Subject: RE: Star question
From: Ady Hirsch <>
Date: Thu, 22 Oct 2009 08:24:01 +0200
X-Message-Number: 1

I think this may be an attempt to depict the rays of light emitted by the
stars, in "codified" form. I don't know about all ancient cultures, but in
Egyptian art the star is certainly depicted as pointed. In the link below:
you can see a depiction of the Egyptian sky goddess, Nit, who is arched
above the earth and is said to swallow the sun every evening and give birth
to it every morning. On the ceiling of Ramesses VI tomb, she is shown In her
night and day phases - and the little objects with 5 points on her body are
stars, Egyptian style. The same shape is used as the hieroglyph for both
"star" and the verb "pray". From that shape it is but a short step to the
star as we know it.
Ady in Israel.

-----Original Message-----


Subject: Interesting animation: lockstitch
From: Stephen Schreurs <>

Well, qhl has done it again - thank you, Ady, for the early am link to Wiki
media commons.A0 A little exploring on that site, and what do I find, amon
g other things - a computer animation of the lockstitch.A0 So THAT's how i
t works!!!A0 Here's the link... Have fun!A0A0 (
It's kind of mesmerizing.)A0A0 Susan


Subject: Re: qhl digest: October 21, 2009
Date: Thu, 22 Oct 2009 07:57:33 -0700 (PDT)
X-Message-Number: 3

"and imprisoned in the infamous Andersonville Prison.A0 James was fortunate--his incarceration at Andersonville was only about six months, but that w
as long enough for the cruel starvation and unsanitary conditions"

Interesting rhetoric. As a confederate living history re-enactor, I would like to remind people that the Union prisons were no better (and were in fa
ct worse in most cases!) than Andersonville. Where the Union prison commanders were hailed as heroes for letting townspeople come out and watch the p
risoners starve and die in the snow, the Andersonville commander (who shorted rations for his own men in order to feed the prisoners) was hung for cri
mes against humanity.

Nice quilt though.


Subject: Re: qhl digest: October 21, 2009
From: "Lynne Z. Bassett" <>
Date: Thu, 22 Oct 2009 14:37:26 -0400
X-Message-Number: 4

My colleague, Madelyn Shaw, and I are working on a book and exhibitions that
tell the story of the Civil War through textiles, including quilts. Of
course, the Andersonville quilt is of interest to our study. As Madelyn
says, being a prisoner of war on any side in any war is not a position
anyone would ever want to be in. Please keep in mind that there is extreme
rhetoric and propaganda on both sides in a conflict. Sticking to the facts,
Andersonville had a nearly 30% death rate--compared to 20% on average for
southern prison camps, and 12% for Union prison camps. Of course, we have
to keep in mind that the South was even shorter on food and clothing than
the North was, which could explain to some degree the higher death rate of
prisoners. The statement that "Union prison commanders were hailed as
heroes for letting townspeople come out and watch the prisoners starve and
die in the snow..." sounds like one of those outrageous propaganda
statements that we have to be careful about believing. Mary, can you please
share the primary source documentation for this?

All best,


Subject: re Andersonville and "infamous"
From: Gaye Ingram <>
Date: Thu, 22 Oct 2009 16:25:14 -0500
X-Message-Number: 5

Mary wrote:
"I would like to remind people that the Union prisons were no better (and were in fa
ct worse in most cases!) than Andersonville."

History is written by the victors.

But it is worth including in history that the causes of the Civil War were complex----far more complex than school history texts even suggest.

Many see it as the last battle in the broader war between an older, rural world and a new industrialized world based in capitalism. Certainly it was part of that process.

Many regard it as mainly sectional, a war fought over conflicting interests. That issue was part of it, no doubt about it. Major part.

Many see it as a battle against slavery. It certainly did not start out that way. It became that accidentally and long after the first shots were fired in South Carolina. One way of thinking about this explanation is to consider what would have happened had the Union victory been swift and decisive, precluding President Lincoln's need to lure the seceding states back into the union with the Emancipation Proclamation.

In general, it is a good thing to remember that slavery existed in 1860 because it had become an accepted institution from 1619, when the first slaves arrived in Britain's American colonies, and it was not so objectionable to the nation as a whole that the northern states refused to bring it into the laws of the new nation which the Revolutionary War created. There were such issues, be reminded. The United States signed on to slavery in its Constitution. All the states.

Based on what I know about the nature of man, American history, and the evolution of capitalism, I have no doubt whatsoever that slavery would have flourished in New England had it proved useful to the industrial interests there. We know it was tried unsuccessfully. As it was, technology for processing cotton made it practicable in the southern states. And, allowed to spread into the western territories, it would have given those states dominant political power in the U.S. It was only at that point, that many in New England and in the industrialized northern states found their consciences.

