quilts being made.

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 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.

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'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.

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 appropriate name of "comfort." 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.

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.







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 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.

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.

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 applique 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 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.



CHAPTER VI

QUILT NAMES

Among 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 once suggests 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 magical transformation, 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.





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 pioneers were constantly in the minds of the early American quilters and inspired many names. "Pilgrim's Pride," "Bear's Paws," "Rocky Road to Kansas," "Texas Tears," and "Rocky Road to California" have great interest as they reveal to us the thoughts of our great-grandmothers over their quilting frames.

The names having political significance, which were attached to quilts, show that the women as well as the men had a keen interest in the affairs of our country in its earlier days. "Old Tippecanoe," "Lincoln's Platform," "Harrison Rose," "Democrat Rose," "Whig Rose," and "Radical Rose" are all suggestive of the great discussion over slavery. Of the last name, an old lady, famous for her quilt making, said: "Here's my 'Radical Rose.' I reckon you'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' man war a-talkin' about the Radicals and all the women tuk to makin' 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't look fair to leave them out. And from that day to this thar's been black in ever' Radical Rose."

Other names having patriotic, political, or historical significance are:

Union Yankee Puzzle Continental Union Calico Quilt Star-Spangled Banner Confederate Rose Boston Puzzle

There is also the "Centennial" in commemoration of the Centennial Exposition held at Philadelphia in 1876, and "The World's Fair," "World's Fair Puzzle," and "World's Fair Blocks" to perpetuate the grandeurs of the great exposition held at Chicago in 1893.

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:

Garden of Eden Golden Gates Jacob's Ladder Joseph's Coat Solomon's Temple Solomon's Crown Star of Bethlehem Tree of Paradise Forbidden Fruit Tree

The glories of the sky enjoy ample prominence among quilt names. Beginning with the "Rising Sun," of which there are several different designs, there follow "Sunshine" and "Sunburst," then "Rainbow," and finally a whole constellation of "Stars":

Blazing Star Brunswick Star Combination Star Chicago Star Columbia Star Crosses and Stars Cluster of Stars California Star Diamond Star Eight-pointed Star Evening Star Feather Star Five-pointed Star Flying Star Four X Star Four Stars Patch Joining Star Ladies' Beautiful Star Morning Star New Star Novel Star Odd Star Premium Star Ribbon Star Rolling Star Sashed Star Seven Stars Star Lane Star of Bethlehem Star and Chains Star of Many Points Star and Squares Star and Cubes Star Puzzle Shooting Star Star of the West Star and Cross Star of Texas Stars upon Stars Squares and Stars St. Louis Star Star, A Twinkling Star Union Star Wheel and Star Western Star

In connection with the "Star" quilt names it is worthy of notice that geometric names outnumber those of any other class. "Squares," "triangles," and "circles" are well represented, but the "Stars" easily lead with nearly fifty names.

Names of various other geometric patterns appear below:

Art Square Barrister's Blocks Beggar's Blocks Box Blocks Circle within Circle Cross within Cross Cross and Crown Cube Work Cube Lattice Diamonds Diamond Cube Diamond Design Double Squares Domino and Square Eight-point Design Five Stripes Fool's Square Four Points Greek Cross Greek Square Hexagonal Interlaced Blocks Maltese Cross Memory Blocks Memory Circle New Four Patch New Nine Patch Octagon Pinwheel Square Red Cross Ribbon Squares Roman Cross Sawtooth Patchwork Square and Swallow Square and a Half Squares and Stripes Square and Triangle Stripe Squares The Cross The Diamond Triangle Puzzle Triangular Triangle Variegated Diamonds Variegated Hexagons



Names of a nautical turn are to be expected for quilts which originate in seaside cottages and seaport villages. "Bounding Betty," "Ocean Waves," and "Storm at Sea" have a flavour as salty as the spray which dampens them when they are spread out to sun by the sandy shore.

That poetry and romance have left their mark on the quilt is shown by the names that have been drawn from these sources. "Lady of the Lake," "Charm," "Air Castle," "Wheel of Fortune," and "Wonder of the World" are typical examples. Sentimental names are also in evidence, as "Love Rose," "Lovers' Links," "True Lovers' Knot," "Friendship Quilt," and "Wedding Knot."

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 "rose" names to prove how this flower has endeared itself to the devotees of piece-block and quilting frame:

Rose California Rose Complex Rose Confederate Rose Democrat Rose Dutch Rose Harrison Rose Harvest Rose Love Rose Mexican Rose Prairie Rose Rose of Sharon Rose of Dixie Rose of the Carolinas Rosebud and Leaves Rose Album Rose of LeMoine Radical Rose Whig Rose Wild Rose Wreath of Roses

Other flowery names are also popular:

Basket of Lilies Bouquet Cleveland Lilies Cactus Blossom Chrysanthemums Double Peony Daisies Daffodils and Butterflies Field Daisies Flower Basket Iris Jonquils Lily Quilt Pattern Lily of the Valley Morning Glory Morning Gray Wreath Persian Palm Lady Poppy Pansies and Butterflies Single Sunflowers Sunflowers Tulip in Vase Tassel Plant Tulip Blocks Three-flowered Sunflower The Mayflower Tulip Lady Finger White Day Lily

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.

