Those Crazy, Crazy Quilts!

      The term "crazy quilting" is often used to refer to the textile art of crazy patchwork and is sometimes used interchangeably with that term. Crazy quilting does not actually refer to a specific kind of quilting (the needlework which binds two or more layers of fabric together), but a specific kind of patchwork lacking repeating motifs. A crazy quilt rarely has the internal layer of batting that is part of what defines quilting as a textile technique.

      Regular patchwork combines the pieces of fabric into a predetermined and regular design, but crazy patchwork uses irregular pieces of fabric without pattern on a foundation fabric or paper. This may create haphazard-looking and asymmetrical designs, or the designer may use some control in placement. Patches can be hand appliquéd onto a base fabric. This method gives the most variety as every patch is unique. There are also block patterns designed for crazy quilt that can be sewn by machine. Sometimes part of a crazy quilt is haphazard while other parts are placed in a planned pattern. A common example of this the placement of patches is a fan pattern. The patches and seams are then usually heavily embellished.

      Crazy quilting created a stir in the 1880's when it became quite a fad in the United States. The Japanese Exhibit in the 1876 Philadelphia Centennial Exposition inspired the crazy quilt with its asymmetrical art. Articles encouraging crazy quilting, or condemning it, could be found in women's publications. Women could purchase packages of random fabrics, as well as already embellished pieces, to use in their own crazy quilts. During the first several years of the crazy quilting fad, fine fabrics and heavy embellishment were the norm. As time passed quilters began to make simpler quilts in the crazy quilt style. Thrifty housewives used everyday fabrics like wool or cotton and little or no embellishment to create more serviceable quilts than the original fancy crazy quilts with the added benefit of using up small or odd-shaped scraps left over from making clothing for the family or other household sewing projects.

Tamar Horton Harris North. “Quilt (or decorative throw), Crazy pattern”. ~1877. 54 ½ × 55 in. Metropolitan Museum of Art.

An Amish crazy quilt created by Lydia Beachy between 1910-1920, made
 of cotton, measures 80 7/8 in. by 62 1/4 in. Part of Smithsonian
American Art Museum Collection.

The Delphinium Embroidery Block

The Original Instructions: Two shades of blue with green leaf are used to embroider this block. The buds and most of the center spike are the lighter blue, while the darker value is used for the larger blossoms to the outside. A few of the bottom flowers might be a third darkest blue or purple. Centers are yellow.

• Embroider Delphinium with A. K. stitch
• Ribbon Delphinium by Risa's Embroidery Chest

The Cosmos Embroidery Block

The Original Instructions: The cosmos block is embroidered with orchid tint flowers, pink buds, green leaves and slender stems, with yellow French knot centers to the blossoms.

• Embroidery of Cosmos Flower by Malina_GM Exclusive
• DIY Cosmos Hand Embroidery 
• CC flower hand embroidery by cheezedal_embroidery

The Lily of The Valley Embroidery Block

Lily-of-the-Valley Block No. 9

Original Instructions: If you are using ivory or other dainty-tint background for the quilt blocks, these blossoms may be embroidered in white with the green of the stem embroidering the few small buds at the ends. Leaves are darker green.

• Malina GM Embroidery - lily-of-the-valley, 3D
• How to embroider lily-of-the-valley by Star's Embroidery (also includes leaves
• Lily of the valley ribbon stitches

The Rose Embroidery Block

The Rose Block No. 8

Original Instructions: The colors suggested are deepest crimson and American beauty tones, rose or salmon pink, yellow or even white. However, to best balance in with all flowers in the made-up quilt, two tones of rose pink using the darker to the center are lovely with dull green leaves. Thorns may be dark red on the same light green of the stems.

• Garden roses. Embroidery for beginners by Diana Vingert
• Bullion knot rose stitch by Knit & Stitch
• Cast on Stitch Rose by NeedlePoint
• 3D white roses
• Brazilian embroidery by BD Hand Stitch

The Value of Easter Day

 " An angel rolled away the stone, and sat upon it." Matthew 28:2.

