Date: Tue, 19 Jan 1999 22:01:31 EST

From: Quilt97@aol.com

To: QHL@cuenet.com, Vivien Lee Sayre <vsayre@nesa.com>

Here in south Texas in 1994 I took a beginner quilt class where we were taught

to backstitch at beginning and end of handquilted seams.

Elisabeth

------------------------------

Date: Tue, 19 Jan 1999 19:32:28 -0800

From: Denise Clausen <nadyne@oregoncoast.com>

To: Roberta Geanangel <quiltsnbears@webtv.net>

CC: JQuilt@aol.com, oldquilt@albany.net, QHL@cuenet.com

Speaking of the underground railroad....

while I was introducing the Latimer Quilt and Textile Center to a 4th grade

class today, the teacher interjected her observations of Professor Dobard on

the Oprah W. show. I had been showing the children the pattern developed on

a quilt top. We were discussing the fact that quilts often tell stories,

because the top we were looking at was an alphabet with the position of the

letters "f" and "s" switched. The children were speculating why that might

have been done. This is when the teacher proceeded to tell them that slaves

found their way to the north led by quilts along the way. I have not read

the book and don't know what the evidence is, so I let it go. The professors

word was accepted as fact and passed on as such.... I'm a little

concerned....

Denise Clausen

Director LQTC

Roberta Geanangel wrote:

> I'm beginning to wonder if my Underground book is coming from Amazon

> exactly that way:underground! Others have had their copy for over a week

> and all Amazon says to me is, "Your order is being processed"!

> Have you read it ??Has anyone read it???

> Roberta,dying of curiousity!

------------------------------

Date: Tue, 19 Jan 1999 21:42:28 -0600

From: KAREN BUSH <Birdsong@worldnet.att.net>

To: QHL@cuenet.com

Subject: QHL: appraisals

Message-ID: <36A550A4.46F7@worldnet.att.net>

And a GREAT article it is,too!!! I didn't know who it was that wrote

that and wondered if it was a list memeber...Congrats on a job WELL DONE

Bev! :) kb

of McCalls

Vintage Quilts that is now available from news stands and

magazine racks of grocery stores.  Bev. Dunivent

From: Herb &/or Gail Hurn <hghurn@cwix.com>

Date: Tue, 19 Jan 1999 21:47:44 -0600

From: KAREN BUSH <Birdsong@worldnet.att.net>

To: QHL@cuenet.com

Subject: QHL: back stitching

Message-ID: <36A551E0.7354@worldnet.att.net>

Content-Transfer-Encoding: 7bit

How many of you backstitch a seam when you are hand piecing a block?

        got my hand up, here....I do!

I was reminded of this recently while taking apart a damaged block that

contained 1886 cheater cloth. It had backstitching in the middle of each

seam.

        And, that's how I do it,too. Especially on a long seam. I start from

the middle, or 3/4 of the way to get a good grip on the piece, get that

sewn and then flip it over and finish the seam.

        But then, I was taught by my Mom in sewing clothing, and that's how she

did it. Mother was a professional seamstress/tailor from England, I

don't know if that's any help or not,....but, I'll get to your

questionaire now! :) kb

--

~:*:~:*:~:*:~:*:~:*:~:*:~:*:~:*:~:*:~:*:~:*:~:*:~:*:~:*:~:*:~~:*:~:*:

-    Karen Bush/kb-http://www.idahoquilt.com

   -"QUILT AS DESIRED" THE "TELL ALL BOOK" of hand quilting!!!!

-    Also, Visit me for HAND QUILTING SERVICES

------------------------------

Date: Tue, 19 Jan 1999 21:46:10 -0600

From: "Sehoy L. Welshofer" <sw4quilt@bellsouth.net>

Reply to message below on backstitching a seam:

I learned to hand stitch from a book I purchased in 1983 at the Smithsonian,

entitled 'You Can Be a Super Quilter' by Carla Hassel. (the guru of hand

piecing; also author of "Super Quilter":) She does a "piecing stitch" and

not a running stitch when hand piecing. Her quote from page 20: "The piecing

stitch is stronger than the simple running stitch due to the frequent

backstitching, but doesn't really take any extra time because the backstitch

is taken when the needle has already  been pulled through the fabric".

This system of backstitching is still being taught  through teachers like

myself who continue to preach the common sense of this method. To me, it

only makes sense, and the idea of not backstitching seems reckless, to say

the least. Why not add the extra strength of a backstitch? If a stitch gets

broken, it will only run until the next backstitch - 1/2" at the most.

Sehoy in TN

-----------------------------------------------------

Date: Tue, 19 Jan 1999 16:15:51 -0500

From: Vivien Lee Sayre <vsayre@nesa.com>

To: "Quilt History List" <QHL@cuenet.com>

Subject: QHL: Backstitching

Message-Id: <3.0.5.32.19990119161551.0099ba10@mail.nesa.com>

Content-Type: text/plain; charset="us-ascii"

Hello All,

How many of you backstitch a seam when you are hand piecing a block? A few

years ago, while taking a course in Paducah, a group of us were examining a

quilt top. One of the participants from the Midwest commented on the

backstitching that was evident in this work. This is a method using a

regular running stitch, but backstitching at various points to insure the

strength of the seam. Not only had she not seen this method before in quilt

piecing, she had never heard of it. The question about backstitching was

posed to the rest of the class. Those from the Midwest and some from the

West had not seen this method of piecing used before. I don't have any

information about the South.

I was reminded of this recently while taking apart a damaged block that

contained 1886 cheater cloth. It had backstitching in the middle of each

seam. The block came from the New England area. If you have a chance, would

you think about the questions below and e-mail your responses to me. This

has really got my curiosity buzzing.

1. What part of the country are you from and where do you live now?

2. Do you use the backstitch?

3. If not, have you ever heard of backstitching in a block?

4. If so, who taught you?

5. Have you ever seen the backstitch used in quilts?

6. If so, what is the origin of the maker?

7. What about other countries, do you use backstitching?

There a lots more questions that could be asked about this. From what I

have seen thus far, it appears this method was, and still is being used for

hand piecing in the Northeast. Where did it originate, I have no idea. Many

of the quilt tops we have documented contain the backstitch. I know it is

still being taught here because it is the method I was instructed to use by

my first two quilt teachers. I would love to hear from you if you have a

chance.

