July 4th

July 4th

 

As we approach July4th, it is a good time to appreciate the American flag and it's rich history.

 

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History of The American Flag

History of the American Flag

According to popular legend, the first American flag was made by Betsy Ross, a Philadelphia seamstress who was acquainted with George Washington, leader of the Continental Army, and other influential Philadelphians. In May 1776, so the story goes, General Washington and two representatives from the Continental Congress visited Ross at her upholstery shop and showed her a rough design of the flag. Although Washington initially favored using a star with six points, Ross advocated for a five-pointed star, which could be cut with just one quick snip of the scissors, and the gentlemen were won over.
Unfortunately, historians have never been able to verify this charming version of events, although it is known that Ross made flags for the navy of Pennsylvania. The story of Washington's visit to the flagmaker became popular about the time of the country's first centennial, after William Canby, a grandson of Ross, told about her role in shaping U.S. history in a speech given at the Philadelphia Historical Society in March 1870.
What is known is that the first unofficial national flag, called the Grand Union Flag or the Continental Colours, was raised at the behest of General Washington near his headquarters outside Boston, Mass., on Jan. 1, 1776. The flag had 13 alternating red and white horizontal stripes and the British Union Flag (a predecessor of the Union Jack) in the canton. Another early flag had a rattlesnake and the motto “Don't Tread on Me.”
The first official national flag, also known as the Stars and Stripes, was approved by the Continental Congress on June 14, 1777. The blue canton contained 13 stars, representing the original 13 colonies, but the layout varied. Although nobody knows for sure who designed the flag, it may have been Continental Congress member Francis Hopkinson.
After Vermont and Kentucky were admitted to the Union in 1791 and 1792, respectively, two more stars and two more stripes were added in 1795. This 15-star, 15-stripe flag was the “star-spangled banner” that inspired lawyer Francis Scott Key to write the poem that later became the U.S. national anthem.
In 1818, after five more states had gained admittance, Congress passed legislation fixing the number of stripes at 13 and requiring that the number of stars equal the number of states. The last new star, bringing the total to 50, was added on July 4, 1960, after Hawaii became a state.

Information Please® Database, © 2007 Pearson Education, Inc. All rights reserved.

Read more: History of the American Flag | Infoplease.com http://www.infoplease.com/ipa/A0875838.html#ixzz2XXCcwVCW

Woven Coverlets

   Woven Coverlets

  Woven coverlets are used today in period, primitive and country decorated homes.  They add a believability to the period home, and warmth and charm to the primitive and country home.  Some use antique woven coverlets,  while others prefer the reproduction woven coverlets for the believability along with the practicality of machine washing. Both are charming additions to your country style.


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History of Woven Coverlets

History of Woven Coverlets
        Overview

The National Museum of the American Coverlet focuses on antique American woven coverlets. Dated coverlets in the collection range from 1771 to 1889.

Coverlets are woven bedcovers, used as the topmost covering on a bed. The weaver worked on a loom to construct the textile itself one row at a time, and the pattern was woven in as part of the process.

In comparison, quilts are often made by cutting and assembling pattern pieces, then sewing them to a backing with a filler material in between – much like a sandwich.

A quilt is generally assembled from pre-existing cloth.
A coverlet is made from scratch.

Woven coverlets were popular in many states during the early-to-mid nineteenth century (1800s).

Coverlets were woven by both men and women. The two main types are called geometric and figured and fancy.

The pattern motifs in geometrics are based on circles and squares.

Geometric coverlets were woven by both women and men. Women generally produced them for their own use at home, or for barter with a neighbor. However, since there wasn’t a loom (and all the related equipment) in every household, there were professional weavers as well – usually men – filling in the needs of the community.

 

 

 

 

The patterns in figured and fancy coverlets are curvilinear and realistic and can include floral, animal, architectural and other motifs. These are the coverlets that most often contain inscriptions. Inscriptions can include the weaver’s name, his location, the year it was made, the name of the person it was made for, and sometimes a slogan of some sort.

Figured and fancy coverlets were virtually all made by professional weavers – men. So when you see a woman’s name on a figured coverlet, it is the client/owner, not the weaver.

Coverlets were generally made of wool and cotton, although some are all wool. The wool was usually hand-spun and dyed with natural dyes. The cotton was most often machine-spun and left undyed. *

Unlike quilts, coverlets are reversible – intended to be used on either side.

