Quilts: Their Story and How to Make Them by Marie D. Webster, Rosalind W. Perry Read Free Book Online

termed a forerunner of the vast array of pieced and patched washable quilts belonging to the nineteenth century.
    The embroidering of quilts followed the process of quilting, which afforded the firm foundation essential for heavy and elaborate designs. Therewere many quilts made of white linen quilted with yellow silk thread, and afterward embroidered very tastefully with yellow silk floss. Terry, in the history of his “Voyage to the East Indies,” made about the middle of the seventeenth century, says: “The natives show very much ingenuity in their manufactures, also in making excellent quilts of their stained cloth, or of fresh-coloured taffeta lined with their prints, or of their satin with taffeta, betwixt which they put cotton wool, and work them together with silk.”
    Among many articles in a list of Eastern products, which Charles I, in 1631, permitted to be brought to England, were “quilts of China embroidered in Gold.” There is a possibility that these quilts were appreciated quite as much for the precious metal used in the embroidery as for the beauty of design and workmanship. It was but a short time after this that women began to realize how much gold and silver had gone into all forms of needlework. They looked upon rare and beautiful embroidery with greedy eyes, and a deplorable fashion sprang up, known in France as “parfilage” and in England as “drizzling.” This was nothing more or less than ripping up, stitchby stitch, the magnificent old hangings, quilts, and even church vestments, to secure gold and silver thread. Lady Mary Coke, writing from the Austrian Court, says: “All the ladies who do not play cards pick gold. It is the most general fashion I ever saw, and they all carry their bags containing the necessary tools in their pockets. They even begged sword knots, epaulettes, and galons that they might add more of the precious threads to the spool on which they wound the ravelled bullion, which they sold.” To the appreciative collector this seems wanton sacrilege.
    See larger image
    TUFTED BEDSPREAD WITH KNOTTED FRINGE
    A design of very remarkable beauty. Over 100 years old
    See larger image
    UNKNOWN STAR
    A New England quilt about 115 years old. Colours: once bright red and green are now old rose and dull green. The original quilting designs are very beautiful
    John Locke, 1632-1704, a very famous man of Charles II’s time, and one of the greatest philosophers and ardent champions of civil and religious rights which England ever produced, mentioned quilts in his “Thoughts Concerning Education.” In telling of the correct sort of beds for children he writes as follows: “Let his Bed be hard, and rather Quilts than Feathers. Hard Lodging strengthens the Parts, whereas being buryed every Night in Feathers melts and dissolves the Body.... Besides, he that is used to hard Lodging at Home will not miss his Sleep (where he has most Need of it) in his travelsAbroad for want of his soft Bed, and his Pillows laid in Order.”
    Pepys, a contemporary of Locke, in his incomparable and delicious Diary, remarks: “Home to my poor wife, who works all day like a horse, at the making of her hanging for our chamber and bed,” thus telling us that he was following the fashion of the day in having wall, window, and bed draperies alike. It is plain, too, by his frequent “and so to bed,” that his place of sleep and rest was one of comfort in his house.
    A quilt depending solely upon the stitching used in quilting, whether it be of the simple running stitch, the back stitch, or the chain stitch, is not particularly ornamental. However, when viewed at close range, the effect is a shadowy design in low relief that has a distinctive but modest beauty when well done. Early in the eighteenth century a liking for this fashion prevailed, and was put to a variety of uses. Frequently there was no interlining between the right and wrong sides. At Canons Ashby there are now preserved some handsome quilted