Vivien In Massachusetts

vsayre@nesa.com

Visit Web Threads, the Newsletter for Net Savvy Quilters at:

http://personal.bna.bellsouth.net/bna/s/w/sw4quilt/index.htm

mailto:sw4quilt@bellsouth.net

------------------------------

Date: Tue, 19 Jan 1999 21:54:32 -0600

From: "Sehoy L. Welshofer" <sw4quilt@bellsouth.net>

To: "QHL" <QHL@cuenet.com>

Subject: QHL: Pinning quilts

Message-ID: <002201be4428$9665ff00$1e01a8c0@patrick>

Content-Type: text/plain;

        charset="iso-8859-1"

Content-Transfer-Encoding: 7bit

Alan - I used to use a grapefruit spoon to close safety pins. That is, until

I had occasion to put 2,000 pins in a quilt - then I bought the Kwik Klip

for $6.00. The advantage? That smooth, round handle saves my left hand -

after just so many pins, even a grapefruit spoon becomes a pain! <G< (A

butter knife might be better than the grapefruit spoon?)

Sehoy in TN

-------------------------------------------------

Date: Tue, 19 Jan 1999 19:59:58 -0500

From: Alan Kelchner <quiltfix@mail.jax.bellsouth.net>

To: ".Quilt Heritage List" <qhl@cuenet.com>

Subject: QHL: Really OT

Message-ID: <36A52A8E.5CC6A20@mail.jax.bellsouth.net>

Content-Transfer-Encoding: 7bit

Hey, y'all - instead of cutting the fingers off'n of latex gloves (can

be somewhat loose because they're one-size-fits-all bought in little

packs), go to the office supply store and get a box of rubber grips.

Like a heavy duty finger cot, they fit very snugly. I personally cut off

the bottom half to keep it from dragging on the fabric. But I swear by

the things, and Office Depot likes to see me coming !

Alan

who all uses serrated butter knives to close safety pins - $6 for that

"tool"?!Visit Web Threads, the Newsletter for Net Savvy Quilters at:

http://personal.bna.bellsouth.net/bna/s/w/sw4quilt/index.htm

mailto:sw4quilt@bellsouth.net

------------------------------

Date: Tue, 19 Jan 1999 20:01:00 -0800

From: Denise Clausen <nadyne@oregoncoast.com>

To: "QHL@cuenet.com" <QHL@cuenet.com>

Subject: QHL: "Red, White, and You"

Message-ID: <36A554FC.5D1FC942@oregoncoast.com>

Content-Type: multipart/alternative;

 boundary="------------E4C7503A2ED70290BB3A151C"

    Calling all patriotic quilts, hooked rugs, embroideries, and woven

pieces for an exhibit at the Latimer Quilt and Textile Center.May 18

through July 18, 1999.

    Exhibits that centered around a theme have been some of our most fun

exhibits at the Center. Flying objects, Vested Interests, Tea in the

Garden, and By the Sea are shows that drew in many surprises.

    Let me know if you have a textile that you would like to share and I

will send you the details.

    Looking forward to hearing from you

Sincerely

Denise Clausen

Director LQTC

--------------E4C7503A2ED70290BB3A151C

Content-Transfer-Encoding: 7bit

<!doctype html public "-//w3c//dtd html 4.0 transitional//en">

    Calling all patriotic quilts, hooked rugs, embroideries, and woven pieces for an exhibit at the Latimer Quilt and Textile Center.May 18 through July 18, 1999.
    Exhibits that centered around a theme have been some of our most fun exhibits at the Center. Flying objects, Vested Interests, Tea in the Garden, and By the Sea are shows that drew in many surprises.
    Let me know if you have a textile that you would like to share and I will send you the details.
    Looking forward to hearing from you
Sincerely
Denise Clausen
Director LQTC

--------------E4C7503A2ED70290BB3A151C--

------------------------------

Date: Tue, 19 Jan 1999 22:22:48 -0600

From: Laura Hobby Syler <texas_quilt.co@mail.airmail.net>

To: Quilt97@aol.com, QHL@cuenet.com, Vivien Lee Sayre <vsayre@nesa.com>

Subject: Re: QHL: Re: backstitching

Message-Id: <3.0.3.32.19990119222248.006db0c0@mail.airmail.net>

Content-Type: text/plain; charset="us-ascii"

Hi Viv and Elisabeth,

When I took my first class in 1977 we too were taught to backstitch. I

quickly decided that it was too much trouble and did not teach it when I

had my shop in the '80's.

Laura

In Spring like North Texas

At 10:01 PM 1/19/99 EST, Quilt97@aol.com wrote:

>Here in south Texas in 1994 I took a beginner quilt class where we were

taught

>to backstitch at beginning and end of handquilted seams.

>

>Elisabeth

>

>

>

------------------------------

Date: Tue, 19 Jan 1999 23:37:03 -0500

From: "Judy Grow" <Judygrow@blast.net>

To: "Quilt History List" <QHL@cuenet.com>, <quiltfix@mail.jax.bellsouth.net>

Subject: QHL: rubber fingers

Message-ID: <002c01be442e$87b31f00$22e8c6cf@judy-grow>

Content-Type: text/plain;

        charset="iso-8859-1"

Content-Transfer-Encoding: 7bit

>go to the office supply store and get a box of rubber grips.

>Like a heavy duty finger cot, they fit very snugly. I personally cut off

>the bottom half to keep it from dragging on the fabric. But I swear by

>the things, and Office Depot likes to see me coming !

Alan, I bought a box of a dozen at least five years ago, have quilted at

least 3 full size quilts a year, and have not worn out finger number two

from the box.  What do you do to go through so many?

By the way, let's hear it for Office Max.  I  can go to either OM or

Staples, and haven't found a Staples with as much stock or nicer service as

OM.

Judy in Ringoes, NJ

judygrow@blast.net

------------------------------

Date: Tue, 19 Jan 1999 23:39:56 -0500

From: "Judy Grow" <Judygrow@blast.net>

To: "Quilt History List" <QHL@cuenet.com>,

        "Roberta Geanangel" <quiltsnbears@webtv.net>

Subject: QHL: Perle Cotton

Message-ID: <002e01be442e$eecab900$22e8c6cf@judy-grow>

Content-Type: text/plain;

        charset="iso-8859-1"

Content-Transfer-Encoding: 7bit

>Peggy..I forgot to mention that when you do Big Stitch most people use

>Perle Cotton..it slides through fabric easier

Roberta and Peggy,

I have used perle cotton size 12 for quilting.  It is the finest gauge perle

cotton.