This nation is not like most European or far eastern nations. It did not emerge over a long period of time, its constitution being essentially unwritten or based on the "common law" that had evolved. It was born in the Industrial Revolution, and so it grew up fast.

It had to invent and write a constitution that embodied what its founders and citizenry thought most ethical and most practicable. It assumes a conflict of interests will exist, and it constructs a framework within which those interests may be worked out peacefully. "Interest" in the Anglo world of the late 18th-century generally referred primarily to economic or material issues, just as "happiness" did.

Based on that constitution, signed by all, slavery was legal in the nation. It could be repealed only through the amendment process. And those who favored abolition never had the political power to amend the Constitution until that power had come through war.

I say this because I believe Mary's objection to the rhetoric used in the post to which she responded emerges from a larger objection---an objection to a kind of moral superiority many assume to the South's past and often to the present of white southerners as well. It comes out of history books and the need to simplify and from the tradition they create. Generally it is not intended maliciously or even thought through. It is in the air people breathe in a region and they do not even recognize others might feel differently or that what they assume as true might not be entirely true.

We made a bargain with the devil in 1783, and we all suffered for it. Our children will suffer from it. And all we can do is live humbly with the awareness of our fallibility and attempt to deal justly and sympathetically with our fellows.

The CW was hardly a victory of right over wrong. Love and respect for those different from us did not win a victory in that war.

The entire South---Negro and Caucasian---was left to live as it could in a wasted countryside, a devastated and dismantled economy, hobbled by a huge population of uneducated former slaves who lacked the skills required to thrive in an industrial economy or, perhaps, in any free economy. No federal programs rebuilt the cities of the South. No disinterested groups moved businesses that would have paid good wages to the South. The victorious states did not clamber for a federal program to provide an instant and successful educational system to educate former slaves or the poor that lived everywhere in the region. Instead the Jay Goulds and other robber barons further devastated southern countryside by denuding the forests and ripping up its mineral-bearing lands while paying what amounted to slave wages to white southerners. And generally nothing at all to black southerners. Nobody demanded a Marshall Plan for the South in 1865. It's hard to conclude the CW was a completely "just" war.

Southerners must wonder at the eagerness of many in positions of prominence to embrace the quilts and culture of Gee's Bend even while turning up their noses at the quilts and culture of white southerners in times of similar impoverishment. One set is called works of art. The other, "old fat batts" and "tacky." One group is seen as primitive, innocent, pure, and the other as rednecks, views that insult both sets of people and assume a difference that does not exist.

One sees this attitude too in the rush of many--white and black and, I guess, yellow---to adopt a story so goofy it would be rejected out of hand if told in any other circumstance, where common reason was alive and active because hey mistakenly believe it somehow honors the formerly enslaved.

One sees this attitude at work in a lack of a sense of balance and humor that often precludes simple comprehension. I was stunned several years ago when a perfectly wrought piece of satire on the UGRR myth was offered at auction in a group of mainly white quilt makers, collectors, and historians. It did what satire often does----took the basic concept of the UGRR down to the concrete level and asked, "Have you thought about this?", It was a quilted story that depicted a narrative of a child who had wet a quilt and his mother who hung it on a fence to dry, a group of slaves who took it as a sign of a safehouse on the UGRR, only to be nabbed by a white plantation owner and taken away in chains. The concept was, I thought, brilliant. That, its maker was saying, is what could have happened to folks who trusted their safety to quilts on fences, who saw them as signs of anything other than what they were---quilts hung on fences.

Its message went beyond race to our common tendency to believe the unbelievable if it serves our purposes. The execution of the piece was fine. And yet many twittered about its "insensitivity" and possible "racist" overtones; some wanted it removed. They couldn't even "read" the piece because of what I consider to be Puritanical prejudices. They couldn't laugh at a good piece of satire. They missed the laughter that should have been shared by all and enlightened those who had carelessly accepted the myth. Some day that quilt is going to be "discovered" and acquire an appraisal value far greater than it had upon first offer.

When one lives with such prejudices and attitudes of insular superiority for long, she grows prickly and sensitive to them. I think Mary's reminder grew out of such sensitivity and is a good reminder to us all to examine our assumptions, get past PC, and be charitable to one another.

In that spirit, I don't think the writer intended to say anything more than what she said---that the conditions at Andersonville pow camp were terrible. The camp became "infamous" while those in which Jefferson Davis and many southern pow's were incarcerated did not because the Union was victorious. Fact of historical life. And if we want to change that one, we must research and write the books to provide balance. I'm glad Mary made a small effort to enlighten us and stretch our minds. Trite, I know, but buildings are built one brick at a time.

I'm going to stop before I sprout wings, am wrapped up in a seraphic robe, and borne aloft into the etherial reions. Like it here with quilters too much.



