| The history of quilt materials is almost
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| | by using the length for width and piecing
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| as varied and fascinating as the history
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| | out the length. Sometimes a lightweight
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| of quilt names. For instance, our chintz
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| | cotton blanket or flannelette is used,
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| may be traced back through various family
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| | but the quilt will not have that soft
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| connections and changes of name to the
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| | puffiness that cotton gives. The best bat
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| "India Chinces" brought over from India
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| | costs a trifle more but the finished
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| by the East India Trading Company. This
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| | quilt is a thing of beauty. If
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| very fine cotton material was charmingly
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| | flannelette is used for padding, the
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| designed in much the same motifs of
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| | breadths of cloth should be whipped
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| Paisley fame. The Persian influence,
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| | together, as a seam will cause an ugly
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| particularly the "Persian Pear" which
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| | lump in the quilt. We never use sheet
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| women called the "pickle pattern" or
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| | wadding as a filler for a cover that is
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| "gourds," peacock feather designs, with
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| | to be quilted; it is much too stiff for
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| pineapple, pomegranates and certain
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| | easy work.
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| exquisitely unreal but lavish flowers all
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| | As to the lining or backing, colors are
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| bespeak the Oriental influence. Chintz
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| | quite popular, lemon yellow, baby blue,
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| came both glazed and unglazed.
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| | or whatever tint harmonizes with the
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| Imported "unglazed chince" became English
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| | quilt top. White or unbleached were
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| made "Flowered Callicoe," and then there
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| | always used on the old time quilts. But
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| came a day when the British sheep and
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| | white or tinted, the lining must be soft,
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| flax farmers framed legislation making it
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| | unstarched either wide sheeting or strips
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| unlawful to produce or wear this cotton
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| | of 36-inch width inconspicuously seamed,
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| stuff so beloved of the feminine heart!
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| | to use with wash material tops. Satine is
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| This stringent law raised such a storm
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| | best with satine, while a silk quilt may
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| from the ladies that in due time the ban
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| | be lined with wool challis, with a silk
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| was modified to a tax, but still
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| | that will not cut out, or even with dark
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| unpopular. A few of these taxes on tea,
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| | cotton chintz where a blanket interlining
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| stamps, etc., you will recall bore the
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| | is used.
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| fruit of real history on both sides of
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| | Thread is the only other "material"; this
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| the Atlantic.
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| | is usually No. 50 white for piecing,
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| On to practicalities, the warmth of the
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| | finer or in matching mercerized tints for
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| quilt will depend upon the thickness and
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| | applique. For machine piecing use finer
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| kind of interlining you use. If warmth is
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| | thread, perhaps 70. Numbers 50 or 60 are
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| desired, have a thick interlining which
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| | the standard quilting threads, white in
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| means that the quilting lines must be
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| | almost all cases, although quilting on
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| farther apart. If the quilting is to be
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| | fine satine is lovely in No. 70. A No. 50
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| close and elaborate the interlining must
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| | crochet twist in colors is effective for
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| be thin. When a bed cover of exceptional
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| | quilting on silk or rayon comforts.
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| warmth is needed, use a comfort bat of
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| | Workmanship should be, like materials,
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| cotton or wool. This will be too thick to
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| | the "best you can afford." This may mean
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| push the needle through easily, making
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| | machine stitching for busy women, or the
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| even stitches impossible. Instead of
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| | finest of handwork which we prize so
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| quilting, this coverlet must be tacked or
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| | highly in heirloom quilts. Close stitches
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| tufted.
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| | are imperative in quilt making. We
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| Cotton batting is most commonly used as
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| | certainly want no ripped corners where
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| interlining for quilts. One bat is enough
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| | cotton will pop out, or pulled seams in
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| for a quilt, unless it is over size. Four
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| | our quilt top.
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| bats will make three extra sized quilts
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