I have also used buttonhole thread for big stitch quilting and absolutely

love it.  Of course you can't get very big spools of it, and lately I

haven't seen it at all.

Judy in Ringoes, NJ

judygrow@blast.net

------------------------------

Date: Wed, 20 Jan 1999 00:21:13 -0600

From: "Kris Driessen, Hickory Hill Quilts" <oldquilt@albany.net>

To: QHL@cuenet.com

Subject: QHL: USA Review of Hidden in Plain View

Message-Id: <199901200521.VAA17772@orbital.cue.com>

Content-Type: multipart/alternative;

        types="text/plain,text/html";

        boundary="=====================_61256033==_.ALT"

--=====================_61256033==_.ALT

Content-Type: text/plain; charset="iso-8859-1"

Content-Transfer-Encoding: quoted-printable

Unraveling the code in quilts

By Karen S. Peterson, USA TODAY

Jacqueline Tobin, a teacher of writing and women's studies at the

University of

Denver, knows the value of recording personal histories before they melt=

 from

memory.

She had a moment of epiphany at her mother's deathbed. "As she stared at me=

 as

she lay dying, I realized I didn't know her stories," says Tobin, 48. "I=

 vowed

never to let that happen again."=20

So Tobin was more receptive than most would be to an aging woman, a quilter

who

entreated her in 1994 to preserve a tale told in her family for generations,

but never written down.=20

The story from Ozella McDaniel Williams related how quilts made by slaves=

 were

encoded with secret messages and hung in plain view to be used as guides by

black fugitives.=20

Tobin was prepared to believe a black woman who chose a white woman =97 and=

 a

total stranger =97 to preserve an endangered piece of black American=

 history.

Recording oral histories, especially the stories women tell one another, had

become "the direction of my life."The book that resulted is out Tuesday:

Hidden

in Plain View: A Secret Story of Quilts and the Underground Railway

(Doubleday,

$27.50).=20

(Amazon carries it for $18.25

http://www.amazon.com/exec/obidos/ASIN/0385491379/quiltweb)

The larger message, Tobin says of the work co-authored with Howard

University's

Raymond Dobard, is that from the beginning of slavery here, many captives

actively resisted by communicating about freedom secretly. "They were not=

 just

waiting for white abolitionists to save them," she says.

Tobin first met Williams in the Old Market Building in Charleston, S.C. A

center of commerce since 1841, today the marketplace is mostly the turf of

craftsmen and vendors.

As Tobin prowled the quilting section, Williams showed off her own handmade

quilts and then stopped Tobin with this question: "Did you know that quilts

were used by slaves to communicate on the Underground Railroad?" Williams=

 was

referring to the cooperative system that developed among antislavery=

 activists

who helped spirit fugitive slaves northward from about 1830 to 1865.=20

After she went home to Denver, Tobin couldn't shake off the question=

 Williams

had tossed at her in the marketplace. Using Williams' business card, Tobin

telephoned her. Williams would not give her tale up easily. She told Tobin,

"Don't worry. You will get the story when you are ready."

Tobin says now that Williams required a waiting period based on African

tradition, a "ritualistic initiation. One has to earn the right to receive

information or knowledge."

Getting Williams' story became something of an obsession for Tobin. The job

was

made harder by the fact that very few original slave quilts exist: They were

washed repeatedly in lye-heavy soap, which weakened them; the original

materials were humble and did not wear well.

First, Tobin contacted experts. "I traveled down the Mississippi from St.

Louis

to New Orleans, stopping to visit quilters and scholars. I toured=

 plantations

and slave quarters, looking for clues," she writes.

In 1996, after almost three years of study, she went to see Williams again=

 at

the Charleston market.=20

This time Williams was ready to talk: She was terminally ill. And she had no

children to inherit her message. "She made this ritualistic space for me=

 among

her quilts," Tobin says. "I was literally sitting at her feet." Williams'

command to Tobin was clear: "Write this down."

Tobin eventually learned that Williams had gone to graduate school at Howard

University in Washington, D.C. Williams could have brought her story to any

professor, Tobin says. But the two women developed a profound relationship,

and

Williams chose Tobin as her conduit.=20

There was, Tobin says, "an emotional and spiritual connection. I do not=

 think

she would have talked to a scholar. It was a woman-to-woman thing." Tobin=

 says

Williams became "a griot, a storyteller." The two spent three hours bridging=

 a

gap between generations and race, transcending "age, stereotypes and

boundaries."

The "code" Williams passed along included a number of quilting patterns,

accompanied by a terse, enigmatic proverb assigned to each.

Ten quilts were set out in succession, Williams said, beginning with a=

 "monkey

wrench" design indicating it was time for the slaves to gather their tools.

When the "wagon wheel" appeared, it was time to pack for the dangerous

journey.

Colors, designs and the types of knots used were all significant, Williams

said. Blue and white was a protective combination, a blessing for a long=

 trip,

for example. The spacing of knots might indicate a grid with a suggestion of

distances.=20

It fell to Tobin to fill in the blanks and decipher what the full code might

mean. She turned to Raymond Dobard, a professor of art history at Howard

University and an accomplished quilter himself. The two collaborated by=

 phone,

fax and e-mail.

Dobard describes himself as an African-American quilter whose heritage is "a

patchwork of Creole, French, Spanish and German blood." He was elated to=

 work

formally on the project. "Nothing like this had been done before." Dobard=

 had

been one source for Tobin's scholarship from the beginning.

He cautions that their interpretation of Williams' story, buttressed by=

 their

research from Africa and the southern USA, does not result in "some type of

Rand McNally map" used by fugitives. And he suspects it will be challenged=

 by

scholars who are "doubting Thomases."

He is satisfied the two have an accurate understanding of Williams'=

 references

to the monkey wrench and to the bear's paw trail, which exhorted escapees to

follow the track a bear would take on a journey north.

Dobard is less sure about other instructions in the code, such as the need=

 to

"exchange double wedding rings." He believes that might refer to breaking=

 both

the mental and physical bonds of slavery.

Rather than proclaiming some final word, he says, "We've established some=

 good

groundwork. We have started the dialogue, developed a vocabulary."