Subject: Museum experiences?
From: "Linda Heminway" <>
Date: Thu, 22 Oct 2009 06:44:48 -0400
X-Message-Number: 6

Have you ever donated something of value to a museum and then been
disappointed with how it was handled after that?
Do you have a say in things when you donate an item, or do you relinquish
all rights afterwards? Does the museum have any obligation to carry fourth
a request about how an item of value and historical significance is handled?
Families who donate items have very noble ideas, after all, about not
hoarding an item and offering their "treasure" for public use/viewing. How
respectful are museums to a family's wishes?

I know many of you historians may have had experiences with things of this
nature and I would appreciate hearing your stories. Some of you work or
volunteer for museums as well, I'd be interested to hear your perspective.

Do musuems possess a code of ethics with regard to the public and their
interests? I recognize that items are ever-changing in exibits and museums
lack money and staffing but when certain records, photos and information are
requested, what kind of responsibility does a museum have, particularly if
they are non-profit? I wonder if the non-profit situation also has certain
regulations about how a museum must run itself.

I wonder if any of you have experiences to relay with regard to this

Linda Heminway
Plaistow NH


Subject: Re: re Andersonville and "infamous"
From: Hiranya Anderson <>

Hi Gaye

Many, many thanks for your insightful piece. I have printed it out as I want
my 14 year old daughter Anika to read it and also share it with her school
mates. The world has such a misguided notion of the American Civil War - it
is fab to get a concise summary from you guys who have actually lived closer
to it all.

I have always shared with the children and anyone else who would listen,
that history is written by the victors. Some Western Countries unfortunately
do not teach the history of other nations. This is a pity as we humans have
much to learn from one another. I have a serious book addiction and actually
collect history written from various viewpoints- from the victor and the
defeated. Very interesting reading on many counts.

Thanks again Gaye. I feel so blessed to be able to glean such fab knowledge
from you Southern Belles Gaye, Lyn, Teddy hmmmm Xenia too is a Southern
Belle non? I am sure I have missed some... Before QHL I had only ever heard
the view points of the North. So its tres fab to get a balance and
really......all of you - North and South are truly wonderful- a beautiful
patchwork : > creating your whole wonderful nation.

Kind Regards

Hiranya from Sydney, Australia : >


Subject: museums
From: "Brenda & Roger Applegate" <>

We museums are often in awkward positions. I do not accept a lot of
artifacts as we are a site that has a lot of hands on activities. I
have turned down uniforms because we would only use them during the time
of that specific war for a short period of time and not display them
all year round. On the other hand I have accepted furs that the owner
gave me permission to use them in a fashion show (models generally wear
reproduction clothing for a short period of time). I usually tell the
donors up front what our intentions are and they have the right to
decide. I will be the first to admit, that some of my early donations,
I would not accept now. They are not in archival storage boxes (someday
they will be), but not at this time. We are a very small site. If I
would decide to deaccession some of the early artifacts, I would make
every attempt to call the individual who donated them. That is
something I personally would undertake and it would not necessarily
follow our policy. When items are donated they sign a paper that gives
us the right to do whatever. We recently were given a old wooden 2
harness floor loom. We didn't know if we could put it together and make
it work. If it didn't work, we really didn't need it. The owner wrote
on the form that she did not want it back and we could dispose of it as
needed. I have a embroidered red quilt, that I took. It wasn't really
in pristine condition and I needed a quilt to use in a quilt history
talk. She was going to throw it away if I didn't take it. At least now
it is being used to educate someone about red work. But it is not
rolled up and put away for someone to touch only with white gloves.

Every site and person is different. You probably need to find your
level of comfortability.

Brenda Applegate


Subject: Re: re Andersonville and "infamous"
From: Gaye Ingram <>
Date: Thu, 22 Oct 2009 23:59:08 -0500
X-Message-Number: 1

---- Hiranya Anderson <> wrote:
I feel so blessed to be able to glean such fab knowledge
from you Southern Belles Gaye, Lyn, Teddy hmmmm Xenia too is a Southern
Belle non?

Oh, Hiranya Anderson, you are a woman of exquisite taste and generosity. Are you sure you do not have a southerner somewhere in your family tree? Maybe someone nice who long ago in the 18th-century ended up in an English prison for not paying taxes and was offered the chance to stay in jail or go to Georgia---and took Georgia, perhaps?

But first things first (you're interested in education, you said): Teddy, Lynn Gorgeous, and I are not Belles, Southern or otherwise. Nor is Pepper. Nor are Carolyn Miller and Cynthia Collier, both anomalies----quiet Texans (quiet on our list, at least). I know for sure Kathy Moore and feel certain that Polly Mello, both Texans temporarily residing off the ranch, are not Belles either. We might have a Belle lurking on the list, of course, but I sincerely doubt it. Belles hardly ever lurk.