Even the lowly vegetables secure some mention among quilt names with "Corn and Beans." The fruits and trees are well represented, as noted by the following list:

Apple Hexagon Cherry Basket California Oak Leaf Cypress Leaf Christmas Tree Fruit Basket Grape Basket Hickory Leaf Imperial Tea Indian Plum Live Oak Tree Little Beech Tree Maple Leaf May Berry Leaf Olive Branch Orange Peel Oak Leaf and Tulip Oak Leaf and Acorns Pineapple Pine Tree Sweet Gum Leaf Strawberry Tea Leaf Tufted Cherry Temperance Tree Tulip Tree Leaves

The names of birds and insects are almost as popular as those of flowers, as this list will bear witness:

Bluebird Brown-tailed Moth Butterflies Bird's Nest Crow's Foot Chimney Swallows Cockscomb Dove in the Window Duck and Ducklings Four Little Birds Goose Tracks Goose in the Pond Honeycomb Honeycomb Patch Hen and Chickens King's Crows Peacocks and Flowers Spider's Den Shoo Fly Spider's Web Swarm of Bees The Two Doves Wild Goose Chase





The animals also must be credited with their share of names:

Bear's Foot Bear's Paws Bat's Wings Bunnies Cats and Mice Flying Bat Four Frogs Quilt Leap Frog Puss-in-the-Corner The Snail's Trail Toad in the Puddle The Lobster (1812)

Occasionally the quilt maker was honoured by having her name given to her handiwork, as "Mrs. Morgan's Choice," "Mollie's Choice," "Sarah's Favourite," and "Fanny's Fan." Aunts and grandmothers figure as prominently in the naming of quilts as they do in the making of them. "Aunt Sukey's Patch," "Aunt Eliza's Star Point," "Grandmother's Own," "Grandmother's Dream," and "Grandmother's Choice" are typical examples.

Quilt names in which reference is made to persons and personalities are quite numerous, as is proved by the list given below:

Coxey's Camp Crazy Ann Dutchman's Puzzle Everybody's Favourite Eight Hands Around Grandmother's Choice Garfield's Monument Gentleman's Fancy Handy Andy Hands All Around Hobson's Kiss Indian Plumes Indian Hatchet Jack's House Joseph's Necktie King's Crown Lady Fingers Ladies' Wreath Ladies' Delight Mary's Garden Mrs. Cleveland's Choice Old Maid's Puzzle Odd Fellows' Chain Princess Feather President's Quilt Sister's Choice The Tumbler The Hand The Priscilla Twin Sisters Vice-President's Quilt Widower's Choice Washington's Puzzle Washington's Sidewalk Washington's Plumes

Names derived both from local neighbourhoods and foreign lands occupy a prominent place in the quilt list:

Arabic Lattice American Log Patch Arkansas Traveller Alabama Beauty Blackford's Beauty Boston Puzzle Columbian Puzzle Cross Roads to Texas Double Irish Chain French Basket Grecian Design Indiana Wreath Irish Puzzle Kansas Troubles Linton London Roads Mexican Rose Oklahoma Boomer Philadelphia Beauty Philadelphia Pavement Rocky Glen Royal Japanese Vase Rocky Road to Kansas Rocky Road to California Road to California Roman Stripe Rockingham's Beauty Rose of Dixie Rose of the Carolinas Star of Texas Texas Flower The Philippines Texas Tears Venetian Design Village Church Virginia Gentleman

Sometimes the names of a flower and a locality are combined, as in "Persian Palm Lily" and "Carolina Lily." This latter design is quite a popular one in the Middle West, where it is known also as "Star Flower."

Figures and letters come in for some attention, for a few of the designs thus named are quite artistic. The best known are "Boxed I's," "Capital I," "Double Z," "Four E's," "Fleur-de-Lis," "Letter H," "Letter X," and "T Quartette."

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:

Album Base Ball Basket Quilt Block Album Brickwork Quilt Carpenter's Rule Carpenter's Square Churn Dash Cog Wheel Compass Crossed Canoes Diagonal Log Chain Domino Double Wrench Flutter Wheel Fan Fan Patch Fan and Rainbow Ferris Wheel Flower Pot Hour Glass Ice Cream Bowl Log Patch Log Cabin Necktie Needle Book New Album Pincushion and Burr Paving Blocks Pickle Dish Rolling Pinwheel Rolling Stone Sashed Album Shelf Chain Snowflake Snowball Stone Wall Sugar Loaf Spools Shield Scissor's Chain Square Log Cabin The Railroad The Disk The Globe The Wheel Tile Patchwork Watered Ribbon Wind Mill

Occasionally the wag of the family had his opportunity, for it took some one with a strain of dry humour to suggest "Old Bachelor's Puzzle," "Drunkard's Path," and "All Tangled Up," or to have ironically called one quilt a "Blind Man's Fancy."