That is why, when a coverlet has an inscription, it is almost always woven in backwards and forwards, to enable the observer to read it on both sides of the textile.

Because most looms were narrow, coverlets were often made of two woven panels joined with a center seam. Many geometric coverlets have two seams -- three panels joined. That is to say, the weaver had to weave the entire length of the coverlet twice, or three times, and hand sew them together next to each other in order to create a textile that was wide enough to cover the bed!

More Coming Soon....

Copyrighted Materials. Excerpted in part from

Coverlets at the Gilchrist
1771-1889
Exhibition Presented by Melinda and Laszlo Zongor
Cumberland, Maryland
June 5 – July 4, 2005

by Melinda Zongor

www.coverletmuseum.org/coverlet.htm

The Floorcloth

The Floorcloth

 

The floorcloth could be compared to the linoleum in today's home.  In early America they were used just as area rugs would be used today.  For those with an early, period, or primitive home, the use of floor cloths add to the early feel of the home. Even a small floorcloth can add an early primitive look to a room. Place one in front of a sink, by a door, or under a table. 


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History of Floorcloths

History of Floorcloths

PAINTED FLOORCLOTHS:
An Historical Perspective
By Jeanne Gearin

Floorcloths are part of our American heritage. They are also called floor cloth carpets, painted canvas, oil cloths (oyle cloths), floor canvases, checquered canvas, grease cloths, crumbcloths (crumcloths) or druggets. The word “floorcloth” is often printed as one word, two words or hyphenated.

At least three of our presidents had floorcloths. George Washington purchased them for Mt. Vernon. When John Adams left the White House, there was a floorcloth listed in the inventory. Thomas Jefferson had at least two floorcloths in the Presidential Mansion — one in the small dining room “to secure a very handsome floor from grease and the scouring which that necessitates” and one in the great hall. These floorcloths were probably painted plain green according to the inventory. Jefferson also had painted canvases at Monticello.

Floorcloths were rather expensive. George Washington’s purchase of one in January 1796 cost $14.28. Because Thomas Jefferson considered the English floorcloths to be of better quality, he reluctantly paid about $3 a square yard for the above mentioned cloths. A 1746 inventory valued a painted floorcloth at 10 pounds and in 1827 Samuel Perkins and Son of Boston, Massachusetts, advertised “for sale a large and elegant assortment of painted floorcloths, without seams, some in imitation of Brussels carpet,” from $1.37 1/2 to $2.25 per square yard.

Advertisements indicate that floorcloths were widely used. Discounts of 10% were offered to merchants and builders purchasing in quantity. Advertisements in the 18th century also offer custom shapes, sizes, decor and colors.

William Burnet was governor of New York, New Jersey and then of Massachusetts. The inventory at his death in 1729 reported “two old checquered canvases to lay under a table: and a “large painted canvas square as the room.” In the South, the posthumous inventory of the effects of Robert “King” Carter, listed “one large oyle cloth to lay under a Table” and “one large floor oyle in the “Dining Room Clossett”. Robert Carter was called “King” because of his extensive land holdings in Virginia. Peter Faneuil, the wealthy Boston merchant, also owned floorcloths. Because they were so valued they were included in estate inventories and were also painted in the backgrounds of portraits done in the 18th century. Public auctions of household goods also often listed floorcloths.

Originally floorcloths were imported from England. The Factory of Smith and Baber of South Kensington, London, produced painted floor canvases prior to 1754. Nathan Smith, the founder of the above firm, first produced block printed cloths in 1754. His early cloths most likely consisted of only one color, but by the 19th century as many as five colors were not unusual. Historians believe they were adapted from the 14th century French wall and table coverings which were made in a similar manner.

Early cloths were produced by a method of stenciling similar to wall stenciling. As their popularity increased coach, sign, house painters and itinerant artists were designing and selling floorcloths. An advertisement in the Maryland Gazette of June 26, 1760, refers to a runaway indentured servant who could “paint Floor cloths as neat as any imported from Britain.” Apprentices to ornamental painters were often family members. In Boston, John Johnson and Daniel Rea, Jr. advertised until 1789 that they did floorcloths “in cubes, yellow and black diamonds, and turkey Fatchion.” Thomas Johnson, John’s father and Daniel’s father-in-law, was a well known ornamental painter working in Boston in the first half of the 18th century. According to their account books, they painted one-color cloths and fancy cloths with borders and even one “cloath with a Poosey-Cat and a Leetel Spannil.”