We are GRITS----Girls Raised in the South. Women fortunate enough to have lucked out in the Providential draw for gifts and been born in the American South, a land that gets so hot in summer that babies used to be born with church fans in their hands, but that smells and looks so pretty in our long springs and autumns that we forget about that the pains of summer.

Of course, there are those who might observe that swarms of mosquitoes, five or six varieties of poisonous serpents, armadillos and possums (at least half of which are dead on the sides of roads at any given moment in time), and kudzu also are raised in the South.

GRITS understand, however, that these too are gifts---educational gifts: they sharpen our wits and remind us that even Eden had a serpent running around in it. We don't expect perfection, just clean underwear, good manners, and a loving and open disposition. We tend to be a pretty democratic group and to suffer fools gladly, in hopes we'll get a good story from them. For instance, I bet every one of us wishes she owned that story about the high-heeled shoe that had been covered with macaroni and filled with dirt for use as a planter. In fact, I think it belongs to another Grits member, Pat Kyser. II bet the woman who came up with that idea cute trick was a Belle. Either a Belle or a Southern Gull.

I am not sure about the defining traits of a Belle, Hiranya. We'll have to get back with you on that one. But they are not well-used brains or useful talents or humility, I'm pretty sure.

Now, to your question: I regret to tell you Xenia is not a member of GRITS, though I'm sure she is honored to be mistaken for one of our group. The good news is that she is not a Belle either. Teddy has been nice to Xenia and hung out with her a lot, so I'm sure that association must show a little. But Xenia lives in Indiana, bless her heart. She's a lot like us, though, only different.

Thank you for being so generous in your praise, Hiryana. Let us know if your daughter gets boo-hissed out of her classes.

With all good wishes from the Sweet Sweet South,


Subject: Re: Hoosiers
From: "Dale Drake" <>
Date: Fri, 23 Oct 2009 08:42:27 -0400
X-Message-Number: 2

Gaye and Hiranya:

And Xenia isn't even in SOUTHERN Indiana, which was originally settled from
the South ... Kentucky, Tennessee, North Carolina. She's a NORTHERN
Hoosier, from north of our own Mason/Dixon line, I-70 ... settled by
Ohioans, Pennsylvanians and New Yorkers.

Maybe she migrated north, though ... :-)

Dale Drake (a Navy brat now living in SOUTHERN Indiana (8 miles south of


Subject: RE: Museum experiences? (VERY LONG RESPONSE)
From: "Candace Perry" <>
Date: Fri, 23 Oct 2009 10:52:48 -0400
X-Message-Number: 3

Linda...this is a big can of worms, actually. Museums (and I can only speak
for the small and mid sized, the big boys are a different ball game) need to
walk a fine line of pleasing and serving the public and preservation and
collections management.
When you donate an object, yes, indeed, you must relinquish your rights. If
we didn't do this, 98% of the people would be fine -- we'd never hear from
them and they'd be content -- it's that evil 2% that makes you pull your
hair out. I cannot afford to lose any more hair.
We have to protect ourselves. The only way of doing this is to have donors
sign deeds of gift where they understand that they are relinquishing their
rights, and especially, the rights of their heirs (another lovely kettle of
fish). I cannot describe to you what nightmarish circumstances can occur
That being said, however, I do make concessions on a case by case basis.
I recently had a significant collection of prehistoric Native American
artifacts donated, with a sort of sentimental family history. I did place a
restriction on them to return them to the family in the event
of deaccession, but I can guarantee they won't be. At least during my
tenure...and my cold carcass will most likely be dragged out of here.
Having strong, fair collections policies in place helps institutions avoid
pitfalls, but I think that you have to balance that with savvy and insight.
Good diplomatic and well informed staff is very necessary!
Linda, the fact of the matter is there is no "law" as to what museums must
do, though we do follow a code of ethics laid down by the American
Association of Museums (you can find out more on their website). Note that
not-for-profit regulations involve financial administration and nothing
really other than that. Not-for-profits can be anything, so there would be
no way to put in place rules to govern the wide range of organizations out
Most of us who work for museums are here for a reason, and it ain't the
If anyone ever has concerns about a museum, do your research. Talk to BOARD
members, not just to a staff member, if you're really wondering. NEVER EVER
drop something off with a receptionist unless that receptionist is also a
curator or exec. director.
The bottom line is this: curators do come and go. She who likes your quilt
may not like his rifle. She may exhibit your quilt frequently and not his
gun. But I guarantee you, that will cycle around. Personally, as a
curator I try to understand as much of the collection as I can, and use it,
but you are going to see more samplers and quilts and fraktur exhibitions
from me than woodworking tools. For years former staff ignored a hair wreath
in the collection here, but I've exhibited it, and now it's going out on
loan! Go figure.
Museums should be responsible record keepers. They should have good
environmental controls. They should have full time professional staff. But
as you say.."lack of money." And that, truly, is the bottom line.
Museums are a strange thing. It's almost like marriage. You make a promise
to the public that you are going to do these things, but it's up to the
museum to keep its word, ultimately. And the public to understand what a
museum is.
Candace Perry
Schwenkfelder Library & Heritage Center