Other experts who have written forewords for the book agree there will be

opposition. "The oral testimony of this woman is going to generate a great

deal

of controversy because it is the custom of scholars to look askance at oral

tradition, at anything that can't be proved by the written word," says St.

Louis quilt historian Cuesta Benberry.=20

"As with any kind of research," Benberry says, "in the future there may be

further clarification, but basically I think they got it right."

Maude Wahlman is an expert on African-American textiles and quilts at the

University of Missouri. This new book is important, she says, because it

illuminates "an aspect of American history that has not been documented or

explained."

It also shows that enslaved Africans brought with them "a terrific amount of

information. A lot of it went underground, was kept secret because it was a

threat to the establishment."=20

Wahlman believes the authors' interpretation of Williams' story is correct.

"They studied it thoroughly, from every angle."

Tobin hopes the book will inspire others to "become connected to their=

 family

stories" while they still can. Dobard hopes it will show that the image of=

 the

passive slave "has no place in reality. From the time ropes were first tied=

 to

the hands of Africans, they were trying to be free."

The last time Tobin saw Ozella Williams was two weeks before her death on=

 May

17, 1998. "It is extremely important for me to have honored her story and to

have honored Ozella," she says. "I want to make her live."

~:*:~:*:~:*:~:*:~:*:~:*:~:*:~:*:~:*:~:*:~:*:~:*:~:*:~:*:~:*:~~:*:~:*:~:*:~:*=

:

                          http://www.HickoryHillQuilts.com

               Antique Quilts, Vintage Fabric, Quilt Heritage Books,=20

   Reproduction Fabric, Bottle Kits and Quilters Dream Cotton Batting.

                             PO Box 273, Esperance NY 12066

                       Phone: 518-875-6133.  Fax:  518-875-9141

                                          ICQ # 28684799

~:*:~:*:~:*:~:*:~:*:~:*:~:*:~:*:~:*:~:*:~:*:~:*:~:*:~:*:~:*:~~:*:~:*:~:*:~:*=

:~=20

--=====================_61256033==_.ALT

Content-Type: text/html; charset="iso-8859-1"

Content-Transfer-Encoding: quoted-printable

Unraveling the code in quilts
By Karen S. Peterson, USA TODAY

Jacqueline Tobin, a teacher of writing and women's studies at the University of Denver, knows the value of recording personal histories before they melt from memory.

She had a moment of epiphany at her mother's deathbed. "As she stared at me as she lay dying, I realized I didn't know her stories," says Tobin, 48. "I vowed never to let that happen again."

So Tobin was more receptive than most would be to an aging woman, a quilter who entreated her in 1994 to preserve a tale told in her family for generations, but never written down.

The story from Ozella McDaniel Williams related how quilts made by slaves were encoded with secret messages and hung in plain view to be used as guides by black fugitives.

Tobin was prepared to believe a black woman who chose a white woman =97 and a total stranger =97 to preserve an endangered piece of black American history. Recording oral histories, especially the stories women tell one another, had become "the direction of my life."The book that resulted is out Tuesday: Hidden in Plain View: A Secret Story of Quilts and the Underground Railway (Doubleday, $27.50).
(Amazon carries it for $18.25 http://www.amazon.com/exec/obidos/ASIN/0385491379/quiltweb)

The larger message, Tobin says of the work co-authored with Howard University's Raymond Dobard, is that from the beginning of slavery here, many captives actively resisted by communicating about freedom secretly. "They were not just waiting for white abolitionists to save them," she says.

Tobin first met Williams in the Old Market Building in Charleston, S.C. A center of commerce since 1841, today the marketplace is mostly the turf of craftsmen and vendors.

As Tobin prowled the quilting section, Williams showed off her own handmade quilts and then stopped Tobin with this question: "Did you know that quilts were used by slaves to communicate on the Underground Railroad?" Williams was referring to the cooperative system that developed among antislavery activists who helped spirit fugitive slaves northward from about 1830 to 1865.

After she went home to Denver, Tobin couldn't shake off the question Williams had tossed at her in the marketplace. Using Williams' business card, Tobin telephoned her. Williams would not give her tale up easily. She told Tobin, "Don't worry. You will get the story when you are ready."

Tobin says now that Williams required a waiting period based on African tradition, a "ritualistic initiation. One has to earn the right to receive information or knowledge."

Getting Williams' story became something of an obsession for Tobin. The job was made harder by the fact that very few original slave quilts exist: They were washed repeatedly in lye-heavy soap, which weakened them; the original materials were humble and did not wear well.

First, Tobin contacted experts. "I traveled down the Mississippi from St. Louis to New Orleans, stopping to visit quilters and scholars. I toured plantations and slave quarters, looking for clues," she writes.

In 1996, after almost three years of study, she went to see Williams again at the Charleston market.

This time Williams was ready to talk: She was terminally ill. And she had no children to inherit her message. "She made this ritualistic space for me among her quilts," Tobin says. "I was literally sitting at her feet." Williams' command to Tobin was clear: "Write this down."

Tobin eventually learned that Williams had gone to graduate school at Howard University in Washington, D.C. Williams could have brought her story to any professor, Tobin says. But the two women developed a profound relationship, and Williams chose Tobin as her conduit.

There was, Tobin says, "an emotional and spiritual connection. I do not think she would have talked to a scholar. It was a woman-to-woman thing." Tobin says Williams became "a griot, a storyteller." The two spent three hours bridging a gap between generations and race, transcending "age, stereotypes and boundaries."

The "code" Williams passed along included a number of quilting patterns, accompanied by a terse, enigmatic proverb assigned to each.

Ten quilts were set out in succession, Williams said, beginning with a "monkey wrench" design indicating it was time for the slaves to gather their tools. When the "wagon wheel" appeared, it was time to pack for the dangerous journey.

Colors, designs and the types of knots used were all significant, Williams said. Blue and white was a protective combination, a blessing for a long trip, for example. The spacing of knots might indicate a grid with a suggestion of distances.

It fell to Tobin to fill in the blanks and decipher what the full code might mean. She turned to Raymond Dobard, a professor of art history at Howard University and an accomplished quilter himself. The two collaborated by phone, fax and e-mail.

Dobard describes himself as an African-American quilter whose heritage is "a patchwork of Creole, French, Spanish and German blood." He was elated to work formally on the project. "Nothing like this had been done before." Dobard had been one source for Tobin's scholarship from the beginning.

