CONVENTIONAL TULIP

Made in Ohio about 1840. Beautifully quilted in medallions and pineapples of original design. Colors: red, pink, and green

Appliqué, or applied work, has never been used in France to the same extent as in England, even though the French name “appliqué” is more frequently used than any other. However, there is one striking example of appliqué work, of Rhenish or French origin, now hanging in the Victoria and Albert Museum in London. This realistic patchwork represents a fight between an armoured knight mounted on a high-stepping white horse and a ferocious dragon. The designs are arranged in a fashion similar to the blocks in a modern quilt, and depict several scenes showing the progress of the combat. There is also a border covered closely with figures of monks, knights, and ladies.

An extract from “First Steps in Collecting,” by Grace M. Vallois, gives an interesting glimpse of an old French attic. An object of great interest to us is the old, unfinished quilt she discovered there: “A rummaging expedition in a French grenier yields more treasures than one taken in an English lumber room. The French are more conservative; they dislike change and never throw away anything. Among valuable antiques found in the grenier of a Louis XV house in the Pyrenees were some rare curtains of white linen ornamented with designs cut from beautiful old chintz; the edges of the applied designs were covered with tightly twisted cotton cord. Also, in the same room, in a drawer of an old chestnut-wood bureau, was found an unfinished bed quilt very curiously worked. It was of linen with a filling of rather soft cotton cord about an eighth of an inch wide. These cords were held in place by rows of minute stitching of white silk, making the bedcover almost solid needlework. Besides the quilting there were at rather wide intervals conventional flowers in peacock shades of blue and green silk executed in chain stitch. When found, the needle was still sticking in one of the flowers, and many were traced ready for work. The traced lines appear to have been made with India ink and were very clear and delicate. What caused the abrupt interruption of the old quilt no one can tell. It is possible that the great terror of 1793 caused the patient maker to flee from her unfinished task.”

In the countries of northern Europe there is scarcely any record concerning the art of quilting and patchwork, and little can be said beyond the fact that both existed in some form or other. In Germany the quilt so familiar to us is practically unknown. In the past appliqué was very little used, except as cut work, or opus consutum, in blazonments and heraldic devices. The thick feather beds of medieval Germany were covered with various kinds of thick comforts filled with either wool or feathers, and sometimes sparsely quilted. The only decoration of the comfort consisted of a band of ornamental work, ten to twenty inches wide, usually worked in cross-stitch design with brightly coloured yarns. These bands were generally loose upon the comfort, one edge being held down by the pillow, but occasionally they were sewed to the edge of the bedcover.

In a work on arts and crafts relating to their presence in Sweden, it is written that “woven hangings were used to decorate the timbered walls of the halls of the vikings. They were hung over the temples, and they decorated the timber sepulchres of the dead. When the timbered grave of the Danish queen, Fyra Danabode, who died about 950, was opened, remains of woven woollen cloth were found.” As far back as Swedish records go it can be shown that Swedish women wove and sewed figured material.

[See larger image]

FINE EXAMPLE OF OLD GERMAN APPLIQUÉ