Subject: RE: museums
From: "Candace Perry" <>
Date: Fri, 23 Oct 2009 10:23:33 -0400
X-Message-Number: 4

Brenda -- and frankly, if I could build up a collection of sad textiles that
I could use to tote around for presentations I'd be thrilled -- having some
of those kinds of things is very valuable -- and I agree with that use
Candace Perry
Schwenkfelder Library & Heritage Center


Subject: Andersonville quilt
From: Donald Beld <>
Date: Fri, 23 Oct 2009 07:19:40 -0700 (PDT)
X-Message-Number: 5

Oh,no! me again. I would like point out that I believe all wars are horrible ant that I was quoating from the Mass Quilt Book to clarify what was said about how George got the quilt--and in no way was commenting on the Union versus the Confederacy. (I don't want either side to tar and feather me and run me out of town).

My interest in soldiers quilts (from all wars, including the current ones) is that I believe in heroes--and those who serve on any side in any war are heroes in my eyes--with, of course, the truly evil such as Hitler.

But the in the trenches men and women who serve their country's deserve our respect and our gratitude. best, Don


Subject: Donations
From: linda laird <>
Date: Fri, 23 Oct 2009 07:52:10 -0700
X-Message-Number: 6

In the last year, recognizing my age and mortality and assuming that I
won't be wafted up in a shimmering gown to somewhere along with Gaye,
I have been donating objects that I deem important enough to be of
value to museums. I usually try to think through whether this object
is rare enough (not a common item or design) and determine a rationale
for why this museum. I then call and talk with the curator of the
collection to see if they want the object, if it's a fit for what they
already have or are working to obtain. For instance, a gauze Ethiopian
dress made ca. 1960 with trimmed braid from the clan of Haile Selassi
went to the Museum of Folk Art in Santa Fe because they have a great
collection of Folk Art clothing and didn't have an Ethiopian dress
from that period or anything relating to Selassi who was a historic

The curator sometimes has to go to a board or committee for approval.
I send pictures or show them the object. It usually takes a couple of
month for them to decide. If they want it I am prepared to sign
donation papers and have no more say so over how it is stored, shown,
traded or sold. It's just like making a donation to Goodwill. If they
don't want it, I ask who might because those curators have more
knowledge of other appropriate collections than I do.

My basic attitude is to give my stuff to the kids if they want it and
it has no potential for long term historical importance that should be
shared with the public. If the object or collection has some public
importance give it freely to the appropriate museum. I feel good about
it because it's one more piece of clutter out of the house and I
rarely think about it again because it isn't mine anymore.

Linda Laird


Subject: quilt analogies
From: Laura Fisher <>

In the continuing discovery of using quiltsA0as a language analogy, it has
reached even the Supreme Court. As I was winding down last night, on NPR t
hey had excerpts from newest justice Sonia Sotomayor questioning a supplica
nt before the Supreme Court. She redefined his lengthy presentation as refe
rring to a "patchwork of regulatory guidelines......."
Laura Fisher