He cautions that their interpretation of Williams' story, buttressed by their research from Africa and the southern USA, does not result in "some type of Rand McNally map" used by fugitives. And he suspects it will be challenged by scholars who are "doubting Thomases."

He is satisfied the two have an accurate understanding of Williams' references to the monkey wrench and to the bear's paw trail, which exhorted escapees to follow the track a bear would take on a journey north.

Dobard is less sure about other instructions in the code, such as the need to "exchange double wedding rings." He believes that might refer to breaking both the mental and physical bonds of slavery.

Rather than proclaiming some final word, he says, "We've established some good groundwork. We have started the dialogue, developed a vocabulary."

Other experts who have written forewords for the book agree there will be opposition. "The oral testimony of this woman is going to generate a great deal of controversy because it is the custom of scholars to look askance at oral tradition, at anything that can't be proved by the written word," says St. Louis quilt historian Cuesta Benberry.=20

"As with any kind of research," Benberry says, "in the future there may be further clarification, but basically I think they got it right."

Maude Wahlman is an expert on African-American textiles and quilts at the University of Missouri. This new book is important, she says, because it illuminates "an aspect of American history that has not been documented or explained."

It also shows that enslaved Africans brought with them "a terrific amount of information. A lot of it went underground, was kept secret because it was a threat to the establishment."

Wahlman believes the authors' interpretation of Williams' story is correct. "They studied it thoroughly, from every angle."

Tobin hopes the book will inspire others to "become connected to their family stories" while they still can. Dobard hopes it will show that the image of the passive slave "has no place in reality. From the time ropes were first tied to the hands of Africans, they were trying to be free."

The last time Tobin saw Ozella Williams was two weeks before her death on May 17, 1998. "It is extremely important for me to have honored her story and to have honored Ozella," she says. "I want to make her live."

Date: Wed, 20 Jan 1999 08:13:57 -0000

From: "Sally Ward" <sward@t-ward.demon.co.uk>

To: <qhl@cuenet.com>

Subject: QHL: Fingert cots and finger cuts

Message-ID: <008201be444c$ead0ac60$eb58e4d4@bob>

Content-Type: multipart/alternative;

        boundary="----=_NextPart_000_007F_01BE444C.D408C3A0"

This is a multi-part message in MIME format.

------=_NextPart_000_007F_01BE444C.D408C3A0

Content-Type: text/plain;

        charset="iso-8859-1"

Content-Transfer-Encoding: quoted-printable

I make my latex finger cots last longer by keeping a small pot of talc =

into which I dip my finger before I take the cot off each time.  Then as =

I roll it off, it covers itself inside and out with the talc.  If I =

don't do this, they seem to rot and stick to each other very quickly =

with the perspiration.

On rotary cutting - I was reading a bookbinding book recently which =

recommended buying a fish filleting glove from a tackle store for the =

opposing hand when using a craft knife.  I haven't been able to track =

one down yet, but wondered if they would be flexible enough for the very =

nervous to use when rotary cutting. Anyone seen one?

Sally

------=_NextPart_000_007F_01BE444C.D408C3A0

Content-Type: text/html;

        charset="iso-8859-1"

Content-Transfer-Encoding: quoted-printable

<!DOCTYPE HTML PUBLIC "-//W3C//DTD W3 HTML//EN">

I make my latex finger cots last longer by = keeping a=20 small pot of talc into which I dip my finger before I take the cot off = each=20 time.  Then as I roll it off, it covers itself inside and out with = the=20 talc.  If I don't do this, they seem to rot and stick to each other = very=20 quickly with the perspiration.

On rotary cutting - I was reading a = bookbinding book=20 recently which recommended buying a fish filleting glove from a tackle = store for=20 the opposing hand when using a craft knife.  I haven't been able to = track=20 one down yet, but wondered if they would be flexible enough for the very = nervous=20 to use when rotary cutting. Anyone seen one?

Sally

------=_NextPart_000_007F_01BE444C.D408C3A0--

------------------------------

Date: Wed, 20 Jan 1999 07:40:34 -0500

From: Alan Kelchner <quiltfix@mail.jax.bellsouth.net>

To: qhl@cuenet.com

Subject: QHL: Samplers

Message-ID: <36A5CEC1.6D6F3340@mail.jax.bellsouth.net>

Content-Transfer-Encoding: 7bit

I've been asked about the care and cleaning of a specific 1863 sampler

that resides overseas at the moment.  It'll be coming back to the US,

and I was wondering if anyone knew of anyone in the So. Cal. area that

could help decide what should be done to the piece before it is framed

appropriately. Also give her an idea of it's worth (I can't - not my

area).

Thanks.

Alan

------------------------------

Date: Wed, 20 Jan 1999 07:43:41 -0500

From: Alan Kelchner <quiltfix@mail.jax.bellsouth.net>

To: qhl@cuenet.com

Subject: QHL: backstitching

Message-ID: <36A5CF7C.CB371816@mail.jax.bellsouth.net>

Content-Transfer-Encoding: 7bit

Vivien,

I backstitch when I handpiece. But I take the stitch every 1 - 1.5

inches. Don't ask me where I learned it. I don't remember if it was a

book, person, or actual handwork.  All I know is that I don't have to

worry that I'll pull the running stitch too far and start to gather the

block.

Alan

------------------------------

Date: Wed, 20 Jan 1999 07:43:17 -0500

From: "jawhite@courant.infi.net" <jawhite@courant.infi.net>

To: Quilt History List <QHL@cuenet.com>

CC: vsayre@nesa.com

Subject: QHL: backstitching

Message-ID: <36A5CF65.10D8@courant.infi.net>

Content-Transfer-Encoding: 7bit

Hi Vivian.  I am from the midwest and that's where I learned to quilt.

I was taught in handpiecing to backstitch at the beginning and the end

of seamlines and never, never to use a knot in the thread to begin or

end a seam.  That is the way I teach beginning quilting also.  However,

when I moved to New England (CT), I found people here using knots in

their handpiecing.  I collect vintage tops and blocks and have found

backstitching in the middle of seams in some of them; now, however, I

will be more observant and note where I got a particular top or set of

blocks.

