On the reverse side is a small “gold pocket” in which valuables may be secreted. Colours: yellow, red, and green
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.
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POPPY DESIGN
This is applied patchwork and therefore much more easily made than pieced work; very simple quilting gives prominence to the design
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.