Subject: Re: Museum experiences?
From: Judy Schwender <>


Hi all,
Museums have a responsibility to the future as well as the present and the
past.A0 If you donate an object (be it rifle, quilt, bowl, or stuffed bird
), should the museum at a later date be offered the same type of object in
better condition with more secure provenance, your donation could be deacce
ssioned.A0 This is one way that museums maintain quality collections for t
he future.
Donations that are offered with restrictions are not in the museum's best i
nterests.A0 Over time, a museum's mission may change (with board approval,
depending on the bylaws).A0 Thus a museum that collects antique quilts ma
y change its mission to focus on- totally hypothetical situation- quilts ma
de from the 1600s to the Civil War.A0 Now what does the museum do with all
those quilts that don't fit their mission but were accepted for perpetuity
?A0 They sit in boxes and take up needed space and resources.A0 If the qu
ilt had been donated without restrictions, it could be given to another mus
eum that would be suitable for it, and likely be exhibited.
When donating to museums, you MUST take a very long view.A0 Museums are no
t store windows where you and your relatives can just pop in and expect to
see grandma's quilt.A0 You have to think that maybe in 100 years it will b
e exhibited and provide a lens for a museum visitor to experience your gran
dma's life and times.
Here is information you might find useful:
International Council of Museums Code of Professional Ethics
"2.15 Disposal of Objects Removed from the Collections
Each museum should have a policy defining authorised methods for permanentl
y removing an object from the collections through donation, transfer, excha
nge [these three to other institutions or departments within the same insti
tution], sale [public auction is preferred to private sale], repatriation,
or destruction, and that allows the transfer of unrestricted title to the r
eceiving agency. Complete records must be kept of all deaccessioning decisi
ons, the objects involved, and the disposition of the object. There will be
a strong presumption that a deaccessioned item should first be offered to
another museum.
2.16 Income from Disposal of Collections
Museum collections are held in public trust and may not be treated as a rea
lisable asset. Money or compensation received from the deaccessioning and d
isposal of objects and specimens from a museum collection should be used so
lely for the benefit of the collection and usually for acquisitions to that
same collection. ."
Whether or not a museum is non-profit isn't crucial.A0 How a museum conduc
ts itself is.A0 If it adheres to best practices (as put forth by the Ameri
can Association of Museums or the International Council of Museums) then th
ere is a certain amount of transparency built into the way the museum is ad
ministered.A0 That is what you need to look for.
ALWAYS get to know the musuem.A0 Get to know the curator, the director, th
e board.A0 Absolutely know the museum's mission.A0 Find out how many obje
cts they own, and how many are typically on exhibit.A0 (The National Quilt
Museum has 242 bed- and wall-size quilts, but only room to exhibit 53-57 a
t one time.)A0 Bear in mind that museums create exhibits, that these exhib
its are created around a theme or concept; they don't simply hang quilts on
walls to have them visible.A0 Your grandma's quilt might not be needed fo
r an exhibit for years.A0 Then again, it might be just what they need for
next year's Roaring 20s exhibit.A0 And, lastly, quilts and other objects m
ust rest.A0 They can't be exhibited forever.A0 That's the responsibility
to the future.
Linda asked about "been disappointed with how it was handled after that", "
obligation to carry fourth a request about how an item of value and histori
cal significance is handled", and "how respectful are museums to a family's
wishes".A0 If you get to know the museum and its staff, these questions w
ill likely be answered before the donation is made.A0 If you do discover p
oor curatorial care of your donation (i.e., the quilt dragging on the floor
during installation, the quilt being hung in direct sunlight), go to the d
irector and curator with your concerns.A0 Bear in mind that once you donat
e without restrictions, you have no control over the object.A0 However mus
eums operate in the public trust and, within best practices guidelines, mus
eums are sensitive to this trust.A0 If your museum has good staff and a go
od board, then let them do their job.A0 Grandma's quilt will be around for
a long time.
Judy Schwender
Curator of Collections / Registrar
National Quilt Museum
Paducah, KY



Subject: Interesting animation: lockstitch
From: "Greta VanDenBerg" <>
Date: Fri, 23 Oct 2009 17:45:58 -0400
X-Message-Number: 9

Susan wrote: "A little exploring on that site, and what do I find, among
other things - a computer animation of the lockstitch. So THAT's how it

Actually it is an animation of a rotary (round) bobbin. There are also
shuttle (long) bobbins which are held in a shuttle carrier (an arm that
holds the shuttle as it moves back and forth under the throat plate and
slides) to create the lockstitch. (I searched but could not find an
animated example of the shuttle bobbin at work.)

Many of the shuttles look something like larger shuttles used for weaving,
others are tubular but all are carried back and forth to lock the threads
that create each stitch.

A few examples of sewing machines with shuttle bobbins (long bobbins) can be
found at the Smithsonian website. A Howe manual that shows an example of a
boat shuttle (shown in the images on pg. 22) can be found at
AHTEX/0863/imagepages/image11.htm. If the link doesn't work Google
"Smithsonian Howe sewing machine manual" and it will produce a list of
manuals. Look for one with an HTML link. Click on the pages to enlarge the

Howe is one example. Singer Class "127" machines also have long bobbins (a
manual can be viewed at
AHTEX/0204/imagepages/image12.htm). These are long tube shuttles wherein
the bobbin is inserted into the end of the long bobbin case. The same
manual also has information about Singers Model "66" whish has a rotary
bobbin laying flat.

Whichever direction the bobbin moves to create the stitch the lockstitch is
the same.

If you want to search the archives of Sewing Machine Historical Trade
Literature in the Smithsonian Collections, visit
/index.cfm. Not all of the documents in the collection have viewable images
available online as many are too fragile or damaged to be scanned. But it's
one site with lots of fascinating reading about sewing machines which may be
more than any of you wanted to know. <g>

Greta VanDenBerg-Nestle
Watching the Lancaster County, PA autumn colors appear before my eyes right
outside my studio window!