Judy White - Ct

------------------------------

Date: Wed, 20 Jan 1999 07:49:15 -0500

From: Alan Kelchner <quiltfix@mail.jax.bellsouth.net>

To: Roberta Geanangel <quiltsnbears@webtv.net>

CC: ".Quilt Heritage List" <qhl@cuenet.com>

Subject: Re: QHL: Really OT

Message-ID: <36A5D0CA.5D6AB04C@mail.jax.bellsouth.net>

Content-Transfer-Encoding: 7bit

Can't say about Teddy, but I'm getting ready. It'll be the first time in 13

months I've seen my self-portrait.

As for your husband, I hope after his fun, you teased him with them! <GGG>

Alan

who's feeling really good this a.m. - latest restoration is to arrive back

home today, and a binding on one of MY favorite quilts is finally being done

(more than half finished)>

Roberta Geanangel wrote:

> Alan...the first time I bought the rubber cots I very seriously

> explained to my DH what they were used for in quilting... he didn't stop

> laughing for days!!! I'll leave that one to your imagination.  I use a

> grapefruit spoon to close pins...but your knife is cheaper!

> Are you ready for Orlando? Is Teddy ready for Orlando? I can hardly

> wait!!!

> Roberta/Lake Alfred

------------------------------

Date: Wed, 20 Jan 1999 08:20:39 EST

From: JQuilt@aol.com

To: qhl@cuenet.com

Subject: QHL: pin closer

Message-ID: <58cd7790.36a5d827@aol.com>

Content-transfer-encoding: 7bit

I use the serrated edge of an apple corer to close my basting pins..costs

about $1.49

jean

------------------------------

Date: Wed, 20 Jan 1999 09:19:49 EST

From: JQuilt@aol.com

To: qhl@cuenet.com

Subject: QHL: Give me a break!!!

Message-ID: <848ed797.36a5e605@aol.com>

Content-transfer-encoding: 7bit

Does anyone on the list remember the Howard Hughes Diary hoax? some years ago?

The whole review of  Hidden in Plain Sight...sounds like a "made for TV

movie"...a Howard professor and a Howard graduate student...what a

coincidence....a very good vendor/"salesperson"  getting a good story together

in 2 years 1994-1996...knowing the greater acceptance of this "tale" would

come from a caucasian writer than it would from an african-american.....

Monkey-wrench???? I think  they were called Spanners by English speaking

southern settlers ....... as for grids and knots...give me a break....

Also the underlying theme seems to be that the slaves really freed

themselves...with a modicum of help from the white population...give me

another break...

If you want to read something about.... the plantation slaves and quilting....

read a book called "Stitched from the Soul"...

jean

jquilt@aol.com

------------------------------

Date: Wed, 20 Jan 1999 09:01:55 -0600

From: Laura Hobby Syler <texas_quilt.co@mail.airmail.net>

To: JQuilt@aol.com, qhl@cuenet.com

Subject: Re: QHL: Give me a break!!!

Message-Id: <3.0.3.32.19990120090155.0074c09c@mail.airmail.net>

Content-Type: text/plain; charset="us-ascii"

Jean, At the QRS conference in '97 there was a general concensus of the

experts there that "Stitched" was to be taken with a *very large salt

shaker"  too......no "real" documentation to substantiate the

stories....just more "romantic tales"

I don't think that we shall ever know the "real story" as long as we are

dealing with something so close to so many peoples hearts as that of a

quilt, and the love that a quiltmaker puts into their work.........and

something that so many people take for granted and don't take the time to

document.

However, I'm off to pick up my copy and "see for myself" <G>

Laura

At 09:19 AM 1/20/99 EST, you wrote:

>

>

>Does anyone on the list remember the Howard Hughes Diary hoax? some years

ago?

>

>The whole review of  Hidden in Plain Sight...sounds like a "made for TV

>movie"...a Howard professor and a Howard graduate student...what a

>coincidence....a very good vendor/"salesperson"  getting a good story

together

>in 2 years 1994-1996...knowing the greater acceptance of this "tale" would

>come from a caucasian writer than it would from an african-american.....

>Monkey-wrench???? I think  they were called Spanners by English speaking

>southern settlers ....... as for grids and knots...give me a break....

>Also the underlying theme seems to be that the slaves really freed

>themselves...with a modicum of help from the white population...give me

>another break...

>If you want to read something about.... the plantation slaves and

quilting....

>read a book called "Stitched from the Soul"...

>jean

>jquilt@aol.com

>

>

>

------------------------------

Date: Wed, 20 Jan 1999 09:40:12 -0600 (CST)

From: degehant@upstel.net (Deanna Gehant)

To: QHL-Digest@cuenet.com

Subject: Latex Gloves

Message-Id: <v01530501b2cb567b1010@[204.252.180.150]>

Content-Type: text/plain; charset="us-ascii"

My concern is hearing about quilters purchasing latex gloves (anything

latex) for that matter.  Latex allergy is a very serious matter.  A

relatively small percentage are known to have it, but the numbers are

increasing fast.  Especially for those who are in medical fields and use

gloves  alot.  It can take only one time to have a reaction that could send

you into anaphlactic shock or symptoms can increase as you use the product

increasingly.  I am not an expert, but my husband has it who is in the

medical field and his symptoms are increasing all the time - even as we try

to eleviate things we know that affect it. We can't even have balloons in

our house because he struggles to breathe. His office has gone to vinyl

gloves. They are a bit more expensive but worth it.  It can affect people

around you, and not only yourself.  The symptoms seem asthema-related.  Do

a search on "latex allergies" to obtain better and official information for

yourself.  There are an increasingly number of foods that are directly

connected to reactions as well.

------------------------------

Date: Wed, 20 Jan 1999 07:44:18 -0800

From: Debra Roby <debroby@earthlink.net>

To: QHL@cuenet.com, vsayre@nesa.com

Subject: QHL: Re: Backstitching

Message-ID: <36A5F9D2.B8E0C11D@earthlink.net>

Content-Transfer-Encoding: 7bit

Just for the record... I was taught to backstitch, and have a 30s era

quilt (hand pieced) that has evidence of backstitch in it.  I was also

taught to backstitch one stitch in about every 20 to make the piecing

stronger. 

hth

> 1. What part of the country are you from and where do you live now?

        From NorthEast Ohio.  Now living in the SF bay area.

> 2. Do you use the backstitch?

        Yes.

> 3. If not, have you ever heard of backstitching in a block?