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 "Wild Goose Chase," 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'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 rows of triangles supplied the quilt maker with her inspiration.





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 "Hairpin Catcher," "Hearts and Gizzards," or "Tangled Garters?" Other grotesque names worthy of mention are:

An Odd Pattern Autograph Quilt Boy's Nonsense Brick Pile Broken Dish Cake Stand Crazy Quilt Devil's Puzzle Fantastic Patch Fool's Puzzle No Name Quilt Pullman Puzzle Puzzle File Robbing Peter to Pay Paul State House Steps Steps to the Altar Swing in the Centre The X quisite Tick-Tack-Toe Vestibule

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:

An Old Patchwork Bedtime Coarse Woven Patch Country Farm Crib Quilt Crosses and Losses Economy Home Treasure Odds and Ends Odd Patchwork Old Scrap Patchwork Right and Left Simple Design Swinging Corners The Old Homestead Twist and Turn Twist Patchwork Winding Walk Workbox

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 "B'rer Rabbit" 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. "Four Little Birds," "Ducks and Ducklings," "Children's Delight," "The Little Red House," "Goose in the Pond," "The House That Jack Built," "Toad in the Puddle," and "Johnny Around the Corner" 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 that were once in their own gay dresses and pinafores.

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.

"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 'gallery rail' so their glory may be seen.

"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 had its name. There was the "Western Star," the "Rose of the Carolinas," the "Log Cabin," the "Virginia Gentleman," the "Fruit Basket," the "Lily of the Valley"—as many special names as there are designs."



CHAPTER VII

QUILT COLLECTIONS AND EXHIBITIONS

In 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.

There is in existence to-day no complete collection of quilts readily available to the public at 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.

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 one industrious maker who has spent the greater portion of her life piecing and quilting. The Kentucky mountain woman who had "eighty-three, all different, and all her own makin'," is a typical example of this class.



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.

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 was unable to make, their patterns were collected. These collections of quilt patterns—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.

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—at least in the northern part of the United States—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, "our one steadfast institution in a world of change," is so intimately connected with the lives and is so dear to the hearts of our people.





In addition to the pleasures and social diversions which that annual rural festival—the county fair—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.

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 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.

For the women of the farm the exhibit of domestic arts and products occupies the preeminent 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: "We used to hear a great deal about the sad and lonely fate of the western farmer'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."

In connection with the display of needlework at rural fairs, it is interesting to note how ancient is this custom. In the "Social History of Ancient Ireland" is the following description of an Irish fair held during the fourth century—long before the advent of St. Patrick and Christianity: "The people of Leinster every three years during the first week of August held the 'Fair of Carman.' 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 'the slope of the embroidering women,' where women actually did their work in the presence of spectators."

A very important factor in the recent revival of interest in quilts has been the springing up of impromptu exhibits as "benefits" for worthy causes, the raising of funds for which is a matter of popular 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.

Not so very long ago "The Country Contributor" undertook the task of giving a quilt show, and her description of it is distinctly worth while:

"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.



"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. 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's grandmother is considerable.

"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'clock, when the exhibition was to begin.

"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'clock.

"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 contribution to the display, saying in softened accents, 'My mother made it.' And each and every quilt brought thus was worthy of a price on its real merit—not for its hallowed association alone.

"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 without hopelessly 'puckering' the material, none of us can imagine."

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 "blue ribbon." 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.

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 "Rose of Sharon"; both the needlework on the design and the quilting are exquisite, the stitches being all but invisible.

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.

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 various articles necessary to the welfare and comfort of the family. This indulgent farmer, realizing that his wife'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.

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—in addition to its interesting connection with the past—an exquisite and mellow beauty which only tasteful design enhanced by age can give.

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, "The Minister's Wooing," calls "the garret boudoir." 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 "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's uncle in his bivouac at Valley Forge."



To view the real impromptu exhibitions of quilts—for which, by the way, no admission fee is charged—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 "Lone Star of Texas," "Rising Sun," 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.

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, 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.



CHAPTER VIII

THE QUILT'S PLACE IN AMERICAN HOMES

The dominant characteristics of quilt making are companionship and concentrated interest. Both of these qualities, or—better yet—virtues, must be in evidence in order to bring a quilt to successful completion. The sociable, gossipy "quilting bee," 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 "quilting" 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—which can be passed on even to future generations, for a well-made quilt is a lasting treasure.

