Quilts: Their Story and How to Make Them (3 page)

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PERSIAN QUILTED LINEN BATH CARPET

Seventeenth century

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OLD ENGLISH HANGING WITH APPLIQUÉ FIGURES

The most ancient example of patchwork is a coloured gazelle hide presented in the Museum of Cairo. The colours of the different pieces of skin are bright pink, deep golden yellow, pale primrose, bluish green, and pale blue. This patchwork served as the canopy or pall of an Egyptian queen about the year 960
B. C.
She was the mother-in-law of Shishak, who besieged and captured Jerusalem shortly after the death of Solomon. On its upper border this interesting specimen has repeated scarabs, cartouches with inscriptions, discs, and serpents. The lower border has a central device of radiating lotus flowers; this is flanked by two narrow panels with cartouches; beyond these are two gazelles facing toward the lotus device. Next to the gazelles on each side is a curious detail consisting of two oddly shaped ducks, back to back; then come the two outer compartments of the border, each of which enclose a winged beetle, or scarabæus, bearing a disc or emblem of the sun. The other main division of the field is spotted in regular order with open blossom forms. There is decided
order in the repetition and arrangement of these details, which gives a rather stiff and formal look to the whole design.

To-day Egyptians are making patchwork that is undoubtedly a development of the very art practised in the days of Ptolemy, Rameses, and Cleopatra. They do not use their patchwork to adorn quilts, since these are unknown in the warm Nile valley, but as covers for cushions, panels for screens, and decorations suitable for wall hangings. Generally but two kinds of material are employed in its construction: a rather loosely woven cotton cloth, and a firm, coarse linen. The cottons used are all gayly dyed in plain colours, and the linens are in the natural shades, with perhaps a slight mixture of white. The patchwork designs are typically Egyptian, many pieces being covered with replicas of paintings found on tombs and temples. These paintings are copied as faithfully in colour as in design, even the hieroglyphics being exactly reproduced, and altogether make very striking and effective decorations.

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MODERN EGYPTIAN PATCHWORK

Four cushion covers

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MODERN EGYPTIAN PATCHWORK

Panels for screens

The modern Egyptians have the innate taste and ability of all Orientals for harmonizing colour. Their universal use of black to outline and define
most of the designs produces a beautiful harmony between otherwise clashing hues. With nearly as many shades at their disposal in cloth as a painter has in paint, they are quite ambitious in their attempts to produce realistic scenes. On some of the best specimens of modern Egyptian patchwork gods and goddesses are shown sitting enthroned surrounded by attendants and slaves bearing trophies of war and chase as offerings to the divine beings. On others, groups of men and women are shown, humbly presenting salvers of fruit and the sacred flower—the lotus—to their gods. Some of the most effective work is decorated with a simple life-size figure of Osiris or Rameses the Great in brilliant colours. A few of the more subdued patchwork designs consist of a solitary scarab, the sacred beetle of the Pharaohs, or an asp or two gracefully entwined. The smaller pieces make practical and admirable cushion covers. There are many attractive shops in Cairo that sell quantities of this gay patchwork, and few tourists leave Egypt without a specimen or two as mementoes of the paintings that give us a glimpse of Egypt’s ancient splendour.

While among the ancient Greeks and Romans all the arts of the needle were held in the greatest
esteem, comparatively little attention was paid to the adornment of their sleeping apartments. Accounts of early Greek houses state that, while the bedchambers were hung all about with curtains and draperies, these were usually of plain fabrics with little attempt at decoration. Of patchwork or appliqué, as known to the Egyptians and Hebrews, the Greeks and Romans have left us no trace. However, as substantiating the regard shown for needlework by the Greeks and Romans, the following two pleasing myths have come down to us: one, the “Story of Arachne,” as related by Ovid; the other from the “Odyssey” of Homer.

Arachne, a most industrious needleworker, had the audacity to contest against Pallas, the goddess of the art of weaving. With her bobbins, Arachne wove such wonderful pictures of the Loves of the Gods that Pallas, conscious of having been surpassed by a mortal, in an outburst of anger struck her. Arachne, humiliated by the blow, and unable to avenge it, hanged herself in despair. Whereupon the goddess relented, and with the intention of gratifying Arachne’s passionate love of weaving, transformed her into a spider and bade her weave on forever.

The other interesting incident of ancient times is that of Penelope’s patient weaving. It is related that, after one short year of wedded happiness, her husband Ulysses was called to take part in the Trojan War. Not a single message having been received from him by Penelope during his long absence, a doubt finally arose as to his being still alive. Numerous suitors then sought her hand, but Penelope begged for time and sought to put them off with many excuses. One of her devices for delay was that of being very busy preparing a funeral robe for Ulysses’ father. She announced that she would be unable to choose another husband until after this robe was finished. Day after day she industriously wove, spending patient hours at her loom, but each night secretly ravelled out the product of her day’s labour. By this stratagem Penelope restrained the crowd of ardent suitors up to the very day of Ulysses’ return.

I
N THE early days of Christianity the various organizations of the mother church took a deep interest in all the textile arts, and we are indebted to the ecclesiastical orders for what progress was made in needlework during the beginning of the Middle Ages. The makers of church hangings and vestments were stimulated by thoughts of the spiritual blessings with which they were assured their work would be rewarded. Much of this early ecclesiastic needlework is extremely elaborate and was always eagerly desired by the holy orders. At one time the craze for gorgeous vestments reached such an extreme that we have record of one worthy bishop chiding his priests because they “carried their religion on their backs instead of in their hearts.”

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MODERN EGYPTIAN PATCHWORK

Panels for wall decoration

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DOUBLE NINE PATCH

Made in Ohio in 1808. Colours: blue and white, and beautifully quilted

The artistic needlework of the Christian era
consists almost entirely of embroidery; no positive reference to patchwork or quilting being found in western Europe prior to the time of the Crusades. But with this great movement, thousands of the most intelligent men in Europe, urged by religious enthusiasm combined with love of adventure, forced their way into eastern countries whose culture and refinements of living far surpassed their own. The luxuries which they found in Syria were eagerly seized and carried home to all the western lands. Returning Crusaders exhibited fine stuffs of every description that roused the envy of all who obtained a glimpse of them. A vigorous commerce with the east was immediately stimulated. From Syria merchants brought into Italy, Spain, and France silks and cottons to supplement the native linen and wool, and also many kinds of embroidered work of a quality much finer than ever known before. As a result dyeing, weaving, and needlework entered on an era of great development.

Previous to the eleventh century so memorable in the history of the Crusaders, references to quilting and patchwork are few and uncertain, but from that time on these twin arts became more and more conspicuous in the needlecraft of nearly every
country in western Europe. This is explained by the stimulus which was given to these arts by the specimens of appliqué hangings and garments brought from Syria, where the natives wrought for centuries the identical applied work carried into Palestine from Egypt in Biblical times by the Hebrews and the Phœnicians.