> 4. If so, who taught you?

        An instructor in a class on hand piecing.

> 5. Have you ever seen the backstitch used in quilts?

        Yes.

> 6. If so, what is the origin of the maker?

        Anon. (boy she was a productive, well traveled gal!)

dar/ca

debra roby

------------------------------

Date: Wed, 20 Jan 1999 09:02:10 -0700

From: "Jeanne.Fetzer" <Jeanne.Fetzer@integrityonline3.com>

To: <quiltfix@mail.jax.bellsouth.net>, <qhl@cuenet.com>

Subject: QHL: Re: Samplers

Message-ID: <001c01be448e$51cd33c0$37e399d0@jeanne.fetzer>

Content-Type: text/plain;

        charset="iso-8859-1"

Content-Transfer-Encoding: 7bit

Dear Alan,

I have helped conserve some samplers for a museum and have some ideas about

how to do it, but I would need to know about the fabric it was stitched on

to give you help.  Silk or linen?  Silk is really tricky - even worse than

restoring or conserving on a quilt.

As for value, the range is really wide.  I've seen some for $1500.00.

Others only $200-300.  Send details and I'll see if I can help.  In the

meantime, I'll keep my eye out for net sources that might help.  Jeanne

Fetzer

------------------------------

Date: Wed, 20 Jan 1999 09:09:36 -0700

From: "Jeanne.Fetzer" <Jeanne.Fetzer@integrityonline3.com>

To: <JQuilt@aol.com>, <qhl@cuenet.com>,

        "Laura Hobby Syler" <texas_quilt.co@mail.airmail.net>

Subject: Re: QHL: Give me a break!!!

Message-ID: <002501be448f$5d670fc0$37e399d0@jeanne.fetzer>

Content-Type: text/plain;

        charset="iso-8859-1"

Content-Transfer-Encoding: 7bit

I think this subject is one where your "gut feeling" should guide you.  I

know of few subjects with more sentimentality than quilts and why they were

made (unless the sentimentality that you will marry at twenty something,

your husband will be as wealthy as you want, look like Mel Gibson and the

two of you will have three beautiful, well behaved children who will attend

Harvard, Julliard and Oxford on academic scholarships. . .)

I must join with others who have some scepticism, but intend to point the

source out in my lectures with a caution to try and find some others sources

to substantiate the text.

I really believe our intuition is a force to reckon with!

Jeanne Fetzer

------------------------------

Date: Wed, 20 Jan 1999 08:55:53 -0800

From: "R & L Carroll" <Robert.J.Carroll@GTE.net>

To: <QHL@cuenet.com>

Subject: QHL: Asian fabrics

Message-ID: <01be4495$f575b360$LocalHost@r.-carroll>

Content-Type: text/plain;

        charset="iso-8859-1"

Content-Transfer-Encoding: 7bit

Hello! Gail asked about Asian fabrics in the Los Angeles area.  We have a

wonderful quilt shop with the most beautiful Japanese fabrics, many which

are authentic Kasuri, Ikats, and Shibori.  Mariko Gooden is the shop owner

and she travels often to Japan to make these wonderful purchases.  She is

most helpful and thoughtful.  If you are interested in Japanese fabrics

don't miss this shop.  The address is 1894 Westwood Blvd.  Los Angeles, Ca.

90025  Telephone # (310)446-1831.  Call her for directions.

------------------------------

Date: Wed, 20 Jan 1999 09:18:44 -0800

From: "R & L Carroll" <Robert.J.Carroll@GTE.net>

To: <QHL@cuenet.com>

Subject: QHL: sampler

Message-ID: <01be4498$ef0bd380$LocalHost@r.-carroll>

Content-Type: text/plain;

        charset="iso-8859-1"

Content-Transfer-Encoding: 7bit

Hello Alan. re:your question on the sampler.  Faye Walcher is a conservator

of fine fabrics in our area.  12812 Philadelphia St. Whittier, Ca. 90601.

Telephone # (562) 945-2669.  She cleaned and framed a sampler for a friend

of mine who seemed happy with the results.

Laurette

------------------------------

Date: Wed, 20 Jan 1999 12:20:23 EST

From: SudaNim@aol.com

To: QHL@cuenet.com

Subject: Re: QHL: rubber fingers

Message-ID: <4eeebfc1.36a61057@aol.com>

Content-transfer-encoding: 7bit

American Science and Surplus has finger cots for about $2 per 100-144....And

they're so wonderful in their assortment of completely random electronics,

crafts suipplies and machinery that I highly recommend them. Don't have the

number with me, but they have a web site. (www.sciplus.com).  Their

descrptions are half the fun They're also a magnificent source for small

vials, bottles, plastic boxes.(Current stock includes those tiny,

shimmeryGerman glass beads that you glue on, for about $1 per oz.)

------------------------------

Date: Wed, 20 Jan 1999 11:33:24 -0600

From: Maury Bynum <maurybynum@textileconservators.com>

To: QHL <QHL@cuenet.com>

Subject: QHL: Jefferson/Sally

Message-ID: <36A61364.2E66@textileconservators.com>

Content-Transfer-Encoding: 7bit

An additional bit to this topic:

Sally was Jefferson's wife's 1/2 sister.  After Jefferson's wife's

mother died, her father fathered children with a slave--probably one

reason Jefferson was so charitable to these offsprings.

Dumas Malone's Jefferson Bio (6 Volumes!) is a great read!!

Maury Bynum

------------------------------

Date: Wed, 20 Jan 1999 12:52:04 -0500

From: "Judy Grow" <Judygrow@blast.net>

To: "Quilt History List" <QHL@cuenet.com>

Subject: QHL: Antique/Quilt show

Message-ID: <000201be44a1$67750be0$72e8c6cf@fireball.blast.net>

Content-Type: text/plain;

        charset="iso-8859-1"

Content-Transfer-Encoding: 7bit

Yesterday DH and I went to the huge Armory Antiques Show in NYC .  No danger

of us spending any money there!  None whatsoever!  I doubt if anything there

was under 4 figures for sale.  But we go every year to see what the swells

are buying.

America Hurrah, which closed their shop in NYC last year was there, with a

wonderful selection of at least 10 quilts. They were the only dealers there

with quilts.

Only one was hung, but it was a beauty.

A red and green quilt, probably Ohio, 9 blocks with vine border.