When home artists took up the practice of making floorcloths, some did so without adequate knowledge of the process and produced disasters. From various early accounts we find that craftsmen often ran into chemistry problems similar to those we experience today. Compatibility of materials, inadequate drying times, and improper bonding of paints regularly caused cracking. Even the imported English floorcloths, which were considered better than domestic ones, often arrived damaged due to shipping mishaps or inadequate drying.

In 1807 John Dorsey of Philadelphia had two looms on which he made carpets and floorcloths. He referred to his products as “floor coverings” and they were similar to those made in England. Other manufacturers and importers of floorcloths or oil cloths were listed in American directories in the 18th and 19th centuries, but little is known about their methods or production. However, in 1811 J. Harmer advertised in the New York Directory that his cloths were “wove in the same manner and of the same quality as it is at English Factories.” In 1817, New York Pattern Floor-cloth Manufactory, 35 Rivington Street, advertised in The New York Annual Advertiser “the greatest variety of the most approved patterns…of any size or form and less liable to crack than Floor-cloths imported from England”. They also advertised “Old Floor-Cloths re-ornamented in the best manner, on reasonable terms.” The illustration on this advertisement shows a large roll with a Greek key border and a small overall starred pattern, probably an imitation of a “Turkey carpet.” Terms are given for one, two, three, four or more colors.

The following historical method of making canvases was contained in The Illustrated Exhibitor and Art Magazine, published in 1852. The material used was made in Dundee, Scotland, of flax and hemp. They were woven on large looms which were constructed to accommodate the rolls which ran approximately 113 yards by 8 yards. This length (longer than a football field), was necessary to keep them from having to be seamed. Narrower widths for stairways and halls were cut from these rolls. After being folded into 3 foot square bales, weighing about 500 pounds, they were shipped to London.

The canvas was then stretched on large frames. These frames were in a room with 30 foot ceilings and over 90 feet in length called a “straining room.” Scaffolds were erected between the frames with just enough room for a man to stand and paint first the front of one canvas and turn around and paint the back of another. The canvas was first sized and sanded with pumice to a smooth surface. Extra heavy paint was troweled on, allowed to dry, pumiced again and built up to three coats. Drying time took two to three months. No dryers were used as they would cause the paint to crack. This large, cumbersome, heavily painted canvas was then rolled onto wooden rollers to prevent damage. It was then pulled into the printing room to be decorated. The rollers were fitted into iron sockets similar to a roller shade and gradually rolled out on the tables to be decorated.

An article in The Golden Cabinet in 1793 in Philadelphia describes a process similar to the English method. However, the addition of white lead to the paint was recommended to enhance drying.

The earliest cloth decorations imitated fine wood, marble, tile and fashionable Turkey carpets. They were also “tessellated.” In the 18th century geometrics were both plain and marbled. They were stenciled, painted freehand, and block printed. For authentic patterns refer to “Various Kinds of Floor Decorations Represented in Both Plano and Perspective,” the 1739 publication by John Carwitham of London.

Colors used were chromes, Prussian blue, azure blue, black, vermilion, malachite green and others. Yellow ochre was the most popular background color. The paints were mixed with linseed oil. Oil cloths received their name from the heavy amounts of linseed oil used in the paint.

In the 19th century quilt patterns became popular. As styles changed the English designer, Charles Eastlake, recommended simple geometric patterns in two colors or shades and definitely not imitations of marble or anything else which could be considered grandiose. His book printed in England and reprinted in 1872 in the United States, signaled a return to simplicity.

Floorcloths were used in summer when wool carpets were removed and as protective material under tables or in hallways. They were used also as insulation under carpets during cold weather. They waned in popularity in the 1850’s, and were relegated to the kitchen or hallways and were last referred to as oil cloths in the 1870’s.

Linoleum (originally a trademark) was invented in England in 1863 and subsequently manufactured in the United States. It became the floor covering of choice. An advertisement from a Sears Roebuck catalog recommends it as being “like oil cloth, but heavier, more durable and softer to walk on.”

In the middle of the 20th century, with the renewed interest of decorators in historic restoration, floorcloths became popular again. Articles have appeared in many home decoration and antique magazines concerning their history and traditional construction as well as modern methods of making them employing silk screens and water-based paints.