       Surely the angel of Easter morning did a superfluous piece of work! To roll away the stone of the sepulchre was a very important thing; but to sit upon it afterward - surely that was a useless task! Is it not a lame and impotent conclusion to a great deed! We should have expected the Easter angel, after rolling away the stone, to have been described as winging his way "beyond the clouds and beyond the tomb." But, when we are called to see him sitting on the old gravestone, is that poetry, is that beauty? Yes - the grandest poetry, the most subtle beauty. It is a far finer image than would have been depicted in the angel flying home. It is not enough that the stone of my grief should be rolled away; it must be glorified. Many a sorrow, when it passes away, leaves soreness behind. It is no longer the place of my tribulation to-day, but it was the place of my tribulation yesterday. I weep over my yesterday; I need something to explain my yesterday. To-day has been glorified; I want yesterday to be glorified too. I want to see the angel in the place where my old sorrow lay- on the stone of my former sepulchre. The glory of Easter morning is that it brightens past mornings. It tells me that what I called death was never there. It throws a light upon the ancient graves. It answers the long-repeated question, ''To what purpose is this waste?" It dispels my complaining over the vanished years. It dries my tears shed for the shortness of human life. It vindicates the past justice of my Father.

       Lord of Easter Day, let me see the angel on the gravestone! I cannot see Thy rising; I am born too late for that. But on every gravestone Thou hast left an angel sitting; the stone has itself become radiant. I used to cry for a chariot of fire to bear me beyond death. The chariot comes not, but the angel at the grave is better; he makes the cloud of death itself Thy chariot. Reveal to me that angel at the grave! Give me a view of death as a hallowed thing! It has long been to me the king of terrors; my gravestone has held a spectre. Take away the spectre, and put an angel there! If I saw an angel on the stone, I do not think I should need to see it rolled away. When I was a child I would have abolished the thunder; I thought it was the voice of disorder in the world. I would not abolish it now; I know it is the rhythm of Thine own voice. What has made the change? It is the presence of the angel. The thunder has not been rolled away, but it has ceased to be to me a discord; it has become a chord of Thy music. So is it with death this Easter morning! An angel sits upon the former spot of gloom! Thou hast glorified my pain of yesterday! Thou hast exalted my valley of humiliation! Thou hast peopled my desert of silence! Thou hast lighted my path of despair! Thou hast put the myrtle where the briar grew, the fir tree where the thorn grew! The stone of the sepulchre is not less heavy; but the weight of affliction has become a weight of glory.

The Burden In Heaven

 "For we that are in this tabernacle do groan, being burdened: not for that we would be unclothed, but clothed upon, that mortality might be swallowed up of life." 2 Corinthians 5: 4.

       "Not for that we would be unclothed."  I understand Paul to mean ''not that we would be unclothed of our burdens in the future world." And this is a very strange saying. Paul is comparing earth with heaven. He says, '' In this tabernacle we groan, being burdened." We expect him to add, "when we get to heaven we shall make up for it by a life of ease." On the contrary, he says the advantage of heaven will be that we shall be able to hear our burdens, '' mortality shall be swallowed up of life." The burden which is a hindrance here will cease to be a hindrance there. Why does not Paul rather want to get rid of it altogether - to be unclothed of it? Because he sees a use for it yonder. I remember when I was minister of Innellan attending the last hours of a little deformed girl. She had been a lifelong invalid. She had borne years of pain with the most extraordinary patience. I asked her, in wonder, how she could bear so bravely. I expected her to answer, "I weep now; I shall laugh yet" - '' I go on foot now; I shall have a carriage yet " - " I have poor raiment now; I shall wear diamonds yet." Instead of that, she said, "O sir! you know I am training to be a ministering spirit." That little girl had seen the bridal of the earth and sky - the marriage supper of the Lamb.

       For indeed, my soul, what thou needest is not an unclothing of thy burden; it is that thy burden should be swallowed up in the life of love. Why has thy Father given thee a burden here? To make thee long for the beauty of heaven? A burden is a bad preparation for beauty. If Heaven is exclusively a place of flowers, thou shouldst be in the garden now. Why art thou not now in the garden? It is because thou art not training for a garden. Thou art training to be a ministering spirit. That is why God does not unclothe thee of thy heavy garments. The heavy garments are the fashion up yonder - only, they no longer oppress. God would not diminish thy load; He would strengthen thine arm. There will be more weights to carry in heaven than on earth. Wouldst thou enter into the joy of thy Lord? The joy of thy Lord is burden-bearing. He began by feeling the heaviness of the vesture; but love made it a garment of praise; and now His yoke is easy and His burden is light. Thou shalt not need to be divested of thy care when thou shalt enter into the joy, into the sympathy, of Jesus.