1. hobbies and interests
2. needlework

This issue sponsored by the
Kate Doust Family
&
FREE
A just-for-kids publication produced by the Rutherford B. Hayes Presidential Center
The Hayes Presidential Center is affiliated with the Ohio Historical Society.
Jeanne Reed Foundation
Volume 5 - July 2008
Patterns from the Past:
Quilts of Northern Ohio
For most of us, a quilt is something we cover
up with when we go to bed at night. But a quilt
is more than a colorful blanket. It is a work of
art. Quilt artists use fabrics and thread instead
of paints and canvas.
The way a quilt is made can tell us a lot about
the person who made it. That was even more
true in the 1800s when people from around the
world were coming the United States to start a
new life. These immigrants became Americans,
but continued to be proud of the customs of the
country in which they were born.
In the exhibit Patterns from the Past: Quilts
of Northern Ohio, the Rutherford B. Hayes
Presidential Center uses quilts to show how we
can learn about the people who lived in Ohio
during the 19th century. The 30 quilts on display
were made between 1849 and 1903 by women
living in northern Ohio. The patterns, styles, fabrics, colors, and stitching of the quilts all provide a history lesson.
Quilts are made up of three parts: a top, a
layer of batting, and a back. The layers are held
together by being tied or quilted. A quilt that is
tied is one where pieces of yarn are sewn
through the three layers and tied into a knot. A
quilt that is quilted is one that has thousands of
tiny stitches sewn into fancy shapes across the
top. Some people believe that only items sewn
in this manner should be called quilts.
A quilt’s pattern is the design we see when
we first look at the top of a quilt. Some patterns
look like baskets and others like crosses or stars.
Often, the pattern a quilt-maker used was based
on decorations popular in the country where she
was born.
A 19th-century quilt with a floral, wreath, or
feather pattern made of
bold-colored fabric
most likely was made
by someone of German
heritage. In Germany, it
was popular to use bright
colors and flowers to decorate furniture, pottery, tin,
and even documents (called
frakturs). A quilt with a basket or eight-pointed star design probably was made by
someone whose family came
from Great Britain, where such
designs decorated the pages of
books and other publications.
A quilt’s style refers to how the
pattern on the top layer was constructed. The two main styles are
pieced and appliquéd (ap-lĕ-kāyed). A pieced
quilt is made by sewing pieces of fabric together
to create a pattern. The sewn pieces make up the
top layer of the quilt. Log Cabin quilts are examples of a pieced style.
An appliquéd quilt is made by cutting fabric
into different shapes that create a pattern when
sewn onto a large piece of cloth that is the quilt
top. A Floral Quilt is an example of this style.
Some 19th-century quilts were made of old
cloth or clothing and used for warmth. However, many quilts of the mid- to late-1800s were
decorative. Like paintings, they were meant
mainly for display. Decorative quilts not only
allowed quilt-makers to experiment with delicate fabrics like velvet and silk, but also to show
off their needlework skills.
The ‘Feathered Star’ quilt (top) made in 1879 by Rosella Clevenger
Summers of Kalida, Ohio, is one of the oldest and most difficult
pieced-quilt patterns.
OHIO HISTORICAL SOCIETY COLLECTION
An appliqued quilt, ‘Whig’s Defeat’ (top left) dates to 1880. Its
Cincinnati, Ohio, maker is unknown.
MOUNTAIN MIST COLLECTION
Among the most popular pieced-quilt patterns is the ‘Log Cabin.’
In 1900, Mrs. John Hawk of Clyde, Ohio, made this variation
called Sunshine & Shadows (bottom).
HAYES PRESIDENTIAL CENTER COLLECTION
Ohio’s Mennonite community still practices many customs of
its German ancestry. The 1890 ‘Lone Star’ pieced quilt (center)
copies the bold, bright colors common in traditional German
artwork and pottery.
J. PATRICK DOUST COLLECTION
Tiny quilt tells story of Ohio family
The tiny doll quilt (in the
photograph at left) features
silk triangles hand pieced into
one-inch-square blocks. It
measures 8½ inches wide by
9½ inches long. The quilt is
part of the Follett House Museum Collections.
Mary Bearrs Bailey, originally from Fairfield County,
Connecticut, settled in Ottawa
County, Ohio, with her husband George Bailey. She created this quilt in 1850 for her
12-year-old granddaughter
Meaning behind the pattern
Quilting Terms
– Log Cabin –
Use a pencil to circle the 9 words hidden below.