Subject: Re: qhl digest: October 22, 2009
Date: Fri, 23 Oct 2009 06:07:52 -0700 (PDT)
X-Message-Number: 10

Lynne -
There are several sources for the conditions at Camp Douglas, Illinois - which is now proving to have some of the highest mortality rates of any priso
n camp North or South

George Levy's "to die in Chicago" is a great sour
ce and includes first person narratives and letters from former prisoners, including the townspeople picnics and winter festival that was arranged by
the commander

The Army's Sanitation Corp recommended it be abandoned in 1863, yet it continue to operate through the war.A0 Wikipedia notes that
the commander at Camp Douglas was the only general who attained his rank without ever seeing combat. He actually received medals of merit (source - Library of Congress) for his actions.A0 Sources for what happened at Anderso
nville run the gamut from the history channel documentaries to the UVA Vall
ey of the Shadow diaries and letters.

Thank you Gaye for such a wonderful response and you hit my point exactly. My commentary was a knee jerk reaction to the fact that a museum was fu
rthering propaganda without putting the information into context for the reader or viewer.A0 Foolishly I expect museums to be above that since they a
re essentially the guardians of our pasts.


Subject: Belles
From: Teddy Pruett <>

Hiranya wrote:

<<<I feel so blessed to be able to glean such fab knowledge
from you Southern Belles Gaye2C Lyn2C Teddy hmmmm Xenia too is a Southern
Belle non?>>

Non. Very non. I must expose her. When AQSG was in WIlliamsburg2C I was
delighted to find grits on the breakfast buffet.

The first morning she chided me gently about eating them. The second day s
he told me that if I continued to eat those things2C she would refuse to s
it with me. ANd that is a true story. A belle would find grits a delicacy
2C not an offense. Facts are falling out of my head at a rapid pace2C an
d my memory is no longer sharp2C but THAT I remember!!!

Teddy Pruett


Subject: Re: Belles NQR

C2A0Another Southerner heard from.

C2A0 C2A0I was born in North Western Colorado in the sagebrush hills (I
will never got te smell of sagebrush out of my heart), but I grew up in Te
xas. My Texas roots go way back on both sides. We are generally polite and
friendly but tough as nails.

C2A0 My father is attending a gathering in Gainsville , Texas this weeken
d. They will gather near where the hanging tree use to be in a city park an
d they will read they names of men that were hung there during the Civil Wa
r because they protested the law that sent men to fight in the War, but exe
mpted wealthier men that owned more than a certain amount of slaves ( 10 I
think). My great, great grandfather, Barnabas Burch,C2A0an old man in his
seventies was taken into town in a wagon. They had to put him in the back
in his rocking chair because he was so old. But, they hung him anyway. His
C2A0 daughter my great grand mother brought him home and buried him and t
hen bought an ox and cart and went by herself with small children to Missou
ri to live with her brother until her husband came home after the war.

Polly Mello

No vapid belle here.


Subject: Civil War and Museums
From: "Catherine Litwinow" <>

Good Morning,

Just a note addressing the Civil War discussion. Rock Island Arsenal, IL
was a prison and has a Confederate cemetery. A list of names can be
found with this link. There have been several times while I have lived
in the Quad-Cities that a family has come and taken their relative home.
How could the quilters in the community allow the prisoners to freeze to

During the Civil War<>,
Arsenal Island was home to a large Union
army<> prison
camp<> for captured
soldiers (the Rock Island Prison Barracks). A total of 1,964 Confederate
prisoners and 125 Union guards are buried in the adjacent military
cemetery, including 49 members of the 108th Regiment of United States
Troops<>, most
of which died from disease or exposure. The prison camp was operational
from December 1863 until July 1865 when the last prisoners were freed
and sent home. During its two years in operation, the prison camp housed
over 12,400 different Confederates. Following the war, the government
retained ownership of Arsenal Island and used it for various functions.

In the 1936 Margaret
Mitchell<> novel Gone with
the Wind<>, Ashley
Wilkes<> was imprisoned on
Arsenal Island<> during the
Civil War<>.

For our Museum discussion: yesterday I had attended a meeting of Museum
Registrars in Cedar Rapids, IA titled Museums and Insurance. The
pictures of of sewer muck in the basement of the Cedar Rapids Museum of
Art were terrible. The flood was in 2008 and at this time only 6 items
have been declared a total loss. A Fine Art insurance broker did comment
that the insurance company would own the item after museum was paid.
There could be a chance that the museum would be allowed to bid on the
item, sometimes sometimes for twenty cents on the dollar.

Another loss was a photograph (we were told it was very, very large).
The museum contacted the artist who declare the picture a total loss and
then gave the Cedar Rapids museum another photo. If the artist is still
living it was suggested that she/he be contacted.