The thing that made it really special was the addition of blue birds in the

corner of each block. It was pristine.

The one I would have killed for was folded over a rack.  It was also a red

and green quilt, well worn on the red and green, but clean, with  applique

blocks

alternating with plain blocks, all on point.  All the plain areas were

quilted with

DIFFERENT quilting designs, stitched at least 14 stitches to the inch, and

then trapuntoed.  The work was mind-boggling.  When I was chatting with Mrs.

Kopf (sp?) about how they were able to accomplish such minute stitches she

said it was because of the quality of their needles and the fineness of

their thread.

Personally I think it was because they had compulsive behaviour disorders.

But, we have never discussed the tools of the nineteenth century quilters.

Were their needles and threads that much better than ours?  They didn't have

Ott lights, or magnifying glasses attached to lights.  Did they use beeswax

on their threads?  Those ladies in western Pa, and Ohio didn't have the

luxury of spending years on a quilt -- they mostly needed them for bed

coverings.  They didn't have good lighting so they could work at night, and

their days were filled with other chores that we have tools and appliances

to make short shrift of.  They didn't have lightboxes, or even sliding glass

doors with large panes of glass.How did they get it all done -- and so well,

too!

Most surprising to me was all the native American things at the show, and

the prices attached to them!  Gorgeous coiled baskets were especially

appealing.

One booth had 4 kimono/robes, 2 done by the Ainu of Japan, 2 done by NA

Indians.  Only one of the 4 was in cotton material as the base fabric.  Two

were in elm fibers -- a gorgeous warm tan naturally, and not twisted.  The

decoration on all the robes was applique around the shoulder and back in

undulating and overlapping motifs, the applique strips usually 1" wide, and

not always cut on the bias. Often they were overembroidered in a chain

stitch down the middle.  They were either late 19th century, or early 20th

century.  The motifs and techniques were remarkably similar from Japan to

west coast U.S.

There were also hooded parkas from the Alaskan Indians made of marine mammal

intestine -- only about 3" wide -- sewn up one length above the other as

topstitching with dark sinew, and then embroidered in tiny tufts of  dyed

fur in very bright (aniline) colors.  The material was bright white, and

they were beautiful.

Darwin, Mrs. Kopf and I  chatted about the upcoming Philly show, and AH will

not be there. She said to say hello to you when next we chatted.

Judy in Ringoes, NJ

judygrow@blast.net

------------------------------

Date: Wed, 20 Jan 1999 16:49:11 -0500

From: Jean Ann <quiltmag@mindspring.com>

To: QHL@cuenet.com

Subject: QHL: backstitching

Message-Id: <v03007804b2cbfeb311ed@[207.69.244.55]>

Content-Type: text/plain; charset="us-ascii"

Well way back, (let's just say way back) when I was taking fashion design,

pattern making, tailoring, fine french hand sewing, in college....we had to

do a whole repertoire of hand sewing techniques. Each example went on a

little index card and I still have those card and have used them for doing

various fine hand sewing techniques over the many years since.

The most simple was back stitching. In the days before sewing machines (no

it wasn't that far back! LOL) backing stitching was routinely done with

each new "needle-full" of stitches to simple add strength to a seam. A

seamstress would gather up ten or more tiny stitches, in and out, in and

out, on her needle; slide the needle through... then....take a little

backstitch to add strength to the seam as you load your needle up one more

time. Ten stitches, backstitch, ten stitches, backstitch and so on

throughout all the seams in the garment. Even if the seam started to rip,

it would only rip to the nearest backstitch and thereby not rip out the

whole seam of a garment. Backstitching can also add strength to seams that

hold quilt patches together especially if you think that quilt will get a

lot of use and wear.

Jean Ann Eitel, Editor

QUILT magazine site: http://www.quiltmag.com - IRC chat site:

http://www.quilttalk.com

Personal web site: http://www.mindspring.com/~quiltmag/jeanann/jaeindex.html

------------------------------

Date: Wed, 20 Jan 1999 17:35:26 EST

From: QLTKAREN@aol.com

To: QHL@cuenet.com

Subject: QHL: Appraisal Help

Message-ID: <6df86f99.36a65a2e@aol.com>

Content-transfer-encoding: 7bit

I am coming out of lurkdom to ask a favor.  I have a friend who lives in

Gaithersburg, Maryland who would like to have some quilts appraised.  Is there

someone in the nearby vicinity who can help with this?

Thanks,  Karen

QLTKAREN@aol.com

------------------------------

Date: Wed, 20 Jan 1999 19:52:38 EST

From: KirkColl@aol.com

To: QHL@cuenet.com

Subject: QHL: Re: Hidden in Plain Sight

Message-ID: <97ddf246.36a67a56@aol.com>

Content-transfer-encoding: 7bit

I saw the author on Oprah two days ago -- they were showing quilts with a

voice over about slave quilts, but the ones they were showing were all

reproductions -- apparently by the author.  I saw lots of reproduction fabrics

in them.

I don't think they were trying to deceive, but it certainly wasn't clear.

Gave a speech last night to an officer's wives group at Offutt AFB.  One of

the black women told about hearing similar stories about quilt patterns used

as signals from her grandmother.

On the other hand, my mom has been researching the underground railroad for

years, and according to her sources, almost all travel was at night, and all

markers of the "stations" were unmoveable objects -- two oak trees by the

front porch -- things that couldn't be changed or mistaken.

It will be wonderful if we can ever get definitive proof.

Nancy Kirk

The Kirk Collection

Antique & Reproduction Fabrics

Antique Quilts

www.kirkcollection.com

------------------------------

Date: Wed, 20 Jan 1999 21:09:19 EST

From: Kittencat3@aol.com

To: QHL@cuenet.com

Subject: QHL: backstitching

Message-ID: <b2f2eae4.36a68c4f@aol.com>

Content-transfer-encoding: 7bit

I'm originally from Pennsylvania, learned to hand sew from my mother at age 7,

and started quilting when I lived in Boston in 1982.  I always used a running

stitch to hand piece and a stab stitch to quilt when I'm not doing one of my

medieval-style pieces (then I use the backstitch for the quilting).  The only

time I ever used backstitch before using it for medieval style quilting was

when I did a piece of pseudo- Jacobean embroidery for a Girl Scout badge :)

Lisa Evans

Easthampton, MA

[ 99021 ]