A list of the words is at the bottom of the page.
B
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(The photo behind this text shows paper quilt patterns. Quilt-makers bought
these kinds of aids to learn new quilt patterns and new quilting designs for
their creations. Today, such patterns still are used by quilt-makers.)
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PATTERN
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Anna Augusta Bailey Wonnell.
Born in 1838, Anna became
the first school teacher in Putin-Bay, Ohio, which is located
on Lake Erie’s South Bass Island. She died in 1916.
This 19th century photograph (at left) of Anna was
taken about four years after
her grandmother gave her the
quilt. The photograph is part
of collections at the Sandusky
Public Library.
D
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STITCHES
QUILTED
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The Log Cabin pattern continues to be one of the most popular
among quilt-makers. Its design is meant to remind us of home. Early
houses were built of and heated by logs.
The center of each block in this quilt pattern is a square piece of fabric that represents a chimney. To indicate fire, the fabric usually is a
red, orange, or yellow color. The long rectangular strips of fabric that
surround each square are the logs.
The way Log Cabin quilts are made is different
from other pieced quilts. Instead of sewing fabric pieces to one another, the pieces of a Log
Cabin quilt are sewn to a backing cloth know
as a foundation. The long narrow pieces of fabric, would not hold up very long if they just
were sewn together. The foundation makes
the quilt stronger so it will last longer.
A single block from a classic
Log Cabin quilts also are different because Log Cabin quilt made in 1890
Catherine Schmidt Zint of
they are tied together rather than being quilted by
Auglaize County, Ohio.
(sewn together with tiny stitches).
OHIO HISTORICAL SOCIETY COLLECTION
In the classic Log Cabin pattern, two adjacent sides of each quilt block are made of light-colored fabric and
the other two of dark-colored fabric. This makes each block look like
it is made up of two triangles.
American women developed
many variations of the Log Cabin
pattern, like Barn Raising, Rail
Fence, and Courthouse Steps. Note
how the names of these new designs
reflected aspects of life that were important to people of the day.
Mary Harper Strong of Sandusky, Ohio, made the
‘Courthouse Steps’ variation at left in 1870. By
putting the light and dark logs opposite of each other,
the entire look of the quilt is changed. (The white
square shows what each block looks like).
FOLLETT HOUSE MUSEUM COLLECTION
Sewing machines are how old?
F
or most women in the 19th century making a quilt meant sewing everything by hand.
The process took months. Quilt making changed thanks to inventor Isaac Merritt
Singer. He came up with a sewing machine design that could be easily operated by
anyone. Singer also did something no one else had thought of. He encouraged women to
buy his Singer Sewing Machine.
In the 1800s it was thought that only men had the ability to operate machinery. Mr. Singer
knew better. To prove his point, he hired women to demonstrate the use of his sewing machine. As a result Singer not only sold many sewing machines, but also forever changed the
way society viewed women.
The Singer Sewing Machine also changed women’s lives. They no longer had to spend
two days to make one shirt. With a sewing machine, a woman could create a shirt in an
hour! She then had more time to spend with her family or doing other household chores.
At first, only rich people could afford to buy sewing machines. The first sewing machines
sold for $125, which was about a fourth of the average family’s yearly income. Owning a
sewing machine became a status symbol.
Lucy Webb Hayes owned the sewing machine pictured at left. It was given to her by her
mother in 1858. The machine cost $116. Lucy used her sewing machine a lot. She even took
it with her when she visited her husband’s army camp during the Civil War. Lucy not only
mended Rutherford’s uniforms, but also did sewing for soldiers in his military unit - the
23rd Ohio Volunteer Infantry.
When Rutherford B. Hayes was elected 19th President of the United States, this sewing
machine made the trip to the White House!
Lucy Webb Hayes (left) owned a sewing machine made by
Wheeler & Wilson. The company, formed in 1851, made more
sewing machines in the 1850s and 1860s than any other
manufacturer — including I.M. Singer & Co.
We are living in the old house – have carpets
on our rooms three rocking chairs – one looking
glass – and my sewing machine – a large old fashioned grate – full of Coal – burning brightly – and
plenty of free air through the cracks.
The Name Game
Fill in the name of the quilt pattern below its picture.