Catherine Litwinow


Subject: FVF
From: "Cinda Cawley" <>
Date: Sat, 24 Oct 2009 20:38:08 -0400
X-Message-Number: 2

Fall on the Eastern Shore is mostly a gentle fading to brown so it
was a special treat to go to Meyersville in western MD on Thursday:
beautiful quilts and colorful foliage (not to mention an incredible
lunch). There was great excitement over the new Franklin Co. (PA)
documentation book. Peggy Armstrong brought a box and they went like
hotcakes. This is a must-have. There are color pictures of more than
Franklin Co. quilts
Mary Lou McDonald brought the Margaret Potts quilt which I told you
about after our February meeting. It is a near twin of the Wickersham
in the collection of The State Museum of PA. You can read about the
Wickersham quilt in Saved for the People of Pennsylvania (pp. 20-21).
quilts were made in Newberry Township, York County in the 1850s. They
great examples of PA album quilts. The blocks are smaller and simpler
the Baltimore style. Margaret Potts' name is on the Wickersham quilt
Rebecca Wickersham (probable maker of the quilt) and her daughters
the Potts quilt. Mary Lou and other members of the Baltimore AppliquE9
Society have copied the patterns which will be sold as a fundraiser for
Thanks to the generosity of its owner the quilt is going to live at
We started with a number of Franklin County quilts. The most
surprising was a baby quilt in the pattern that we refer to as Apple Pie
Ridge Star since a number of these paper cut designs were identified by
VA documentation. The quilt dates from the 1840; bright green stars on
white are bordered by a blue-green floral. The much discussed cheddar,
oxblood and teal showed up as Bricks made by Susan Alice Lesher in 1878
clam shell, fan and double rodded quilting. The back is a woven plaid
common in the county). A small 4-Patch , circa 1840, had a fabulous
collection of fabrics combined with brown floral setting blocks. The
smallest scale Drunkard Path I've ever seen, units about 2" square, in
and green had a brown and blue woven plaid back. A circa 1860 scrappy
4-Patch had four borders including two that were half square triangles.
back was a woven check. The Carpenters Star is practically the
pattern of Franklin County. The example was red, orange and green
by double half square triangle borders. The quilting was particularly
interesting with double rodded curves inside the large triangles that
the star and a 10 strand cable (that's on each side of the cable) in the
border. A 3rd quarter Basket quilt, red, green and yellow on a pumpkin
background was the most "Dutchy" of the Franklin Co. quilts we saw. The
cable in the border of this quilt had only 8 strands. Again there was a
woven plaid back.
A pair of pieced pillowcases, 4-Patch blue and pink on green, circa
1860, made an interesting contrast with Crazy-patch shams with wool
embroidery from the 1940s and a set of Amish embroidered pillowcases
matching sheet closer to 1950. There was a small Triple Irish Chain,
and yellow on double blue, that we guessed was Berks County.
A Bears Paw variation, circa 1870, from the Eastern Shore (not mine
unfortunately), was green, yellow and brick red and had triple sashing
9-Patch cornerstones . A Log Cabin with large scale paisleys in the
was made almost entirely of shirtings and brown stripes.
A very worn 4-block Coxcomb and Currents found in Lewisburg, PA is
almost identical to one pictured in Jeanette Lasansky's In the Heart of
Pennsylvania, p. 35. There was a wonderful appliquE9 from the
Valley, not an album but there were seven different blocks including a
and Hands with a Sunburst center, circa 1870. A Wild Goose Chase from
1840s with super quilting had lots of different buff and blue fabrics.
When Hazel Carter left home in 1958 to move to Washington, DC she
cut out lots of pieces to make a 8-Point Star quilt to remind her of
When it was finished her mother quilted it. What a treasure the quilt
and what a heartwarming story.
We saw a very worn and faded Rose and Crossed Branches with a
contemporary interpretation using various red and greens appliquE9d to
backgrounds. Another badly worn but still beautiful quilt was a 4-block
Cactus from Clarion Co., PA (green and blue on double pink). Checkout
Finley's Romance of the Patchwork Quilt (plate 63) to see what I'm
about. A green and white Lone Star had amazing continuous line hand
quilting. The choice of a white pint with widely space beige f lowers
alternating with the green in the Star was unfortunate but oh that
Cinda on the Eastern Shore

Lucinda R. Cawley
104 Lakeview Drive
Salisbury, MD 21804


Subject: Southern Belles and "Grits"
From: "Kathy Moore" <>

BlankYum, grits. I haven't had them in ages. Thanks, Teddy, for bringing
them up. I may have some with my breakfast tomorrow.

I love 'em.

And I loooove ya'll, too, bless your hearts!

From a true "GRIT" temporarily off the ranch, but making good use of my
time here!

Kathy Moore
Lincoln, NE


Subject: RE: Hair ornaments
From: "Leah Zieber" <>

Hi -

I know this doesn't relate to quilts, but perhaps someone out there is a
costume cross over and can tell me what in the world these ladies are
wearing on their heads? The period is 1854 and I'm thinking France. but
oh my - it's a crack up!
Ebay Item number 130338634692\

Leah Z