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.



As a promoter of good-will and neighbourly interest during the times when our new country was being settled, and woman's social intercourse was very limited, the "quilting bee" holds a worthy place close beside the meeting-house. The feeling of cooperation so noticeable in all men and growing communities, and which is really essential for their success, is aptly described in the old "Annals of Tennessee," published by Dr. J. G. M. Ramsey in 1853 ("Dedicated to the surviving pioneers of Tennessee"):

"To say of one he has no neighbours was sufficient, 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. 'It is a poor dog that is not worth whistling for,' 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. 'What injury have I done that I am slighted so?'"

Quilts occupied a preeminent 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 have furnished much pleasure in country communities.

In a quaint little book published in 1872 by Mrs. P. G. Gibbons, under the title, "Pennsylvania Dutch," 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:

"Aunt Sally had her quilt up in her landlord'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.

"We found on the table beefsteaks, boiled pork, sweet potatoes, 'Kohl-slaw,' pickled cucumbers and red beets, apple butter and preserved peaches, pumpkin and apple pie, sponge cake and coffee. After dinner came our next neighbours, 'the maids,' 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 sixty years old, her forehead is almost unwrinkled, and her fine hair is still brown. It was late when the farmer's wife came—three o'clock; for she had been to Lancaster. She wore hoops and was of the 'world's people.' These women all spoke 'Dutch,' for the maids, whose ancestors came here probably one hundred and fifty years ago, do not speak English with fluency yet.

"The first subject of conversation was the fall house-cleaning; and I heard mention of 'die carpett hinaus an der fence' and 'die fenshter und die porch,' and the exclamation, 'My goodness, es was schlimm.' I quilted faster than Katy Groff, who showed me her hands, and said, 'You have not been corn husking, as I have.'

"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'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'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.

"Polly M'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."

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's home, similar to the one in which the quilting above mentioned took place: "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 'the room.' 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 form of a basket, are displayed on a white ground; or the beds bear brilliant coverlets of red, white, and blue, as if to 'make the rash gazer wipe his eyes.'"

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 "Slowness comes from God, but hurry from the devil."

All women who are lonely do not live in isolated farmhouses, prairie shacks, or remote villages. In 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's own efforts.

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 "quiltings," 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.



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 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.

Harriet Beecher Stowe, immortalized by "Uncle Tom's Cabin," 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 "Minister's Wooing," which ran first as a serial in the Atlantic Monthly in 1859, she 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's inimitable style:

"By two o'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.

"The quilt pattern was gloriously drawn in oak leaves, done in indigo; and soon all the company, young and old, were passing busy fingers over it, and conversation went on briskly.

"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.

"'It's the very first time in my life that I ever saw grass put into a flower pot,' said Miss Prissy, 'but I must say it looks as handsome as a picture. Mary, I must say,' she added, in an aside, 'I think that Madame de Frontignac is the sweetest dressing and appearing creature I ever saw; she don't dress up nor put on airs, but she seems to see in a minute how things ought to go; and if it'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.'

"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'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'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.



"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.

"'Oh, Cerinthy Ann!' exclaimed her mother, 'how can you go on so?'

"'It's a fact,' said the adventurous damsel; 'now other men let you have some peace, but a minister's always round under your feet.'

"'So you think the less you see of a husband, the better?' said one of the ladies.

"'Just my views!' said Cerinthy, giving a decided snip to her thread with her scissors. 'I like the Nantucketers, that go off on four years' voyages, and leave their wives a clear field. If ever I get married, I'm going up to have one of those fellows.'

"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 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's tones. As Mary had been the chosen confidante of the progress of this affair, she was quietly amused at the demonstration.

"'You'd better take care, Cerinthy Ann,' said her mother, 'they say "that those who sing before breakfast will cry before supper." Girls talk about getting married,' she said, relapsing into a gentle melancholy, 'without realizing its awful responsibilities.'

"'Oh, as to that,' said Cerinthy, 'I've been practising on my pudding now these six years, and I shouldn't be afraid to throw one up chimney with any girl.'

"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's sally was a general laugh.

"'Girls ain't what they used to be in my day,' sententiously remarked an elderly lady. 'I remember my mother told me when she was thirteen she could knit a long cotton stocking in a day.'

"'I haven't much faith in these stories of old times, have you, girls?' said Cerinthy, appealing to the younger members at the frame.

"'At any rate,' said Mrs. Twitchel, 'our minister's wife will be a pattern; I don't know anybody that goes beyond her either in spinning or fine stitching.'

"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's word, had a quick eye for everybody'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's little room, with their arms around each other, communing in low and gentle tones.

"'Mary, my dear child,' said her friend, '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.'

"'You might be sure,' said Mary, 'I never would have married, except that my mother'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'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,' she added, laying her head on her friend's shoulder.