Choose from the list below:
WRITTEN BY LUCY WEBB HAYES
CAMP WHITE [WEST VIRGINIA] DECEMBER 18, 1863
GRE
TCH
EN
SCH
U
LTZ
COL
LEC
TI O
N
The wooden embroidery hoop and bird-shaped hemming clamp at
left sometimes were called “third hands.” Clamped to a tabletop,
they held fabric securely, allowing a quilt-maker to use both her
hands for fine work. To remember new patterns they had seen at
fairs or quilting bees, women used fabric scraps to create “sample
blocks” like the one at far left. The beautiful “chatelaine” (below)
kept useful items close at hand. This one
includes a watch, thimble, scissors
sheath, needle holder, and
notepad.
Dresden Plate
Log Cabin
Christian Cross
Basket
Crazy Quilt
Lone Star*
*Lone Star is one of the oldest quilt patterns. Many variations
have been created, each having its own name. Some are the Star
of Bethlehem, Blazing Star (numerous little stars) or Mathematical Star, and Ohio Star. Native American women favored
the pattern and called their version “Morning Star.”
Crazy Quilts
Looking at the Crazy
Quilt pictured at right, you
might think the pattern got
its name from the weird
shapes and colors of fabrics
used to make it. It certainly
makes sense to the modern
viewer.
However, that is not the
case. These unique quilts
take their name from a type
of Japanese pottery.
Americans first were introduced to “crazed” ceramics at the 1876
Philadelphia Centennial
Exposition. People were
fascinated by exhibits in the
Japanese Pavilion, including a type of pottery with an
outer layer of glaze that
looked cracked.
Soon after the Exposition, all things Japanese became very popular. Makers
of furniture, household decorations, various types of
art, and clothing introduced
products with Japanesestyle designs.
Quilt-makers were not
far behind. Directions for
making “crazy quilts” - inspired by the pottery began to appear in magazines in 1882. Crazy Quilts
became enormously popular. This popularity led
Crazy Quilts to become the
first quilt pattern to have
design aids sold in stores
throughout the country.
Crazy Quilts feature lots
of surface decoration and
colored fabric. Unlike earlier quilts made mostly of
cotton, these quilts feature
rich fabrics like silk and
velvet. Every piece of fabric is cut in an uneven
shape. Pieces are joined together with colorful embroidery thread stitched in
the shape of leaves, vines,
and flowers. Individual
pieces of fabric often sport
painted designs, ribbon
work, or appliqué.
Crazy Quilts often
have personal
elements, like
bits of clothing
important to the
quilt-maker or ribbons from military
service, political campaigns, and county fairs.
Crazy quilts are for decoration only. They do not
have a filler and usually
cannot be washed, due to
the use of silk and velvet
fabrics. Instead of keeping
you warm at night, a Crazy
Quilt is used to add color to
a room and most often is
found draped over a piece
of furniture.
These two elaborate needle
holders are made from ivory
(at left) and wood.
GRETCHEN SCHULTZ COLLECTION
At the time of her engagement in 1880,
Lorena (Bills) Santmyer of Kansas, Ohio,
and her mother Sirena (McLucas) Bills
made the above Crazy Quilt. The quilt is bordered with orange velvet and features a
rainbow of colored silk.
Colored embroidery thread was used to
create flowers, plants, and vines (far left).
The owl perched on a branch (near left)
was painted on the fabric.
The women demonstrated their sewing
skill with a wide variety of fancy
stitches that cover the entire quilt.
HAYES PRESIDENTIAL CENTER COLLECTION
By the end of
the century, the
Crazy Quilt was going out
of fashion. Women’s magazines began referring to the
design as “childish” and
“useless,” and encouraged
quilt-makers
to return to more traditional patchwork patterns.
Although the Crazy Quilt
was popular for only a short
time, its widespread acceptance showed the impor-
tance 19th-century quiltmakers placed on culture. It
also demonstrates the
w i l l ingness of these
talented women to experiment with their art.
The case of needles and thread
Sewing needles were valuable to most 19thIt was important that both needles and thread
century women. They were not only essential to be at the ready. Thread cases like this primitive
survival because they were needed to make cloth- one made of leather (below) kept equipment oring, but they also were expensive.
ganized and close at hand.
To protect and store such a prized tool,
women used needle holders. Some people
made their own needle holders, carving
them from wood. Fancy holders made from
silver, pewter, and ivory were popular gift
items and could be purchased at stores.